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  Module: Config

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    Index (C) »

    Config

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Module: Config

Defined in:

lib/exchange_rate/config.rb

      Class Method Summary
      collapse

      .[](name)  ⇒ Object

Initialises a config hash and creates (and memoizes) the value of the
requested entry.

      .config_file(name)  ⇒ Any

Opens the configuration file and returns the value of a entry at `name`.

      .inspect  ⇒ String

Returns a string representation of the config hash.

      .load(name)  ⇒ Any

Delegates the lookup of a YAML entry.

Class Method Details

    .[](name)  ⇒ <tt>Object</tt>

Initialises a config hash and creates (and memoizes) the value of the
requested entry

Parameters:

        name

        (<tt>String</tt>)

        —

The value to be looked up

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# File 'lib/exchange_rate/config.rb', line 32

def [](name)
  @config ||= {}
  @config[name.to_sym] ||= load(name)
end

    .config_file(name)  ⇒ <tt>Any</tt>

Opens the configuration file and returns the value of a entry at `name`

Parameters:

        name

        (<tt>Symbol</tt>)

        —

The name of the YAML entry to be fetched

Returns:

        (<tt>Any</tt>)

        —

The value of entry requested, or nil if the configuration file does not
exist

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# File 'lib/exchange_rate/config.rb', line 11

def config_file(name)
  path = Pathname.new('config/exchange_rate.yml')
  contents = File.read(path)
  hash = YAML.load(contents)
  hash[name]
rescue Errno::ENOENT
  nil
end

    .inspect  ⇒ <tt>String</tt>

Returns a string representation of the config hash

Returns:

        (<tt>String</tt>)

        —

Config hash as a string

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# File 'lib/exchange_rate/config.rb', line 40

def inspect
  @config.inspect
end

    .load(name)  ⇒ <tt>Any</tt>

Delegates the lookup of a YAML entry

Parameters:

        name

        (<tt>Symbol</tt>)

        —

The name of the YAML entry to be fetched

Returns:

        (<tt>Any</tt>)

        —

The value of entry requested

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# File 'lib/exchange_rate/config.rb', line 24

def load(name)
  config_file "#{name}"
end

  Generated on Sun Jan 15 18:43:41 2017 by
  yard
  0.9.7 (ruby-2.3.0).


text:
Máximo Antonio del Rosario Almonte, más conocido como Toño Rosario (Higüey; 3 de noviembre de 1955), es un cantante dominicano de merengue.

Biografía

Primeros años

Toño nació en Higüey, el municipio cabecera de la provincia La Altagracia, situada al este de la República Dominicana. Desde su infancia, él y sus hermanos mostraron un gran interés en la música. Jugaban tocando instrumentos hechos de tapas de botellas, envases de plástico, y otros artículos. Pronto empezaron a cantar y tocar en el barrio y comenzó lo que sería el grupo Los Hermanos Rosario, una orquesta de merengue que tuvo un gran éxito en los años ochenta. Es considerado un muy buen artista dominicano.

Con Los Hermanos Rosario

La agrupación empezó con Pepe, Toño y Rafa como cantantes de la orquesta, mientras los demás ―Luis, Tony y Francis― eran integrantes del grupo. El 19 de marzo de 1983 murió Pepe Rosario en un confuso incidente en un centro nocturno de la ciudad de La Romana. Toño y Rafa mantuvieron el liderato del grupo. En esos años alcanzaron gran éxito en su país y en el exterior.

Como solista

Después de haber alcanzado grandes éxitos en la agrupación y visitar varios países de Latinoamérica y Europa, Toño decidió abandonar a sus hermanos y formó su propia orquesta. Debutó como solista el 14 de abril de 1990 en el Coliseo Roberto Clemente de la ciudad de San Juan (Puerto Rico). Toño llegó a convertirse en el merenguero más popular y con mayor ventas de discos de ese país. Toño Rosario fue el primer merenguero que llenó la capacidad del Madison Square Garden. Tuvo llenos en United Palace, Altos de Chavón, la Plaza del Toros de Madrid (España), el Estadio Centenario de Cuernavaca (México).

Actualmente se encuentra trabajando con la compañía wilmusic managermet de la mano de Wilson Sánchez desde 2012.

Vida personal

En 1988 se casó con Ada Ramírez, con la cual tuvo cuatro hijos. En 1991 se casó con la modelo puertorriqueña Ivette Cintrón, con quien tuvo un hijo. Años después se divorciaron y a finales de los años noventa se casó con Yaritza Yari Rivera.

Toño tiene diez hijos, Luisaura, Mínimo, Francis, Antonio, Yudith, Pepe, Saskia, Jeffrey, Mómory y Cristian.

Toño se considera un artista original y único por la forma de vestir, sin embargo él ha interpretado canciones de otros grandes artistas.

Controversias

Toño se ha caracterizado por ser estrafalario en su vestuario, por lo que ha sido muy criticado en su país y en el exterior. También se caracteriza por tener un comportamiento excéntrico y sus recitales siempre son muy extravagantes.

En 2007 sorprendió a sus fanes dominicanos cuando afirmó que no conocía a la cantante dominicana Milly Quezada.

En 2009 ―en el programa de radio El Vacilón de la Mañana, que se transmite por la emisora La Mega, en Nueva York,Estados Unidos― afirmó que su hermano Rafa Rosario cantaba mal y no era un artista.

Curiosidades

Cuando Toño era un niño, otros se burlaban de él llamándolo «El Cuco». En lugar de avergonzarse de este apodo, más adelante Toño lo utilizó como seudónimo artístico.

Su canción Alegría se reproducía en el Comerica Park de la ciudad de Detroit (EEUU), cada vez que Omar Infante —el infielder de los Tigres de Detroit— iba al bate.

Discografía

Y Más... (1990)

 La gozadera
 Dame
 Ojos bonitos
 Chiquilla bonita
 Jenny
 El pobre Ramón
 Es mi vida
 Ajena

Atado a Ti (1991)

 Bárbara
 Víbora del mar
 Atado a ti
 Otra vez
 Muñeca linda
 Pegaíto
 Tu mujer
 Mi morenita

Retorno a las raíces (1992)

 La última copa
 Hasta que no pueda más
 Lola
 Un amor de la calle
 La carta en el ropero
 Imán (sabor común)
 La gozadera #2
 Camino del puente

Traigo la bomba (con Vico C) (1992)

 Yogur
 Te voy a tomar
 I like
 Yogur (techno mix)
 Te voy a tomar (house mix)
 Descontrol
 Otra vez
 Víbora del mar
 Pegaíto
 Mi morenita
 Traigo la bomba

Amor Jollao (1993)

 El hijo ausente
 Irresistible
 Quisiera amarte menos
 Pa'l colmado
 Es mentira
 El bailabién
 La gozadera III
 Mi secreto
 A mi gente
 No te perdono más

Me olvidé de vivir (1994)

 Me olvidé de vivir
 La primera piedra
 Cómo no voy a decir
 Dónde
 Otra como tú
 Mentiras
 Déjala
 Sin truco

Quiero volver a empezar (1995)

 Quiero volver a empezar
 Enamorado
 No me hablen de ella
 Estúpida
 Tan que tan
 Será
 Siempre estoy pensando en ella
 Qué sabe nadie
 Lo voy a dividir
 Chibirín chibirín

Grandes éxitos: cinco años de platino (1995)

 Jenny
 Mal pago (amor gitano)
 Bárbara
 Tu mujer
 La última copa
 Hasta que no pueda más
 Quisiera amarte menos
 Mi secreto
 Me olvidé de vivir
 La primera piedra
 Sin truco (remix radio version).
 Sin truco (long remix version).

Seguiré (1997)

 Seguiré
 Me gusta
 De lo que te has perdido
 Ella fue
 La nena del tongoneo
 Brujería
 Tengo la piel cansada
 Loco loco
 Te nombro reina
 Un día a la semana

Colecciones y éxitos (1997)

 La gozadera
 Dame
 Es mi vida
 El pobre Ramón
 Víbora del mar
 Otra vez
 Pegaíto
 La gozadera II
 Lola
 La gozadera III
 A mi gente
 Pa'l colmado
 Otra como tú
 Me olvidé de vivir

Exclusivo (1998)

 Su único amor
 Homenaje a Puerto Rico
 Así fue
 Qué mujer más buena
 Gozadera IV
 Enamorado solo
 Me enamoré de ti
 Mi novia salió preñá
 Un buen perdedor
 Ábreme la puerta

La historia musical Rosario (con Los Hermanos Rosario) (1998)

 Me tiene amarrao
 Siempre estoy pensando en ella
 El lápiz
 Estúpida
 El palo
 Quiero volver a empezar
 Nadie me brinda ná
 Tan que tan
 Las locas
 Seguiré

La magia del cuco (1999)

 Tú va' vei
 Mercedita
 Juan en la ciudad
 Qué pasará de aquí a ahorita
 Hey
 No sé qué me pasa
 Amanecer y la espera
 Como anoche
 Apambichao
 Triángulo
 Estoy contento de estar en mi país
 AEIOU

La alegría del merengue (1999)

 Alegría
 Seguiré
 La última copa
 Jenny
 Quiero volver a empezar
 Así fue
 Estúpida
 Dónde
 Cómo no voy a decir
 La gozadera VI
 Un día a la semana
 Suavemente

Yo soy Toño (2000)

 Por un puñado de oro
 Beso a beso
 Desnúdate, mujer
 Yo quiero tu amor
 Discúlpame
 Todo lo hago por ti
 Cierra los ojos y juntos recordemos
 El ritmo de la Navidad
 Yo me muero por ella
 Yo soy Toño
 A ti te gusta
 Lupe

Serie 2000 (2000)

 Seguiré
 Me olvidé de vivir
 Otra como tú
 Alegría
 Jenny
 La gozadera
 Quiero volver a empezar
 Víbora del mar
 La gozadera III
 Bárbara
 Estúpida
 La última copa

Toño en América (2002)

 América, América
 No volveré
 Mi morenita
 Yo kulí yo kulá
 Nada queda de tu amor
 Insoportablemente bella
 Yerba mala
 Navidad para el pueblo
 Gozadera V
 Yari yari
 Soy feliz

Juntos (con Wilfrido Vargas) (2002)

 La última copa
 El africano
 Irresistible
 El semáforo
 Me olvidé de vivir
 El hombre divertido
 Otra como tú
 San Antonio
 La gozadera
 Abusadora

Colección diamante (2003)

 Irresistible
 La gozadera
 Me olvidé de vivir
 Otra como tú
 Mentiras
 La última copa
 Tu mujer
 Jenny

Todo lo bueno de Toño Rosario (2003)

