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text:
Breaking Down Easter Eggs In "Morty's Mind Blowers"
The Ultimate RICK AND MORTY "Evil Morty" Theory, Revealed!
8 Things You Missed in 'Rest and Ricklaxation'
Beth's Decision Has RICK AND MORTY Fans Scratching Their Heads
Posted by Blair Marnell on September 26, 2017
Sunday's Rick and Morty was the penultimate episode of season 3, and it featured a major reckoning between Rick and his daughter, Beth. For the first time since the series began, Beth saw her father for who he really is, and she also came to some surprising realizations about herself. As Rick said, "the acorn went straight down," and he gave Beth an important choice about her future. Today's Nerdist News is examining what this means for the future of the show and looks back at the insanity of Froopyland.
There are major spoilers ahead for "The ABCs of Beth." If you're not up to date with Rick and Morty, now would be a good time to portal out of here!
Join your host, and the owner of a sentient switchblade, Jessica Chobot, as she walks us through "the Craster's Keep edition of Candyland," which is just about the perfect description of Froopyland. Even Rick couldn't have foreseen the cannibalism/incest that Beth's friend, Tommy, brought to the land after she essentially left him to die. More disturbingly, Beth resisted the idea that she had wronged Tommy until she realized that she really is like Rick. But for Beth, that was also her most empowering moment as she literally cut a path through Froopyland's creations.
The biggest question on our minds is whether Beth accepted Rick's offer to create a clone of her to stay with her family while she goes off on her own. The ending of the episode certainly seemed to imply that the real Beth had left, but the show didn't definitively say one way or another. Naturally, we'll be watching Beth closely for any signs that she's not the original. Perhaps that was the entire point. Beth really is her father's daughter; this could lead to a larger role for her in the series.
Do you think that Beth abandoned her family for her own adventures? Or is she ready to take a more active part in the show? Let's discuss in the comment section below!
Images: Adult Swim
Enjoy *burrrrp* more Rick and Morty!
Learn all about Beth in our review of this week's Rick and Morty!
We broke down all of Morty's "Mind-Blowers" Easter Eggs!
Rick and Morty track "Terryfold" debuted high on the Billboard charts!
ABCs of Beth, Adult Swim, dan harmon, jessica chobot, justin roiland, nerdist news, rick and morty, sarah chalke
RICK AND MORTY Gets to the Heart of What Makes Beth Tick
Visit Froopyland with Our RICK AND MORTY T-Shirt Giveaway
New RICK AND MORTY Funko Pops Are Toxic (That's a Good Thing!)
Very charming new passports out of Belgium features iconic comic strip characters. https://t.co/6jBzyWA7WP

redpajama_set_name: RedPajamaCommonCrawl


text:
def quick_sort(arr, left_index, right_index):
    if left_index < right_index:
        partition_index = partition(arr, left_index, right_index)

        quick_sort(arr, left_index, partition_index-1)
        quick_sort(arr, partition_index+1, right_index)

def partition(arr, left_index, right_index):
    pivot = arr[right_index]
    partition_index = left_index

    for i in range(left_index, right_index):
        if arr[i] < pivot:
            arr[i], arr[partition_index] = arr[partition_index], arr[i]
            partition_index += 1
    arr[partition_index], arr[right_index] = arr[right_index], arr[partition_index]

    return partition_index

if __name__ == "__main__":
    arr = [1,3,5,4,2,6,8,9,7,10,13,12,14,16,15,17,19,18]

    quick_sort(arr, 0, len(arr)-1)
    print(arr)

redpajama_set_name: RedPajamaGithub


text:
CBS, Hulu Plus expand licensing deal
Following its recent deal with CBS which saw it secure subscription video on demand (SVoD) rights for the critically-acclaimed CBS drama Elementary, Hulu has agreed the expansion of a non-exclusive, multi-year licensing agreement with the broadcaster to stream programmes from CBS's rich television library on the Hulu Plus subscription service. Terms of the deal were not disclosed.
Hulu Plus subscribers will now have access to over 5,300 episodes from popular CBS library programming. New series joining the service include Undercover Boss, United States of Tara, Everybody Loves Raymond, Ghost Whisperer, and classics including Taxi, The Brady Bunch, Laverne & Shirley, Melrose Place, and 7(th) Heaven, among many others.
The 2,600 episodes added as part of the deal being are in addition to the more than 2,700 episodes of popular CBS TV shows already on the Hulu Plus service including The Good Wife, CSI: Miami, The Amazing Race, I Love Lucy, Star Trek, and Sabrina the Teenage Witch. The new CBS episodes will begin to appear on Hulu Plus in the coming weeks, with a selection of CBS library shows rotating through the free Hulu.com service.
"CBS programming on Hulu Plus has performed exceptionally well," said Scott Koondel, Chief Corporate Content Licensing Officer, CBS Corporation.
CBS and Hulu previously announced licensing agreements for CBS library programming in November 2012.
Hulu Plus adds CBS shows
Hulu secures The CW deal
Hulu, Viacom expand content partnership
CBS, Amazon expand content deal
ITV and Hulu content and equity deal?
Categories: Articles, Content, OTT, OTT, Rights
ITV launches ITV Academy
Increased listening for BBC Radio, BBC Sounds in Q4
Data: Record sales quarter for Google Pixel
BBC unveils presenters for news channel
Bloomberg launches Bloomberg Originals