 La gozadera
 Es mi vida
 Víbora del mar
 Mi gente
 Pa'l colmado
 Otra como tú
 Me olvidé de vivir
 Jenny
 Bárbara
 La última copa
 Hasta que no pueda más
 Quisiera amarte menos
 Sin truco (remix).
 Mi secreto

Amigo mío: Toño y sus éxitos (2003)

 Amigo mío
 Me enamoré de ti
 Tú va' vei
 Será
 Alegría
 A ti te gusta
 Seguiré
 Quiero volver a empezar
 La última copa
 Así fue
 Cómo no voy a decir
 Juan en la ciudad
 Ábreme la puerta
 Kulikitaka
 Estúpida

Resistiré (2004)

 El reloj
 Porque yo quiero
 Vamos a reír un poco
 ¡Ay, ombe!
 Sombras nada más
 Te amaré
 Resistiré
 Mi tristeza es mía y nada más
 Eres (la flor).
 En Navidades

Lo mejor de Toño Rosario (2006)

 Amigo mío
 Me enamoré de ti
 Tú va' vei
 Mi morenita
 Alegría
 A ti te gusta
 Seguiré
 Quiero volver a empezar
 Desnúdate, mujer
 Así fue
 Cómo no voy a decir
 Juan en la ciudad
 Ábreme la puerta
 Kulikitaka
 Homenaje a Puerto Rico

Tradicional (2006)

 Mi morenita
 Quiero volver a empezar
 Desnúdate, mujer
 Así fue
 Un buen perdedor
 Juan en la ciudad
 Insoportablemente bella
 Yo kulí yo kulá
 Beso a beso
 América, América
 Navidad para el pueblo
 El ritmo de la Navidad
 Amigo mío
 A ti te gusta

En vivo: el original (2006)

 A lo oscuro
 Ojalá se seque el río
 Yo quiero un vacilón
 Yo quiero que las mujeres me den eso
 Caco e maco salta cocote
 Papalico
 Me voy pa'l pueblo
 Porón
 Nao nao nao
 El tigre
 Cógelo, que eso es tuyo
 Chuleta
 Se pega

A tu gusto (2007)

 Córtame las venas
 Ella sabe
 Fiel
 Volvió el amor
 Mi historia entre tus dedos
 Who said?
 Vivir así es morir de amor
 Tú de qué vas
 Todavía creo en el amor
 Yamule majasense
 You're the first, the last, my everything

Lo más encendío de Toño Rosario (2007)

 Kurikitaka "ta cruzado"
 Cumandé/Que me coma el tigre
 Pa' candelier
 La maricutana
 Estoy encendío
 Pa' amanecer
 Cumandé/Cógelo
 La gozadera
 La gozadera/Rompe
 Suéltame
 Yo me muero por ella
 La carta en el ropero
 Jenny
 Alegría

Don't worry be happy: the best of Toño Rosario (2009)

 Don't worry, be happy
 Tu maestro
 Nao, nao, nao
 Resistiré
 ¡Ay, ombe!
 Córtame las venas
 A lo oscuro
 La última copa
 La gozadera
 Ojalá se seque el río

Los mega éxitos en vivo (2009)

 A mi gente
 Bárbara
 Cumandé
 Dónde
 El puñal
 Es mi vida
 La gozadera
 Hasta que no pueda más
 La última copa
 Mi secreto
 Lola
 Jenny
 Mi vida
 Otra vez
 Sin truco
 Víbora del mar

Veinte grandes éxitos (2010)

 Kulikitaka
 Quiero volver a empezar
 Enamorado
 Tan que tan
 Seguiré
 Me gusta
 Ella fue
 La nena del tongoneo
 Brujería
 Me enamoré de ti
 Su único amor
 Homenaje a Puerto Rico
 Tú va' vei
 Juan en la ciudad
 Por un puñado de oro
 Desnúdate, mujer
 El ritmo de la Navidad
 No volveré
 Mi morenita
 Suavemente

El mandatario (2011)

 Toma lo que te mandé
 Dame tu baby pin
 Mon amour
 Qué calor
 La soga
 Muñequita dorada
 Papá dominicano
 Temblar
 La bohemia
 Dame tu cariño
 Controla tu loco
 Prepárate
 La brocha
 Yari dijo
 Que te lo ponga
 Cumande

Mis favoritas (2012)

 La última copa
 Me olvidé de vivir
 Sin truco [remix radio version]
 La gozadera
 Pa'l colmado
 Otra como tú
 La gozadera II
 Quiero volver a empezar
 Mal pago (amor gitano).
 Seguiré
 Tu mujer
 Quisiera amarte menos
 Irresistible
 La gozadera III

Enlaces externos

Cantantes de merengue de República Dominicana
Cantantes de la República Dominicana
Compositores de República Dominicana
Cantautores de República Dominicana
Cantantes en español
Nacidos en la provincia La Altagracia

redpajama_set_name: RedPajamaWikipedia


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Every year from October to fébruary, in Paris – at the Carrefour des Cascades !
For more than 40 years Alexis Gruss and his family have been living in Paris for the winter season.
See you to discover creations always more breathtaking under a marquee of 3000 seats heated and comfortable.
The marquee before the show and intermission allows you to spend a friendly moment with your family and friends.


Twitter social media report: reach and engagement metrics.
Twitter social media template for automated marketing reports is designed for marketing agencies and internal marketing departments for sharing key Twitter reach and engagement metrics based on content postes in business Twitter accounts.
Twitter engagement metrics include likes, shares and mentions. As Twitter does not report historical data for those KPIs, Octoboard calculates them by analysing previous 200 tweets. Over time data will be accumulated by our platform and you will start seeing trends. The longer you have Octoboard connected to your Twitter account, the more data you will have available for display on your online or office TV dashboards.
Your most recent tweets sorted by date (latest at the top).
We display your latest Tweets along with user actions. If you want to see the ranking of tweets by time, select Top Tweets widget instead.
Make sure your dashboards are refreshed frequently. Free accounts do not update dashboard data more than once per day. For real-time dashboards, switch to a premium Octoboard account.
Have this widget on your Social Networks real-time dashboard. This will allow you to view in real-time your Twitter performance without the need to log into Twitter.
Number of likes received by your account or by competition.
You can always switch the way this metric is displayed in widget configuration screen. Select value presentation that shows current number of likes or graph that tracks changes over time.
Number of people that you or your competitors follow.
Following is the number of people that you or your competitor are following.
Number of people who follow you or your competitor.
Number of tweets over a period of time.
This is a measure of your activity on Twitter.
As the number of Tweets increases, make sure your Engagement Rate improves or at least stays the same. If Engagement Rate deteriorates, it means your new Tweets are less relevant for your followers.
Display latest mentions in a feed table.


text:
Jon Michael Switzer (born August 13, 1979) is a former Major League Baseball relief pitcher.

Amateur career

High school
Switzer is a 1998 graduate of Clear Lake High School in Houston, Texas  While there he was three-year letterwinner and was selected for the following honors: '98 first-team all-district, '97 second-team all-district, USA Today 1998 All-USA honorable mention, Houston Area All-Star, '98 all-state selection. He also played for the South in the Texas North/South All-Star game at The Ballpark in Arlington.

College
In , Switzer was selected by the Pittsburgh Pirates in 26th round of the amateur entry draft but chose to attend Arizona State University where he majored in marketing.

Switzer attended Arizona State for three years (1999–2001) and appeared in 66 games compiling a 23-13 record with a 4.01 ERA striking out 327 batters in 303.1 innings. He posted back-to-back seasons with 100+ strikeouts in 2000 (121) and 2001 (128).  He was named Pac-10 Honorable Mention in 2000 and 2001, third-team Collegiate Baseball All-American in 2000.

Professional career
Switzer was selected by Tampa Bay Devil Rays in 2nd round of the 2001 Major League Baseball draft and began his professional career playing for the Hudson Valley Renegades of the New York–Penn League.

By  Switzer worked his way up to the Triple-A Durham Bulls and made his first major league appearance against the Kansas City Royals on August 2, 2003.

Switzer missed the entire  season with an injury. He split the – seasons between Durham and the parent club.  On  November 30, 2007 Tampa outrighted Switzer to Durham.  December 1, he refused the minor league assignment and became a free agent.

On January 4, , Switzer was signed by the Boston Red Sox to a minor league contract and was invited to spring training. On March 13, he was optioned to the Triple-A Pawtucket Red Sox. He became a free agent at the end of the season and signed a minor league contract with the New York Mets in January .

On June 12, the Mets called him up following John Maine's placement on the Disabled List. He was designated for assignment on June 24.

On December 22, 2009, Switzer signed a minor league contract with the Houston Astros.
Jon Switzer retired after the 2010 season. He went back to school, and is now currently a business manager.

References

External links

SoxProspects Biography and scouting report

Tampa Bay Devil Rays players
New York Mets players
Pawtucket Red Sox players
Major League Baseball pitchers
Baseball players from Kentucky
Buffalo Bisons (minor league) players
1979 births
Living people
Hudson Valley Renegades players
Bakersfield Blaze players
Durham Bulls players
Orlando Rays players
Montgomery Biscuits players
Clear Lake High School (Houston, Texas) alumni


Jets baseball has announced their prospect workout date.
November 3, 2018 the Jets will host a prospect workout for all 2019, 2020, 2021 and 2022 athletes.
The workout will be a pro-style workout for all position player and bullpens for pitchers.
All athletes will be evaluated by the NOC Jets coaching staff.
Workout begins at 10:00a with check-in beginning at 9:30.


The photo was shooting by Nikon D750 camera with shoot mode 200.0mm · ƒ/14.0 · 1/3s · ISO 50, gives a image excellent quality. It was stored in the category "Business/Finance", largest resolution is 6016×4016 pixels, you can download it to JPEG format. We were tagged: European Union, Corporate Tax Makeover.


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text:
Leo Paulus Johannes Stracké (also listed Johannes Paulus Leo), son of Johan Stracké, was born in Rotterdam, Holland in 1851. His sister, Epiphania Josephine Leontine Ursula Stracké, was married to Petrus Arendzen.
Leo married Anna Maria van Lent and, between them, they produced seven children. Two of the boys, Johannes Maria Theodorus and Leo Wilhelmus were also artists. They were both painters but Johannes Maria is also listed as a sculptor. Leo Paulus died in The Hague in 1923.
There are a few of Leo Stracké's sculptures dotted around the houses of various Arendzen descendants. When Leo visited the Arendzens at Quex Road, he was delighted to find that the clay in the garden was perfect for his work and he fashioned a number of pieces, from the material he dug up.
The Rijksmuseum lists three works by Leo and the Rotterdam Museum lists six. If you click the links to these museums, under 'Useful Links,' you can search their collections.
Click the following link for interactive tree and further information on Leo Stracké
Sculpture of Thomas à Kempis, in terracotta, by Leo Stracké.
This sculpture in clay by Leo Stracké, of Thomas à Kempis, was fashioned from material excavated from the garden at 14 Quex Road. On a visit to London, Stracké had found that the composition of the clay was perfect.

redpajama_set_name: RedPajamaCommonCrawl


Ken Schweitzer, a music professor at a Washington College, has spent almost two decades studying the Afro-Cuban Musical Culture. Initially drawn to Cuba in 1999 to experience first-hand its unparalleled and vibrant music scene, Schweitzer returns annually to continue learning more about the unique musical, cultural, and political landscape of this Caribbean island nation. Dr. Schweitzer has expertise as both a drummer and an ethnomusicologist. His 2013 book, The Artistry of Afro-Cuban Batá: Aesthetics, Transmission, Bonding and Creativity, examines the complex world of Santeria Ritual Song. He has numerous other publications and has appeared as a guest on the NPR program Hip Deep: Afro Pop Worldwide for an episode entitled "Ancient Text Messages: Batá Drums in a Changing World." Ken has spent over a decade creating educational adventures in Cuba for diverse groups.
Dr. Aaron Lampman is a professor of Anthropology at Washington College. Dr. Lampman has conducted nineteen years of anthropological research in Latin America extending from Mexico to Peru. In addition to leading short-term student seminars to Panama, the American Southwest, Peru and Tanzania, he has co-led student and adult trips to Cuba 6 times. With a strong grasp of Cuban history, he provides insight into the food and agriculture of the island and expertise on the impact of globalization on Cuba culture.
Ernesto "Gato" Gatell is one of the most recognized and beloved Cuban singers alive today. In 2013, the U.S. Government acknowledged him as a Musician of Extraordinary Ability at the very top of his field both nationally and internationally, thus allowing him to immigrate to the U.S. in 2014. His list of accomplishments over the past 30 years are far too vast to enumerate, but he has recorded and toured with the biggest names in Afro-Cuban music – Clave y Guaguanco, Tata Guines, Changuito, Pancho Quinto, Rumberos de Cuba, Conjunto Folklorico Nacional de Cuba, Puntilla, Hilario Duran, Jane Bunnett; and has been a member of several Cuban All-Star groups. His recordings have been nominated for and/or won the top music industry awards in three countries – the U.S. Grammy, the Canadian Juno, and the Cuban CubaDisco. Having mastered Afro-Cuban music, his current vision is to combine Afro-Cuban elements with other styles like Jazz, Funk, and World to create contemporary fusions. He also composes and plays percussion.


Once you book a trip to Fort Lauderdale, you may be thinking about what else there is to do besides visiting the beach. Fort Lauderdale is everyone's vacation destination. There's beaches, shopping, dining and state parks where visitors can hike and explore. Here are some of our favorite state parks in the area and what to do at each.
While relaxing all week at a bed and breakfast in Albuquerque sounds like a great vacation, you may want to get outdoors and explore some trails during your trip too. New Mexico has some very unique wildlife and native plants so hiking in the state is an experience like no other. Here are our picks for the best hiking trails to explore when you take a trip to Albuquerque.
For many people, visiting Alaska is a trip of a lifetime. Those who forgo the cruise ship experience in favor of a more flexible vacation, flying into Anchorage is the first stop. Alaska has only four highways, one of which is the Glenn Highway connecting Anchorage with Glennallen. Driving the Glenn Highway alone offers multiple sightseeing opportunities such as multiple viewing points of the Matanuska Glacier, which is the largest car-accessible glacier in the Unites States. Driving from Anchorage to Glacier Park, the jump-off point for those who wish to explore the Glacier on foot takes about three hours. The privately-owned park is at mile 102, and it provides access to the glacier for a daily fee. Fortunately, the 100-mile drive offers several sight-seeing opportunities for those who wish to have the real Alaska experience. Here are some more things to experience on a trip to Matanuska Glacier.
The Cayman Islands is a great vacation destination for families and couples with varying interests. There are beaches to relax on, oceans to dive in, and plenty of outdoor activities to choose from. Here are some of the best activities for sports lovers in the Cayman Islands.


The Ferrari Formula 1 team has revealed a revised livery for its 2019 F1 car for the season-opening Australian Grand Prix.
Ferrari's new SF90 challenger was launched and made its debut in pre-season testing with extensive branding for Mission Winnow, an initiative by title sponsor Philip Morris.
But news had broken during the off-season that Australian authorities were investigating whether Mission Winnow complied with tobacco advertising laws, and Ferrari subsequently confirmed its cars would not carry Mission Winnow branding in Melbourne.
The team has now unveiled a special revised livery that Sebastian Vettel and Charles Leclerc will race in the Australian GP.
"Over the Australian Grand Prix weekend, the SF90 livery, the drivers' race suits and some of the team's track equipment will bear the logo celebrating 90 years of the Scuderia," Ferrari said in a statement.
The commemorative logo has taken the place of Mission Winnow branding on the front wing, rear wing, nosecone and engine cover.
However, some of the Mission Winnow logos have been simply removed, meaning the cars will run with additional blank space in Melbourne.
It is expected that the branding for the Phillip Morris initiative will return to the cars in the second race in Bahrain, although Ferrari has not specifically communicated its plans in this regard.


text:
Pre-Order John Carpenter's Soundtrack for 'Halloween' Sequel; Listen to First Teaser
The awesome folks over at Sacred Bones Records just added John Carpenter's newly composed score for David Gordon Green's Halloween sequel up for pre-order on their website. You can choose from a Limited Art Edition Vinyl LP, Limited Orange Vinyl LP, Standard Black Vinyl LP or a Jewel Case CD.
You can take a look at the incredibly cool packing artwork below, along with a first tease of the Halloween 2018 soundtrack.
***Limited Edition Version: Edition of 2000 "art edition" copies, housed in deluxe die cut packaging with exclusive alternate artwork and poster by Chris Bilheimer, pressed on clear vinyl with "Orange Pumpkin" inset, and available by mail-order only. ONE PER PERSON LIMIT.***
When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the canon with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies.
The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green's film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape's knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter's famously shoestring original, its musical spirit was preserved.
Both the CD and Vinyl soundtrack is available on October 19.
Blade Comes to Life in New 'Puppet Master: The Littlest Reich' Clip
John Lithgow Revealed as Jud Crandall in 'Pet Sematary' Remake; Filming to Wrap Next Week


Here is your chance to live, learn and play at College of Rockies. If you are looking for a unique learning opportunity and a lifestyle that could match your standards then The College of Rockies, located in the Kootenay Rocky Mountains of southeastern BC is an ideal education destination for you. The college has its main Campus and Gold Creek Campus in Cranbrook. The college also has its regional campuses in Fernie, Creston, Invermere, Golden and Kimberley. All these campuses offer unique programs and courses.


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Discovery unveils all-star cast for "Curiosity"
The line-up of hosts for the ambitious, multi-year series includes Robin Williams, Samuel L. Jackson, Brendan Fraser, Maggie Gyllenhaal, Morgan Spurlock and Dirty Jobs' Mike Rowe, among others.
Discovery Channel has unveiled several of the hosts taking part in its upcoming ambitious event series Curiosity.
Premiering August 7 at 8 p.m. EST/PST with an episode featuring renowned astrophysicist Stephen Hawking, future episodes of the Sunday night series will be hosted by such celebs as Robin Williams, Samuel L. Jackson, Brendan Fraser, Maggie Gyllenhaal, Morgan Freeman, Michelle Rodriguez, Eli Roth, doc-maker Morgan Spurlock and two hosts of other Discovery staples – MythBusters' Adam Savage and Dirty Jobs' Mike Rowe.
The range of topics is as wide as the array of hosts, with Williams exploring what drugs actually do to the human body, Jackson examining how the world might end and Fraser delving into what lies beneath Egypt.
In other episodes, Roth will explore the nature of evil, Freeman will look into the possibility of a parallel universe, and Gyllenhaal will let us know once and for all why sex is fun. Lost and Avatar star Rodriguez will investigate how we might survive an alien attack, Spurlock will endeavor to find out if living like a primitive cave-dweller would actually improve our health, Savage will ask if we really can live forever and Rowe will shine his spotlight on the live organisms inhabiting our bodies.
Curiosity is one of Discovery's most ambitious undertakings to date, and is slated to span five years with 60 episodes and companion content across Science Channel, HD Theater, Planet Green, and Discovery's international nets. A companion website featuring unique content as well as segments from the series was recently launched in advance of the August premiere.
"We all wonder. Curiosity is the driving force in every discovery that has advanced our civilization," said John Hendricks, Discovery Communications founder and chairman and creator of the Curiosity series. "From the most obscure details to the biggest questions of our lives, the innate desire to ask why makes us uniquely human. Each week, the Curiosity series will capture that fundamental sense of wonder and present an engaging visualization of our minds' search for answers."
Hawking's episode is entitled "Did God Create the Universe?" It'll be followed up by a roundtable panel discussion at 9 p.m. EST/PST featuring well-known theologians who will challenge Hawking's positions.
The premiere episode is produced by Darlow Smithson Productions, with John Smithson and Ben Bowie as executive producers and Susan Winslow as executive producer for Discovery Channel. For the series, Simon Andreae is the senior exec producer, and Alan Eyres is executive producer.
Adam Savage, Brendan Fraser, Curiosity, Dirty Jobs, Discovery Channel, John Hendricks, Maggie Gyllenhaal, Mike Rowe, Morgan Freeman, Morgan Spurlock, MythBusters, Robin Williams, Samuel L. Jackson, Stephen Hawking
Morgan Spurlock to speak at Realscreen West
Realscreen West sells out
Bullish on Content
AP pens development deal with Spurlock's Warrior Poets


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Q: How to concatenate multiple dataframes in sequential order? I want to go through the whole month of april day by day. I want to print one dataframe that has every day combined up to the day I am at, and another df that has just the last 3 days. For example, lets say today was april 5th 2021. I want to print a dataframe that has combined apr1,apr2,apr3, and apr4 together. I also want to print just the last 3 days (apr2,apr3,apr4). How would I go about doing this?
import pandas as pd
z={
    0 :pd.read_csv('21_apr1.csv'),
    1 :pd.read_csv('21_apr2.csv'),
    2 :pd.read_csv('21_apr3.csv'),
    3 :pd.read_csv('21_apr4.csv'),
    4 :pd.read_csv('21_apr5.csv'),
    }
for w in range(5):
    try:
        df1=pd.concat([z[w],z[w-1],z[w-2],z[w-3],z[w-4]])
    except KeyError:
        continue
for w in range(5):
    try:
        df2=pd.concat([z[w-3],z[w-2],z[w-1]])
    except KeyError:
        continue
print(df1.head(3))
print(df2.head(3))

A: import pandas as pd
z = [pd.read_csv(f'21_apr{x}.csv') for x in range(1, 6)]

df1 = pd.concat([z[0:-1])
df2 = pd.concat([z[1:-1])