Went to a potluck for Hatnim. No one brought food. Everyone brought beer. Lauren cooked a frozen lasagna that expired last year. Some people ate it even though the cheese didn't melt after a half hour in the oven.
Kevin brought his Canadian friends to the potluck late. We seach for another friend who might have beer for the Canadians, no luck.


text:
from __future__ import unicode_literals

from django.db import models, migrations

class Migration(migrations.Migration):

    dependencies = [
    ]

    operations = [
        migrations.CreateModel(
            name='Route',
            fields=[
                ('id', models.AutoField(verbose_name='ID', serialize=False, auto_created=True, primary_key=True)),
                ('name_en', models.CharField(max_length=50)),
                ('name_fr', models.CharField(max_length=50)),
            ],
            options={
            },
            bases=(models.Model,),
        ),
    ]


text:
How Treyarch can keep Black Ops 4 Multiplayer fresh and fun
Published: 27/Jan/2019 19:59 Updated: 27/Jan/2019 20:53
by Albert Petrosyan
The great thing about Call of Duty titles, from a developer's perspective, is that they really have to be kept fresh and fun for only a year before the next title releases.
Surprisingly, this itself has proven to be a difficult task in recent years as the player-base's general interest has considerably waned in the last few months of each game's cycle and players have made it a trend to turn to older titles to satisfy their CoD cravings.
This means that Treyarch have a lot of work on their hands if they want to keep the Black Ops 4 gaming experience fresh and fun for its whole cycle, especially the Multiplayer
With this in mind, Reddit user 'Hydrox2016,' has put together a list of things that Treyarch can do to have players continue playing Multiplayer for as long as possible.
His list starts off with proposing Daily Contracts, similar to WWII and Black Ops 4, which would encourage players to dry different game modes and complete challenges, for which they would get awarded currency credits.
Cryptokeys were a huge part of the Black Ops 3 experience, and adding a similar currency system to Black Ops 4 would definitely get players playing longer.
These credits could then be used to purchase weapon variants, cosmetic items, and more, and these pool of items would be continuously updated to gives players always something to work towards.
The user then suggests that a free weapon be added into the game for everyone to have, as well as more content in the Contraband streams that would be worth grinding for, such as Operator Mods for weapons that don't have them.
Prestige-exclusive items is next on the list, and these would include skins, weapons, Mastercrafts, and other items that players would be incentiviced to level up and Prestige for.
With so many Prestige levels in Black Ops 4, having exclusive items and weapons would entice players to level up and hit different Prestiges.
He rounds up the list by proposing that Treyarch should bring back a lot of the popular content from previous CoD titles, such as score-streaks, game modes, Specialists, and more.
He also suggests that 'No Specialist' playlists be added so that players can enjoy the Multiplayer without having to deal with Specialists. This has been a commonly suggested concept that players have been asking for since the game's release.
One huge thing that the user did not mention in this list is League Play, which has arguable been the most oft-asked for in-game content since Black Ops 4 released in October.
The addition of League Play should definitely improve the play-ability of Multiplayer and keep it popular for as long as possible.


A night for all Mazenodians and friends to come together, to celebrate our Founder, and to connect as one community. Let's enjoy a laugh or two, while we raise valuable awareness & funds for those who need our support.
18 + Event. I.D will be checked on entry.
Ticket cost ($40) includes entertainment and canapes. Drinks at bar Prices.
Ticket Sales will close for catering purposes on Tuesday 21st May at 1.00pm.