A: I was able to solve using what BeRT2me wrote.
today=int(input('Which day of 2021? Day: '))
for n in range(1,today+1):
    if n>3:
        z = [pd.read_csv(f'21_day{w}.csv')for w in range(1,n)]
        temp1=pd.read_csv(f'21_day{n-3}.csv')
        temp2=pd.read_csv(f'21_day{n-2}.csv')
        temp3=pd.read_csv(f'21_day{n-1}.csv')
        last3days=pd.concat([temp1,temp2,temp3])
        all_past = pd.concat(z[:])
        nextday = pd.read_csv(f'21_day{n+1}.csv')

      #run my code in the for loop

redpajama_set_name: RedPajamaStackExchange


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Ai Weiwei says he is heading to the US—but is too old for New York
Ai Weiwei speaks at the Athens Democracy Forum 2018 Photo: The New York Times Conferences/YouTube
Ai Weiwei said rumours are always based in truth when confirming rumblings that he plans to move back to the US, where he lived from 1981 to 93, at a talk yesterday (18 September) at the Athens Democracy Forum 2018. The Chinese artist, currently based in Berlin, spoke with the New York Times op-ed columnist Roger Cohen on subjects ranging from the refugee crisis to recognising the humanity of his interrogators during his 80 days in a secret military prison in China. When the topic turned to his move, Ai said he is heading to New York—upstate, that is, on a "fine piece of land"—where his young son, Ai Lao, can be educated in English. Cohen asked Ai why he is choosing a rural life, and not an urban one in his erstwhile home, New York City. "New York City is quite exciting, but not for the old men like me," he said. "We walk too slow on the street, you know."
In the frameArtistsAi Weiwei


text:
On punishment and duty
Randi Hjalmarsson is a labor economist by training who has ended up conducting extensive research on the economics of crime and the criminal justice system. With a PhD in economics from Yale University and currently a professor of economics at the University of Gothenburg, she has dug deep into issues such as different stakeholder impacts in the actual functioning of justice. This includes, for example, looking into research questions such as the degree to which punishment severity influences juries' decisions to convict.
In a Probable Causation podcast, where she is interviewed by host Jennifer Doleac, Hjalmarsson gives a fascinating recount of the ingenious methodology she followed to acquire an adequate dataset for her research. Leveraging the effort of a group digital historians, she was able to access abundant eighteenth and nineteenth century sentences from the Central Criminal Court of England and Wales (commonly called the Old Bailey, after the street on which it stands). The Crown Court sitting at the Central Criminal Court deals with major criminal cases from within Greater London and in exceptional cases, from other parts of England and Wales.
Professor Hjalmarsson and her co-author Anna Bindler were able to conduct a difference in differences analysis using infrequent but highly suitable natural experiments: tracking the movement in sentencing stats around a series of dramatic legislative system changes, such as the gradual abolition, one crime at a time, of most grave sentences like death or transportation to the colonies (first to America, then paused at the time of the American Revolution, and later resumed to Australia), in an attempt to isolate their effects.
The results? The lowering of punishment levels resulted in a significant increase in guilty sentences. That is to say, jurors have historically adjusted –or betrayed– their official institutional mandate and, disregarding the strict guidelines that should inform their case behaviour, let their subjective opinion on the relative harshness of the proposed punishments play an active and critical role in their reaching a decision or guilt or innocence.
This begs the question of whether, from a societal viewpoint, we should procure enhanced compartmentalisation abilities in individuals performing different tasks, at different times, under different circumstances and requirements. Or whether, taking the opposite view, we should indeed assume that these natural compartmentalisation deficits actually act as natural balancers for potential mistakes or miscalibrations that would otherwise result from the cold and aseptic human participation in the functioning of our institutions.
Definitely an interesting debate!


text:
Bridget O'Toole's mixed..
Bridget O'Toole's mixed emotions on her husband's posthumous award
16/11/2017 11:34 am / 05:12
Dermot O'Toole is posthumously being awarded with the Star of Courage.
Mr O'Toole died coming to his wife's assistance during an armed robbery at a Hastings jewellery store in 2013.
His wife Bridget will accept the award.
Bridget told Neil Mitchell she has mixed emotions about the announcement.
"We're just so proud of Dermot, but we're very emotional," she said on Thursday.
"It's very sad that it's a posthumous award.
"I'm thrilled that he's going to be remembered in this way. We're incredibly honoured."
Click PLAY above to hear the full interview
The Star of Courage is awarded for acts of conspicuous courage in circumstances of great peril.
It is the second highest Australian Bravery Decoration.


text:
Q: How does one compile and link NASM code with Xcode? Note that this question pertains specifically to Xcode 4, though additional information about other versions of Xcode are welcome.
Part 4 of this tutorial at Cocoa Factory recommends generating object code with
nasm-2.09.10 -f macho64 hello64.asm

(after putting nasm-2.09.10 in /usr/bin)
and linking it with
gcc -m64 -mmacosx-version-min=10.6 -isysroot /Applications/Xcode.app/Contents/Developer/Platforms/MacOSX.platform/Developer/SDKs/MacOSX10.7.sdk -o hello64 hello64.o

and that's just fine, but I don't want to do my compiling/linking at the command line, I'd like to just click Build and Run and have it all done for me. I imagine there must be some way to get Xcode to use those commands to compile my source when I Build, but how?


text:
The 30-second sell
David Redhead
Stuart Brill
Rex Ray
Angus Hyland
Eight-page illustrated feature on paperback book cover design, including interviews with the Senate, Rex Ray, Angus Hyland
Where once they served merely as protection, book covers today are the unceremonious equivalent of product packaging. Their impact as 'mini-posters' in bookshops is supported by enlargements or images on walls, tailor-made retail display systems and point-of-sale material. Sales-conscious authors now often insist on having cover approval written into their contracts, and they, the publishers and the booksellers all assess the success or failure of a cover in hard-nosed commercial terms. 'If a cover doesn't succeed in at least making you pick the book up within 30 seconds of spotting it, it will be considered a failure,' says Fiona Carpenter, design director of Macmillan, Pan and Picador.
Of course, the need to make an impact does not always produce attractive design. But at the highbrow end of the market at least, cover design has become more subtle. Britain's leading imprints in the 'intelligent' fiction and non-fiction fields – Picador, Vintage, Flamingo, Penguin and Minerva, for instance – still aim to grab the customer's attention but the task is approached laterally rather than literally. Picador covers, says Carpenter, aim to 'provoke, challenge and inspire customers into a purchase with images that capture the mood of a book but leave something to the imagination'.
The new sophistication owes much to the emergence of the larger 'B' format paperback as a focus of publishing investment. The rationalisation of the industry in the 1980s that saw paper and hardback companies join forces brought about a shift in attitude towards 'serious' books. Traditionally the hardback had been the bastion of highbrow writing, but publishers were beginning to feel that hardback sales failed to capitalise sufficiently on the potential of upmarket books. So since the 1970s and 1980s bigger publishers have thrown the weight of their promotional efforts behind 'B' format paperbacks, launching fiction and non-fiction 'originals' without printing a hardback version. Despite the flatness of the market, the 'B' format has held steady, with Random House launching Vintage in 1989 and Harvill planning to introduce a new imprint in the near future.
The interest in design emerged out of publishers' desire to give their imprints a higher profile and more of a populist edge in a competitive field. In the early 1980s companies including Futura, Collins and Picador began to replace the standard cover imagery for classic authors' series – usually details from existing paintings – with new illustration. The approach worked. Picador certainly owed its prominent place in book-buyers' consciousness to its then art director Gary Day-Ellison, who commissioned illustrators to create striking images that took a more oblique approach to the subject matter of original fiction titles. By the late 1980s other publishers were following suit. 'The scene was ripe for an injection of design because the 'B' format lists were aimed at 25-to-45-year-olds, who were becoming more design-aware in the 1980s,' says John Mitchinson, former marketing director of Waterstones and now managing editor of Harvill.
Peter Dyer, then head of design at Secker & Warburg, proved an important influence on the direction British book covers took at the end of the 1980s. He put Secker's new Minerva paperback range on the map with covers with mysterious and intensely detailed collages. 'Dyer made publishers realise that paperbacks did not have to be throw-away items but could be precious and collectible items in their own right,' says Mitchinson.
Dyer's work also turned conventional notions of imprint identity upside down. While American publishers are more likely to treat each cover as a one-off item, many European companies hold firm to an austere house style. In France, for instance, titles and authors' names remain subordinate to the publishers' logos, and illustration is secondary, if it appears at all.
British publishers have generally steered a path between the two extremes. But while Dyer's work at Minerva was unified by a consistent use of Garamond, in his subsequent career at Cape in the early 1990s and now in independent partnership, as React, with the illustrator and designer Conor Brady, he has shown less and less concern with the imposition of a house style. Instead, visual adventure and a subtle approach to subject matter are his trademarks. Cape might have been disturbed when Dyer began to dispense with the design grid inherited from his predecessor at Vintage. But Dyer is unrepentant: 'A house style can kill a picture,' he says. 'I think people buy on impulse, not imprint.'
Pentagram partner John McConnell would not agree. Since 1986 he has been honing Faber and Faber's diverse paperback portfolio into a coherent whole with a programme predicated on the principle of 'distinction with consistency'. Pentagram's original format was strictly defined by boxes, logos and the consistent use of Palatino, and a disciplined attitude to photography and illustration. It was updated last year by a redesign that installed Sabon as the standard typeface and revised the dated-looking cover grid. The new identity seems fresher and more versatile, but brand recognition – including the repeated use of illustrators such as Andrzej Klimowski and Pierre le Tan – clearly remains Faber's priority. 'The look is a guarantee of quality,' explains designer Alan Dye. 'It means readers always know the sort of highbrow book they can expect from Faber.'
Yet Faber is ploughing an increasingly lonely furrow. Most of the more adventurous British art directors seem to have opted for Dyer's formula rather than McConnell's, preferring to tailor typography and illustration to suit the character of an individual author or title. The graphic elements of the publisher's identity tend to be confined to the spine and a discreet logo, their impact increasingly subliminal.
Partly due to the ubiquitousness of this policy, the spark of originality that lit up British cover design a few years ago seems to be fading. Once the richness of its illustrations and the sensitivity of its typography allowed a list like Minerva to stand out from the crowd. Now, the crafted, bespoke quality that defined Dyer's output then seems harder to find, perhaps because the sheer volume of work and low fees most of the time render such attention to detail impractical. There are still striking covers to be found, but the 'B' format imprints increasingly clamour for public attention with techniques that have become industry standards. Today it is hard to tell one publisher's cover from the next.
David Elridge and Stuart Brill, collectively the Senate, first made their mark in publishing after leaving the in-house design team at Penguin in 1988. Their Penguin Originals series was a mould-breaking departure from previous standardised paperback formats. Originals were square, expensively produced and, most remarkably, the title and author's name were confined to the back cover and spine, leaving luscious illustrations and photographs to dominate the front cover and inside wrap-around panels. 'It was an attempt to shift the traditional way of packaging and branding books,' explains Eldridge. 'We thought that people would buy the series because they were beautiful objects. Unfortunately, they didn't.'
But if the Penguin Originals soon disappeared, the Senate has grown increasingly visible. Over the past five years they have art-directed and designed thousands of covers for a list of publishers and imprints that includes Arrow, Chatto & Windus, Cape, Picador, Granta, Fourth Estate and Verso. Today the company is probably the most prolific of all Britain's cover designers. Eldridge and Brill reckon they each produce an average of three designs a week, working with a staff of three from their south London studio.
Yet for all their success, the partners are fatalistic about the creative possibilities offered by their area of design expertise. 'It's W.H. Smith and the book clubs who dictate the ground rules for our work,' says Eldridge. 'The attitude is often "if it's worked before, it will again", so anything that in their view is too "designery" is squashed.'
Relationships with publishers – even the more upmarket ones – can be strained by such inflexible attitudes. Eldridge and Brill were jointly responsible for the entire list of the feminist publisher Virago until they parted company earlier this year. The 'torn paper' identity for Angela Carter was one of the more memorable series. Eventually though, Eldridge and Brill began to find the lack of adventure in Virago's strictly policed corporate design policy oppressive: 'There was a constant pressure to tell the whole story of the book on the cover,' says Brill.
When given a little more leeway, the pair have proved themselves capable of producing memorable imprint identities as well as individual covers. Collaged covers for the Guardian annuals, published by Fourth Estate, strike just the right classic-meets-quirky note. But perhaps because more publishers are relying on in-house design teams, such all-encompassing commissions are becoming rarer than the demanding but low-budget one-off.
'I use the Senate to come up with solutions to covers that we are having difficulty with in-house but don't have much money to spend on,' says Fiona Carpenter at Macmillan. 'They understand books, they're very versatile, strong on ideas and good at finding and exploiting existing pictures.'
The Senate's ability to make simple but telling use of the found image is well illustrated by their work for the literary magazine Granta, which is published by Penguin. To convey what they view as the 'dirty-realistic' boldness of Granta, Brill and Eldridge have often dug through the archives, turning up photographs that give the covers a gritty sense of immediacy.
Curiously, the Senate partners seem less proud of such work than they are of their forays behind book covers, in particular their identity for the last Labour Party general election campaign. Eldrige insists that their achievements in the publishing field have been modest. 'We simply can't have a vision of design in the sense that an architect like Richard Rogers can,' says Eldridge. 'What we do is commercial packaging.'
When San Francisco-based book and CD designer Rex Ray was asked five years ago to construct an identity for High Risk, the New York imprint of the small London publishing house Serpent's Tail, he had an advantage book cover designers usually do not. Most publishing identities have to be all-purpose creatures versatile enough to encompass every variety of fiction and non-fiction title, whereas High Risk was set up with very specific ideas about what sort of books the imprint would contain and what sort of people would read them.
'High Risk is cutting-edge American fiction whose subject matter is consciously transgressive and challenges frontiers,' says Pete Ayerton, editorial director at Serpent's Tail. 'It is very much aimed at a young urban audience.'
Rex Ray's response to this highly focused brief was a cover format that is appropriately distinct and challenging. Covers are split horizontally, with each contrasting half containing a found image or one of Ray's own mistily vibrant photographs. Colours are consciously daring – 'sickly,' according to Ray – both to make the books stand out and because he believes their boldness will appeal to the sort of reader prepared to take a chance on High Risk's 'taboo' literary agenda.
'I'm trying to ring the bell of the sort of audience who might be drawn to the trashy 1970s revival colour schemes and the assortment of strange typefaces I use, rather than repelled by them,' says Ray. The placement of the cover type around the central dividing line – sometimes above, sometimes below, often overlapping it – serves to subliminally reinforce the reader's sense of the series' identity.
Ray's choice of pictures is also intended to strike a chord. 'I don't want to illustrate the text,' he says. 'I read the manuscript and try to boil it down to two essential or contrasting images that might stimulate people to read further.' Ray has a knack for creating thought-provoking tableaux which draw you back to them again and again. On Catherine Bush's Minus Time, skyscrapers seen in steep perspective find a visual echo in the tapering lines of a space capsule. A connection is implied: but what?
Both the audacity and the calculated ambiguity – 'the edginess', Ray calls it – of the covers helped draw attention to High Risk when Serpent's Tail launched the imprint in Britain three years ago. 'The covers send the right sort of message about the book's contents,' says Ayerton. 'The strong colours and images both say, 'Expect to be challenged because this is not going to be an easy read.''
The distinctiveness of Ray's work also helps justify the slightly higher price of the books, which at around £10 each are twenty per cent more expensive than comparable British paperbacks. Ray, who set up his studio in 1980, designs all his covers on the Macintosh but is concerned that they not look like computer-generated work. 'The digital age has spawned so much mediocrity,' he says. 'I don't want the covers to feel like stereotyped cyperpunk graphics.'
There is little danger of that. Covers such as Pagan Kennedy's Spinsters and Robert Glück's Margery Kempe share a sense of three-dimensional texture and a loving attention to detail that extends even to the imagery on the inner flaps. Perhaps Ray's covers for High Risk owe their richness to the relaxed pace at which he is able to read the work. Ray says he always has the time and the budget to read the text and to prepare three or four alternative mock-ups for discussion – luxuries most British cover specialists can rarely dream of.
'In an ideal world book covers wouldn't contain anything but essential information,' says Angus Hyland. 'A cover image may help sell a book, but it distorts it too. As designers we're part of a marketing conspiracy.' Hyland has been a co-conspirator since the early 1990s, when after freelancing for Peter Dyer at Minerva he became art director once Dyer left to join Cape.
Hyland says that he acquired from his predecessor an understanding that determination and diplomacy are essential attributes to win over publishers with little visual awareness. He also inherited many of Dyer's design attitudes. At Minerva Dyer had blown away the notion of a strict imprint identity by tailoring each cover to suit its author's character. Hyland was content to follow suit. By applying a similar bespoke approach to Minerva's back catalogue, he gave a new visual edge to several series of modern classics. Striking abstract images replaced the hackneyed Dublin street scenes used for James Joyce, while blood red graphic panels and totalitarian imagery infused the Kafka series with a sense of brutalist bleakness.
Hyland admits that not all publishers might have been so unconcerned as Minerva about his relaxed approach to imprint identity. 'Publishers are traditionally conservative about house style, but the problem with a rational approach like Faber and Faber's is that it homogenises things. You don't get the lows but you tend not to get the highs either.'
Two years ago Hyland found himself trying to resolve the identity-versus-innovation dilemma when the Turin-based publisher Gianni Borga asked him and his then partner, illustrator Louise Cantrill, to create a house style for the new paperback imprint Instar Libri. Hyland and Cantrill designed the logo, a Henry Moore-style harpist representing 'the storyteller', and then set about devising a format to dovetail list recognition and the 'stamp of quality' that Faber stands for with the flair and adventure Hyland had championed at Minerva.
Within an overall style – Gill as corporate typeface, black spines, acid-coloured inner flaps – Hyland and Cantrill created two subtly different formats for fiction and non-fiction. Aside from the spine treatment – mini-pictures for fiction, coloured graphic bars for non – the categories were distinguished by means of illustration. 'The idea was that the fiction covers would be commissioned out, while Louise and I handled the non-fiction ourselves,' recalls Hyland.
Instar Libri made a promising start. Hyland and Cantrill produced some outstanding covers – including Hyland's intriguing collage of paintings and Japanese ephemera for Sayonara Michelangelo, an account of the restoration of the Sistine Chapel – but Hyland's hope that 'Instar Libri would become as collectable as Granta books' remains unproven. Hyland lost the account soon after his partnership with Cantrill split up last year. Ironically, responsibility for the design of the imprint has now passed into the hands of his mentor, Peter Dyer, and his partner, Conor Brady.
Hyland admits to being a little weary of the constraints of cover design. 'Working with a very rigid format is a good training discipline,' he says. 'But eventually you end up with a portfolio containing 200-300 things that look exactly the same.' He still freelances as a cover designer – recent work includes an understated travel series for Picador – but he has been concentrating on expanding his range by working on complete books. 'Cover design is a ghetto that's hard to get into but even harder to get out of,' he says. 'I'm much happier dealing with all the issues you have to cope with in designing a complete book than I was when I faced exactly the same problems every day.'
First published in Eye no. 18 vol. 5 1995
Eye is the world's most beautiful and collectable graphic design journal, published quarterly for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture. It is available from all good design bookshops and online at the Eye shop, where you can buy subscriptions and single issues.


Right now we are finding lots of chanterelles in pine woods, black trumpets in oak & balsam woods and hedgehogs in mixed woods containing oaks. Also lots of corals, milk caps and Rusulas. Puffballs are just starting to appear. Lobsters are still out but we are waiting for a fresh crop of them.


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Q: RTextTools: Understanding 'algorithm_summary' I was trying to understand how RTextTools offer a great set of functions for classifying documents.
However, while running an inbuilt dataset, I am unable to understand how to interpret the following table. (I wonder why there are 10 rows)
        SVM_PRECISION   SVM_RECALL  SVM_FSCORE  MAXENTROPY_PRECISION    MAXENTROPY_RECALL   MAXENTROPY_FSCORE
2           NaN             0               NaN                     0.5                 1               0.67
12          NaN             0               NaN                     0                   0               NaN
14          NaN             0               NaN                     NaN                 0               NaN
15          NaN             0               NaN                     0                   0               NaN
16          NaN             0               NaN                     0.33                0.2             0.25
17          NaN             0               NaN                     NaN                 0               NaN
19         0.08         1               0.15                    0.14                0.5             0.22
20          NaN             0               NaN                     0.38                0.75            0.5
24          NaN             0               NaN                     NaN                 0               NaN
31          NaN             0               NaN                     NaN                 0               NaN

The above table can be produced as
library(RTextTools)
data(NYTimes)
data <- NYTimes[sample(1:3100,size=100,replace=FALSE),]
matrix <- create_matrix(cbind(data["Title"],data["Subject"]), language="english",
                        removeNumbers=TRUE, stemWords=FALSE, weighting=tm::weightTfIdf)
container <- create_container(matrix,data$Topic.Code,trainSize=1:75, testSize=76:100,
                              virgin=FALSE)
models <- train_models(container, algorithms=c("MAXENT","SVM"))
results <- classify_models(container, models)
analytics <- create_analytics(container, results)
summary(analytics)
alg_summary <- analytics@algorithm_summary

A: From the docs:

algorithm_summary Object of class "data.frame": stores precision,
  recall, and F-score statistics for each algorithm, broken down by
  label

There are 27 distinct topic codes in the full NYTimes dataset, and your sample probably contains 10 of them. Hence the 10 rows.


All dogs will leave us spayed, vaccinated, microchip-ed and rabies (if over 4 months). This is included in the adoption fee. If the dog is too small to be fixed we will send it out on a spay deposit.
Keep checking back for newly available dogs.


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Dunlea Centre > Family Talks
Family talks are held three times every school term and are open to anyone considering coming to Dunlea Centre.
Dunlea Centre Family Talk
All prospective students and their carers must attend a Family talk before applying.
At the talk, the Dunlea Centre Executive Director, Family Services Manager and Educational Services Manager will
Explain how the Dunlea Centre program works;
Conduct a tour of one of the Living and Learning Centres;
Provide families with the paperwork required to be completed before the enrolment process can commence.
Following the Family talk application packages will be distributed to those who wish to attend Dunlea Centre and the enrolment process will continue.
If you are interested in attending a family talk, please ring the Dunlea Centre's Administration staff on (02) 8508 3900. All the families who call will be invited to the meeting provided they meet the general eligibility criteria.
Wrapping 2021 By DunleaCentre on December 17, 2021
Our Daily Bread By Dunlea Centre on October 21, 2021
Welcome Back! By DunleaCentre on October 8, 2021


This committee is responsible for the beautification and upkeep of the grounds and landscaping on the school property. It also on the Adopt-a-Street clean-up twice a year. As a reminder PRO Points must be reported via the Seton School website.
Thank you in advance for your assistance in keeping our school looking its best!
Organize and supervise parent & student volunteers in cleaning up street in front of school buildings twice annually.
Sign up if interested, coordinator will contact you to pick dates that work for all.
(50 PRO Points) Organize and supervise club volunteers in planting and watering greenery and plants on school grounds.
Tend and water plants & flowers on school grounds on a weekly basis.
Assist with tidying up areas prior to events and assisting with occasional projects involving plantings on school grounds.


text:
1892 University of Denver Men's Football Team, 1892
Overview Partial roll of 6 35 mm. photographic copy negatives made from one photographic print of a group portrait of the University of Denver men's football team.
Found in: Special Collections and Archives / U300, Division of Athletics and Recreation Records / Athletics and Recreation Photographs / Box 2
Identifier: U300.01.0002.00180.00001
Overview The 1892 University of Denver men's football team poses for a group portrait indoors. Copy negative made from halftone photo mechanical print. Back row (left to right): Horace Avery, William Myer, J. Stanley Edwards, J. R. Swenson, Percy Thomas, unidentified. Middle row: Clyde Stevens, Walter Lipe, T. L. A. Shaffer, Jules F. Warnecke, John Morgan. Bottom row: Joe Post, Jesse Thornton, Mr. Young, Dr. Whitney. Re-photographed 20th century.
Brigham Young vs. Denver, Homecoming Day, University of Denver Stadium, October 27, 1951, 1951 October 27
Overview Program for the University of Denver (DU) football game against the Brigham Young University on October 27, 1951 at the University of Denver Stadium in Denver, Colorado. Program includes: team rosters, statistics, schedules, cheers, song lyrics, team and individual player portraits.
Dates: 1951 October 27
Found in: Special Collections and Archives / U300, Division of Athletics and Recreation Records / Men's Football Records / Box 84
Brigham Young vs. Denver, Oct. 10, 1941, 1941 October 10
Overview Program for the University of Denver (DU) football game against Brigham Young University on October 10, 1941 at the University of Denver Stadium in Denver, Colorado. Program includes: team rosters, statistics, schedules, cheers, song lyrics, team and individual player portraits.
Brigham Young vs. Denver Univ., 1939 November 4
Overview Program for the University of Denver football game against Brigham Young University on November 4, 1939 at the Denver University Stadium in Denver, Colorado. Program includes: team rosters, statistics, schedules, team and individual player portraits.
Dates: 1939 November 4
Found in: Special Collections and Archives / U300, Division of Athletics and Recreation Records / Publications / Box 411
Colo. College vs Denver, September 27, 1935, 1935 September 27
Overview Program for the University of Denver (DU) football game against Colorado College on September 27, 1935 at the University of Denver Stadium in Denver, Colorado. Program includes: team rosters, statistics, schedules, cheers, song lyrics, team and individual player portraits.
Dates: 1935 September 27
Colorado A&M vs. Denver, 1952 October 4
Overview Program for the University of Denver football game against Colorado A&M on October 4, 1952 at the Denver University Stadium in Denver, Colorado. Program includes: team rosters, statistics, schedules, team and individual player portraits.
Dates: 1952 October 4
Colorado A.&M. vs. Denver U. D.U. Stadium. September 23, 1950, 1950 September 23
Overview Program for the University of Denver football game against Colorado Agricultural and Mechanical College from September 23, 1950 at University of Denver Stadium in Denver, Colorado. Program includes: team rosters, statistics, schedules, team and individual player portraits, Cover illustration by Lon Keller.
Found in: Special Collections and Archives / U300, Division of Athletics and Recreation Records / Men's Football Records / Box 470
Colorado A&M vs. Denver, University of Denver Stadium, Official Program October 4th, 1952, 1952 October 4
Overview Program for the University of Denver (DU) football game against Colorado A&M on October 4, 1952 at the University of Denver Stadium in Denver, Colorado. Program includes: team rosters, statistics, schedules, cheers, song lyrics, team and individual player portraits.
Colorado College vs. Denver, Oct. 8, 1943
Overview Program for the University of Denver football game against Colorado College on October 8, 1943 at the Denver University Stadium in Denver, Colorado. Pages 1 and 2 torn out. Program includes: team rosters, statistics, schedules, team and individual player portraits. Color cover illustration signed Lon Keller.
Names: University of Denver X


text:
Q: python: Convert a textfile into csv file Say I want to convert a textfile (in.txt) into a csv file (out.csv) using Python.
in.txt:
ID: 1
Name: Jon Doe
Address: 123 Main St Anytown, USA
Age: 25

The output file out.csv should looks like this:
"ID","Name","Address","Age"
"1","Jon Doe","123 Main St Anytown, USA","25"

So far I have done this:
#!/usr/bin/python
#-*- coding:utf-8 -*-

import csv

f = open("in.txt")
x = f.readlines()
s = []

for i in x:
    i = i.replace(":",'"')
    j = i.replace(" ","'")

csvex = csv.writer(open("out.csv","w"), quoting=csv.QUOTE_ALL)
csvex.writerow(s)

How can I do this?

A: You could make use of a regular expression:
import re

data = """
ID: 1
Name: Jon Doe
Address: 123 Main St Anytown, USA
Age: 25
"""

pattern = re.compile(r'^(?P<header>[^:\n]+):\s*(?P<value>.+)', re.MULTILINE)

headers, contents = [[], []]

for m in pattern.finditer(data):
    header, content = m.groups()
    headers.append(header)
    contents.append(content)

print(headers)
print(contents)

Which will yield
['ID', 'Name', 'Address', 'Age']
['1', 'Jon Doe', '123 Main St Anytown, USA', '25']

You could now join these with ; or do anything else with it. See a demo for the expression on regex101.com.

A: A solution that would allow either a single or multiple records:
def read_records(fn_in, fn_out, record_size):
    with open(fn_out, 'w') as out_f:
        write_header = True
        with open(fn_in) as in_f:
            while True:
                try:
                    rec = {
                        f'"{key.strip()}"': f'"{value.strip()}"' for key, value in
                        [next(in_f).split(':') for _ in range(record_size)]
                    }
                    if write_header:
                        write_header = False
                        out_f.write(','.join(rec.keys()) + '\n')
                    out_f.write(','.join(rec.values()) + '\n')
                except StopIteration:
                    break

read_records('in.txt', 'out.csv', 4)

Some explanation:

*

*everything sits in a function, so you can use it repeatedly and for different files and record sizes

*the while True loop loops forever, until a break statement breaks out of it

*the try .. except StopIteration catches when next(in_f) tries to read beyond the end of the file

*rec is created as a dictionary, which is handy in case you need to further manipulate the values or want to use the record elsewhere, although it's not strictly speaking the most efficient way to perform the task.

A: My solution would be:
with open(FILEPATH, "r") as f:
   d = zip(*[x.strip().split(":", 1) for x in f])

for l in d:
   print(",".join(["\"{:s}\"".format(str(x).strip()) for x in l]))

Specifically:

*

*[x.strip().split(":", 1) for x in f] will create a list of 2-elements lists, splitting the passed lines x by ":", forcing only one split (for example, "a:1:2".split(":", 1) will still give a 2 dimensional list, ["a", "1:2"], given that only the first split will be done)

*unpacking using the * operator and then zipping is a nice trick used to transpose a multi dimensional list. To be clear:
l = [['a', 'b', 'c'], ['d', 'e', 'f']]
list(zip(*l)) will return [('a', 'd'), ('b', 'e'), ('c', 'f')]

*The final loop with the print statement simply takes care of outputting the so obtained zip object in the desired format


text:
/en/rss-herta
Facial Recognition for Enhanced Physical Security — Differentiating the Good, the Bad and the Ugly.
Last week ACCIÓ, the public agency for the competitiveness of the Catalan companies and part of the Enterprise & Knowledge Department of the Government of Catalonia, interviewed Herta about its participation at the upcoming Mobile World Congress in Barcelona.
Herta awarded as Milestone Solution Partner of the Year 2017
Herta has been awarded as Milestone Solution Partner of the Year 2017 in the region of EMEA.
Safe City project with facial recognition in Phuket
Herta secures Phuket with its facial recognition
Thank you, Smart City!
Herta at the Smart City Expo World Congress 2017.
Herta Security Selected as a 2016 Red Herring Top 100 Global
Red Herring announced its Top 100 Global in recognition of the leading private companies from North America, Europe, and Asia.
Herta at the Spanish Embassy in USA
Herta was present in an event at the Spanish Embassy in the United States in Washington.
Herta Security is a Finalist for the 2016 Red Herring 100 Global Award
Herta Security es finalista del premio Global Red Herring 100 de 2016


The insurance industry is undergoing many positive fraud fighting developments. Most organizations are undertaking progressive measures. However, compared to other types of business, it still pays off for fraudsters to commit insurance fraud; as the sanctions are far from a threat (i.e. chances of being caught and the sentences given).
If fraud is proven or high risk is determined, the policy gets cancelled in most occasions. Nevertheless, a fraudster is often able to apply for an insurance at a different insurance company at the very same day and could get accepted. To shift focus from fraud detection to fraud prevention requires greater fraud awareness across the entire organization.
A mature organization needs overall support to effectively prevent fraud, not only commitment from C-level or empowerment of the claims and SIU departments. Whether embedded in the internal IT systems or documented somewhere on paper, every prospective insured should be assessed on the risk they bring. After acceptation it is vital to keep track on fraud and prove fraud suspicious cases within the insurance portfolio. By using proactive monitoring of current customers and risk profiles, preventive measures can be taken in time, in case of changing risks.
Over 40% of the insurance organizations does not actively work on fraud management within the portfolio.
It is vital for insurance companies to be effective in fraud detection. The efforts to map and mitigate risks for the traditional channels are increasing. The approach for a new channel, such as digital, incorporates new risks to cope with. Nowadays, a growing number of insurance companies offers insurance through an online sales channel. It is important to take a close look at the risks related to such a channel. An open door at the underwriting department results in portfolio growth. On the other hand, it means that bad risks, such as defaulters, multi-claimants or fraudsters can easily enter the books. This could later have a negative effect on the loss ratio.
The claims department has to be on track once high risks are in the portfolio. Claims that require further attention or active follow-up should be quickly identified. Investigating 'false positives' imposes an investment in time and costs. An essential aid for an effective follow-up could be the deployment of a Special Investigations Unit (SIU), which most insurers have in place.
Most insurance companies focus on the growth of their portfolio and less on its quality. It is important to have a clear picture of potential customers before they enter the portfolio. Insurers should decide on the amount of risk they are willing to take in and to have the ability to create pre-determined risk profiles and adjust continuously. This way, insurers keep control over their portfolios and maintain the optimal balance between quantity and quality.
At 19% of the insurers, covering fraud risks in premiums still is common practice.
Looking at the indicated levels of awareness and maturities of the organizations, fraud awareness usually is the highest in the claims department. Underwriting is the runner-up. The gap with other departments is significant. In order to fight fraud effectively, it is critical to establish fraud awareness throughout the entire organization.


text:
Víctor Botas (Oviedo, Asturias, 1945-1994) fue un escritor perteneciente a la generación poética del 77. Su obra se enmarca en un segundo tramo generacional cuyos autores no siguieron la "disidencia" propia de los poetas novísimos, sino que trataron de modular tradiciones precedentes sin romper con ellas, como son los casos de Miguel d'Ors, José Luis García Martín, Jesús Munárriz, Eloy Sánchez Rosillo o el propio Víctor Botas, entre otros.

Biografía

Licenciado en Derecho por la Universidad de Oviedo, colaboró como profesor ayudante en dicha institución y ejerció la abogacía durante varios años. Fue autor de diez libros de poemas, el primero de los cuales, titulado Las cosas que me acechan (1979), "muestra ya un inventario temático -la ausencia amorosa, la pervivencia de la poesía sobre la vida, el transcurso misterioso del tiempo- que desarrollará en su producción posterior".

Botas fue finalista del Premio Nacional de la Crítica con el poemario Historia antigua, y  fue incluido por el poeta y crítico literario José Luis García Martín en las antologías Las voces y los ecos (1980) y Treinta años de poesía española (1996). Precisamente fue García Martín quien orientó sus lecturas y le animó a publicar, y juntos fundaron la tertulia literaria del café Oliver de Oviedo, que posteriormente pasó a celebrarse en la cafetería Yuppi.

Tras su fallecimiento prematuro, se publicaron importantes estudios acerca del autor asturiano, como son La obra literaria de Víctor Botas (1995), colección de escritos dirigida por José Luna Borge; La poesía de Víctor Botas (2004), tesis de licenciatura de Luis Bagué Quílez; o el volumen Víctor Botas y la poesía de su generación. Nuevas miradas críticas (2005) –cuyo editor fue Leopoldo Sánchez Torre–, que recoge las actas de un congreso organizado por la Universidad de Oviedo el año anterior. Asimismo, en 2006 vio la luz el libro Víctor Botas. Con el lenguaje de la melancolía, en el que el crítico José Havel reúne textos y fotografías inéditos de Botas, así como un documental homónimo con antiguas filmaciones familiares.
En 2014 se realizó una exposición sobre su vida y su obra en la Biblioteca de Asturias, con motivo de la cual se ha editado el catálogo Víctor Botas veinte años después. La editorial Impronta recuperó también Carta a un amigo y otros poemas previos (1976-1978) (2014), una selección de cincuenta poemas inéditos de la primera etapa poética.

Obras

Narrativa
 Mis turbaciones (1983)
 Rosa rosæ (1992)
 Yanira (1996)
 El humo del Vesubio (1997)

Poesía
 Las cosas que me acechan (1979)
 Homenaje (1980)
 Prosopon (1980)editorial El Toro de Barro.
 Segunda mano (1982)
 Arcana Imperii (1984)
 Aguas mayores y menores (1985)
 Historia antigua (1987)
 Retórica (1992)
 Poesía (1979-1992) (1994)
 Las rosas de Babilonia (1994)
 Poesía completa (1979-1994) (1999)
 Historias con Historia (2009) (antología)
 Poesía Completa (1979-1994) (2012)
 Carta a un amigo y otros poemas previos (1976-1978) (2014)

Referencias

Enlaces externos
Víctor Botas en la Biblioteca Virtual Miguel de Cervantes

Programa sobre Víctor Botas emitido en la Televisión Autonómica del Principado de Asturias

Leopoldo Sánchez Torre recita un poema de Víctor Botas

Escritores de España del siglo XX
Escritores en español del siglo XX


The last decade has seen the introduction of many notable classic and antique cars. Some of the most iconic antique cars just celebrated their 50th anniversary this year, including the Pontiac GTO, 1964 ½ Mustang, and the '64 Studebaker Excalibur. While all of these cars have their place in the hearts of classic car enthusiasts, there is a group that is becoming immensely popular in very recent years. That is, Japanese classic cars.
According to an article by reporter Charles Fleming of the LA Times, back in 2006 vintage car collector Terry Yamaguchi paid $5,000 for a bright orange 1973 Datsun 240Z, to sell it a couple years later for only a little more than she paid for it to begin with. What's it worth now? A surprising $20,000!
This significant price hike is not limited to the 240Zs either, according to Fleming. He reports that the value of Japanese classic cars has skyrocketed in recent years, noting that a 70's Toyota Celica could cost up to $20,000 and a well-maintained Datsun 510 has the potential to go for as much as $25,000!
Ironically, the growing popularity in Japanese collector cars is due in part to the fact that they're cheaper than American or European classics. Mike Malamut, a retired car dealer who's been collecting for 35 years, calls collecting Japanese classics a "way to enter the collector hobby for relatively little money".
This idea of collecting Japanese classics is still foreign to many, however many classic car events on the West Coast are now centered around Japanese "nostalgic" cars. A few Japanese classics that stick out to collectors in particular are Mazda's rotary-powered pickup trucks, 80s Mistubishis, and old Skylines.
Whether your Classic Car is American, Japanese, or European, we can insure it at Condon Skelly. Since 1967, we have been helping our customers protect their classics with affordable, industry-leading insurance coverage. We are a group of collectors, enthusiasts, and professionals who specialize in insuring all types of collector vehicles. Please contact us today for more information.
Saab has not always had this problem though. Saab's beginnings were in Sweden. The car manufacturer was formed in 1945, when Saab AB, the Swedish aerospace and defense company, began a project to design a small automobile. The Saab 92 was the first production model, and was introduced in 1949.
Almost 20 years later, in 1968 the parent company merged with Scania-Vabis, and ten years later the Saab 900 was launched. The Saab 900 actually became Saab's best-selling model, with nearly one million being produced. Not only was it the best-selling model, it was considered to be the most iconic model produced by Saab as well. A popular convertible version followed in 1986, all of which were made at the Saab-Valmet factory in Finland, making up nearly 20% of 900 sales. Even today, the "classic 900" retains a cult following among classic car enthusiasts.
Although Saab saw many innovations in the following years, including producing its 100,000th turbcharged car in 1984 and touting new design features in the 90s and early 2000s, their sales dwindled by 2009. This eventually led them to the above-mentioned bankruptcy. Only time will tell if Saab can truly make a comeback.
Whether you own a classic Saab or other type of classic car, Condon Skelly has the Insurance Policies to keep you financially protected. We've been helping our customers protect their classics with affordable, industry-leading classic, antique, and specialty vehicle insurance since 1967. We're a group of collectors, enthusiasts, and professionals who specialize in insuring all types of collector vehicles. For more information, please contact us today at (866) 291-5694.
The Cadillac Brand was founded over 100 years ago, in 1902 Detroit, by a man named Henry Leland. Leland named the company after Antoine de la Moth Cadillac, who was a French explorer and adventurer in New France and founded the city of Detroit. Detroit eventually became the world center for automobile production in the 20th century.
Following its outstanding beginnings, Cadillac only continued to introduce new innovations to the automobile industry. In 1910, they became the first company to offer a passenger car with a fully enclosed cabin, which was a huge change from the vehicles of the time. Two years after that, Cadillac released the Model Thirty. This was "the car with no crank", and was the first production car to feature an electronic self-starter, ignition, and lighting. By doing this, Cadillac not only earned the Dewar trophy again, but they also were able to open the door to female drivers.
One of the most interesting facts about Cadillac, and perhaps why it is still the strong brand we know today, is that in the midst of The Great Depression, while most businesses were struggling, Cadillac created the first V-type 16-cylinder engine for use in a passenger car. The engine would go on to be one of the most iconic engines in Cadillac history. Shortly after this, Cadillac released a V12 version to give buyers something between the already popular V8 and new V16 engines.
Cadillac is still known today as "The Standard of the World" when it comes to automobiles. Even today the brand is coming out with new models to impress it's buyers. Whether you own a classic Cadillac or other type of classic car, Condon Skelly has the Insurance Policies to keep you financially protected. We've been helping our customers protect their classics with affordable, industry-leading classic, antique, and specialty vehicle insurance since 1967. We're a group of collectors, enthusiasts, and professionals who specialize in insuring all types of collector vehicles. For more information, please contact us today at (866) 291-5694.
In a blog post earlier this year, we looked at some of the top reasons to purchase classic car insurance. As we stated in that post, a large difference between classic and regular auto insurance is the way your vehicle's value is determined. With Classic and Collector Car Insurance coverage, you can typically expect your car to be covered for what it is currently worth, whereas with a standard auto policy you might be lucky to get a fraction of what the car is worth, if it is completely totaled. In general, a standard auto insurance policy pays the cost of repair to the vehicle or the stated value, whichever is less.
This is not the only difference between collector car insurance and a standard auto insurance policy. You'll find that collector car insurance premiums are typically much lower than that of a standard auto policy. Of course, this is because it's assumed a classic or collector car will be driven less and will be very well taken care of. To qualify for a collector car insurance policy, your vehicle must be protected and not used for daily use. Garage storage is typically a necessity for these vehicles. In addition, you will have much stricter mileage restrictions with a collector car insurance policy than with a standard one.
Standard auto insurance coverage will be based on depreciating value, rather than the actual value that a collector car will be based off of. Of course, it's important not to forget that you obtain full coverage for everything you have invested in the collector car in addition to just the vehicle on its own. The amount invested and the rarity of the vehicle are the two factors that differentiate a collector car from just a standard "older" car.
The Chevrolet Corvette has been called "one of the greatest lines of sports cars ever built" by many classic car enthusiasts, with a history covering more than 40 years. Interestingly enough, the '66 model almost never existed; early versions of the Corvette were often called "too American" to appeal to American sports car buyers! It was in 1955 that the model was improved and started gaining popularity, later turning into one of the most iconic cars of the 1960's.
Not only was the 1966 Chevrolet Corvette known for its style and class, it often makes cameos in movies, and has even been featured in Country songs. 1966 Corvettes, which were produced from September 1965 through July 1966, featured a newly introduced 427 cubic-inch engine. This high performance engine was actually originally listed and labeled at 450 hp but the rating was reduced to 425 hp shortly after introduction.
Other than the engine, the 1966 Corvette had many features that made it different from the previous year's model. For example, the '66 Corvette sported a plated, cast-metal grille with an "egg crate" insert not seen in previous models, in addition to ribbed rocker panel moldings, chrome-plated exhaust bezels, and spoke-style wheel covers.
These weren't the only features that set the 1966 Corvette apart from other vehicles. This model had eliminated roof vents, replacing them with front fender sides that featured three slanting vertical air louvers. These Corvettes were available in a wide range of colors, with 10 lacquer exterior finishes, ranging from tuxedo black or ermine white to sunfire yellow and miland maroon. Interior colors varied too, with bright blue or red being popular choices.
Whether your classic or specialty car is a Chevrolet Corvette or not, Condon Skelly has the Insurance Policies to keep you financially protected. We've been helping our customers protect their classics with affordable, industry-leading classic, antique, and specialty vehicle insurance since 1967. We're a group of collectors, enthusiasts, and professionals who specialize in insuring all types of collector vehicles. For more information, please contact us today at (866) 291-5694.


Eleven-year-old Tia Carter will represent the Royal Air Force and the RAF Benevolent Fund when she takes part in the Coin Toss Ceremony on Centre Court on Saturday, 14 July.
Tia's father Wayne serves in the RAF at RAF Brize Norton, as did her mother Joyce, who passed away suddenly in November last year (family picture above). The RAF Benevolent Fund's flagship youth support scheme, Airplay, has been a great support to Tia as she comes to terms with the loss of her mother. Airplay is run by the RAF Benevolent Fund at RAF stations around the UK providing youth support to young people aged from eight to 18.
Tia and Joshua will enjoy a tour of the Clubhouse and lunch in the Competitors' Restaurant before the match. They will be assisted in their on-court duties by Andrew Jarett, Championships Referee.
To find out more about the RAF Benevolent Fund's Airplay programme, go online.
Watch Tia on her first visit to Wimbledon.


text:
MTV Shows
Getting Personal: How Diem Brown's Life Made An Impact On My Own
I followed her 'Challenge' story as a fan -- and as an employee of MTV.
Jordana Ossad 11/14/2015
As countless "Challenge" loyalists can relate, Diem Brown's untimely death hit me hard.
Exactly one year later, I remember that Friday at the MTV offices vividly: I had just wrapped up my morning editorial meeting, and as soon as I got back to my desk, an email popped up with the breaking news report that she had passed away from her third battle with cancer -- just days after she tweeted that her condition was worsening and she needed prayers. I quickly went into overdrive and, trying to hold back my tears, published her obituary.
From there, the remaining work hours continued at a dizzying pace: As her fellow cast members flocked to Twitter to offer their memories and condolences, I gathered the touching tributes into one story. Meanwhile, my co-worker compiled a list of Diem's most triumphant moments on the battlefield for another piece. I helped collect some of her cast photo shots from her eight "Challenge" appearances for our social accounts -- and made sure to select the ones that really captured her undeniable zest for life (an easy assignment). The whole office, all of us feeling incredibly solemn, rallied to screen old seasons and pull her most memorable and sentimental moments (a plethora of options) for a video tribute, which you can see below.
The Challenge: Battle of the Exes 2, The Challenge: Battle of the Exes 2, Full Episodes
When that difficult day was over, I couldn't help but feel an overwhelming sense of sadness and finally let the tears roll when I got home to my cramped Chelsea studio apartment. As soon as I got comfortable on my couch, I tried to distract myself by watching a previously recorded episode of "Scandal," but that proved to be ineffective. I needed to see Diem -- and scratch the final terrible image of her being in pain out of my head. I pulled out my laptop and watched the clips that were in our MTV articles (from her stunning "Ring Toss" win below to her unique relationship with CT).
Then, an unknown grief came over me -- a feeling I can only compare to the experience I had after Heath Ledger died back in 2008. He was someone in the public eye who I applauded and followed because of his talent (he had me at that "Can't Take My Eyes Off Of You" performance in "10 Things I Hate About You") and undeniable charm during interviews. His death on that bitterly cold New York January day was a complete shock to the entire world. But mourning Diem was different.
For starters, and unfortuantely, Diem's passing wasn't unexpected. But it was more than being ready for the inevitably sad news: I felt like we could be friends -- even though we weren't in real life. I greatly respected her candor (even during cutthroat competitions), her compassion (toward others who were also going through medical hardships) and her infectious demeanor. She was so well-liked, by everyone. No matter how terrible and painful things were for her, she was optimistic and full of hope. She was capable of pure poetry about how important it is to live life to the fullest. Talk about enviable personality traits. Like Diem, I also love to dance -- and always wished she would teach me how to properly perform that infamous hair flip without looking like a complete bozo.
https://instagram.com/p/hKGUULAyFe/?taken-by=micahjesse
While I coincidentally met Diem just once (at a birthday party, shown above, back in December 2013 before I started working at MTV five months later), I felt like I knew her both professionally and personally. I rooted for her -- as a viewer and, later, as an employee of the very network that launched her into the spotlight. As an editor for MTV News, my responsibilities include writing about current and retro MTV programming -- and in this case, covering Diem's third battle with with ovarian cancer, her tragic passing, the mourning period afterward and her brief appearance on "Battle of the Exes 2."
It sort of put me in a unique boat: I was doing my job, but also having an intense reaction to the subject matter as a genuine fan. I consider myself an MTV junkie -- and it gives me a lot of joy to write about people (especially "Real World," "Road Rules" and "Challenge" faves) who I have seen on this network flourishing in their lives off-screen outside of those fancy houses and the clunky Winnebago, respectively. But up until this point, I had never covered someone who was gravely ill and later, someone who died. Diem is a person who I had watched for years -- someone who is only five years older than I am. I greatly wished for her to be healthy and never really dreamed that I would be the one responsible for helping to execute the coverage, at MTV, of her death.
My first introduction to Diem was during her inaugural season, "Fresh Meat." As an avid "RW," "RR" and "Challenge" supporter (ask me about any season and I'll probably be able to rattle off trademark incidents and trivia from the Bunim Murray Productions), I was excited but also skeptical to see the new players enter the fold. But Diem quickly opened up about her heartbreaking secret to her alumni partner Derrick during Episode 3 (seen in the clip below): Soon, she would begin intensive treatments for cancer.
I remember my 20-year-old self watching this during the summer before my senior year of college and feeling stunned. How on Earth could she be sick? She looked totally fine, she was in great shape and she was strong. While her future was unknown -- and she made it clear that she was unsure when she would be able to do anything on a physical level like this again -- she remained committed to competing tirelessly and relishing the time she had during this once-in-a-lifetime Australian adventure. She didn't complain once -- and it was a wake-up call that I should try not to be so negative (it's a terrible fault of mine) because I am fortunate in so many ways. Simply put, I admired her immensely.
I was disappointed when she barely missed out on the final (oh, Tina and Kenny), but even more worried about what was next when she returned home to her reality. I had never known anyone to battle cancer at such a young age -- let alone someone who was so candid about their uphill climb on the small screen. The "Fresh Meat" reunion show confirmed that her prognosis was good, and I was really relieved. "The Duel" came next -- and just like her previous appearance, she touched me: I was amazed by her courage when she removed her wig and became a big puddle of mush (it still gets me) when she and CT shared that unbelievably romantic first kiss. As far as "Challenge" seasons go, and mainly because of Diem, this was truly the crème de la crème for me -- and I'm assuming I'm not in the minority on this topic.
I tuned in for Diem's next few appearances -- "The Gauntlet 3," "The Duel 2" "The Ruins" and "Battle of the Exes" -- but there was a tough development six years after she went into remission: The disease had returned for a second time in June 2012. Like after her first diagnosis, I kept close tabs and wanted to stay informed about her status. From her tremendous bravery documenting her hair loss and posing for that powerful bald photo shoot, I was in awe, again, of her steadfast goal of remaining honest and open about her recovery as a way to inform everyone to be proactive about their health. I certainly took note -- and to this day, I make sure to keep on top of important doctor's appointments. I have Diem, in part, to thank for that.
https://instagram.com/p/nvWOJfAnYp/?taken-by=diembrown
Next came "Rivals 2" -- and like "The Duel," her return to the competition shortly after completing her treatments. But the very first day (and episode) in the Thailand-based installment spawned a strong emotional reaction for me: Diem's late-night dip in the pool turned into CT encouraging her to shed her "weave" so that he could "see her already." The image of the two embracing in the water, with Diem's short brown locks exposed while both shielded their faces during the intimate moment, was truly beautiful. CT's ability to give her confidence, when she felt uncertain, was incredibly moving. We should all be so fortunate to have a bond like this with someone. Today, watching the clip still makes me teary-eyed.
Fast-forward to shortly after Diem's passing: The premiere of "Battle of the Exes 2" -- which was dedicated to Diem's memory and fellow competitor Ryan Knight -- was imminent. Recapping her history with CT and listening to her as she competed for the gold, plus a mashup of her grooving, were part of the plan to celebrate her life and her final time displaying her incredible will to fight. When she became ill in Panama on "BOTE2" -- and the melancholy last footage as she departed the game with her partner CT aired several months after her death -- we all already knew the outcome. But, as was always the way with Diem, her words were exquisite and her perspective was profound. She was truly comforting all of us, way up in heaven.
"I'm realizing that no matter how organized your ducks are, life can change in two seconds, so you can't keep on waiting," she said. "If you keep on waiting, it's gone."
Thank you, Diem, for impacting my life with your unbelievable spirit. I know I am not alone with all of my personal memories of Diem -- so please share yours in the comment section below.
The Challenge: Battle of the Exes 2
Diem Brown


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