text:
« The intellectual and the roaring boys | Main | Their own agenda »
Where are the faxes of yesteryear?
I get a lot of my social history from novels and second- and third-rate novels can unintentionally tell interesting stories about the customs of their age. So when I listened to Lucy Kelloway's lively History of Office Life (sorry deadline passed – memo got lost in the internal mail/you must have accidentally deleted my message) I was reminded of Dorothy L. Sayers' Murder Must Advertise, which is set in an advertising agency, Pym's Publicity.
Murder Must Advertise is not much of a detective story, as the plot is elaborate rather than ingenious and the hero is Lord Peter Wimsey, the most annoying of the amateur sleuths from the golden age of detective fiction. But it does pick up the atmosphere of the office – those daytime villages with their feuds, friendships, gossip, rumours, the management being the squires alternatively disciplining and giving the villagers treats.
On the first page we are taken to the typists' room, which is the social hub. The workers are "frivoling" and arranging a sweepstake. Enter one of the managers.
"Mr Ingleby, can you spare me a moment?"
At Mr Hankin's mildly sarcastic accents, the scene dislimned as by magic. .. Mr Willis, rising hurriedly with the tray of carbons in his hand, picked a paper out at random and frowned furiously at it. Miss Parton's cigarette dropped unostentatiously to the floor, Mr Garrett, unable to get rid of his coffee-cup, smiled vaguely and tried to look as though he had picked it up accident and didn't know it was there, Miss Meteyard, with great presence of mind, put the sweep counterfoils on a chair and sat on them. Miss Rossiter, clutching Mr Armstrong's carbons in her hand, was able to look businesslike, and did so. Mr Ingleby alone, disdaining pretence, set down his cup with a slightly impudent smile and advanced to obey his chief's command.
"This," said Mr Hankin, tactfully blind to all evidences of disturbance, "is Mr Bredon."
When the city took over from the tribe or clan human beings created a neighbourhood or a guild or a political group or a blog-with-commenters or some other small community. The office workers travel to populate the daily office village and instead of the blood tie it's the work that pulls the group together – the work and the profit if it is a money-making concern. In the early nineteenth century Charles Lamb returned to his East India Office after he had retired and found that he was now a ghost, as colleagues are when estranged from the business of the office and have become merely part of its history and folklore at best.
Sayers herself worked in an advertising agency in the 1920s.* Middle-class women started working in offices around the late nineteenth century. They were first of all kept segregated in case they distracted the men and for fear of corrupting their own morals. In Sayers' office mild gallantry and a little flirting are allowable but the women were still supposed to stay chaste.
He went and told Hankie once that he'd seen me at the dog-races with a gentleman friend. As if it was any business of his what a girl does out of business hours. … Just because anybody's a mere typist it doesn't mean one's a heathen slave.
And Miss Meteyard, the only woman copywriter, can be blackmailed because "of some man or other", which the strait-laced owner of the company would take a dim view of.
Later on offices became more raunchy until the 1960s when the secretaries were pinchable bottoms, which preceded our own time of appropriate behaviour and sexual harassment.
The business in Murder Must Advertise is the new profession of advertising which was less hide-bound than, say, law. So it is possible for Miss Meteyard a Somerville graduate, to be a copy writer as Sayers was (she worked on the Guinness Toucan campaign).* The rest of the women are secretaries, typists, facilities managers and cleaners, as they tend to be today.
The typists tapping rhythms on their percussive typewriting machines are the female heart of the office, and they have feminised it, buying the cakes for tea and organising collections for wedding presents – still pretty much part of the secretarial job. This feminisation makes the atmosphere of Sayers' office very different from Trollope's all male clerks outfits where social life was at the chop-house. Many secretaries and PAs take on the matriarchal and social oiling role – buying flowers, offering tissues and concern and handing round the giant Sorry You're Going farewell card for everyone to sign.
From the 1973 television adaptation. They had cups and saucers those days.
The internal telephone is not used as it would have been in an American office of the same vintage. The British stuck to their messengers for a long time, and in Sayers' novel the office boys have an important part in the plot as the eyes and ears. A modern counterpart would be the IT support person who accesses everyone's computer in person or digitally and can snoop. In the Golden Age of detective fiction the murders were usually done in a country house or village or some other limited community so everyone could be accounted for and alibis concocted. Sayers got round the problem of a hubbub of employees through the office boy's tenacious memory and sharp observation to narrow down the pool of suspects. (Later on P D James stuck to outfits like a publisher's or research unit to keep the number of likely murderers down.)
Sayers' office workers have proper tea breaks and a woman with a tea trolley – something I'm old enough to remember from a few decades ago, a time when you went out for lunch with a beer or two chucked in, instead of the sparkling water, a sandwich and a browse of the internet at the desk. They are still Misters and Misses and will be until the 1960s until there is only one ancient scary bloke who everyone calls Mr (as in my place) and email address lists are organised by first names rather than last.
Lucy Kelloway now has a new series The Joy of 9-5. It was unionised factory workers who won the 9-5 and the paid holidays which spilled over to the office workers. These days though many paper-pushers and email-copyees work punishing hours. However the maternalism still remains in that although the hours hurt, HR and the management hand out pain-killers in the form of stress counselling. Admonitions are wrapped up in praise. Rather than being nosy about our sexual morals the management worries about our personal problems which they investigate with psychometric tests finding out whether you are a Dominant Influencer Steady or Compliant (DISC) . The many courses we are offered on work management, self-realisation, know yourself, how to be more effective – it is a blurring of lines between office and home, along with the other blurrings. Thus work steals more and more time. Sayers' characters below top management level had to sign the time register; these days it's moral pressure of not wanting to be seen to be the first to leave.
We are mostly doomed to work and if we can, we find something interesting to do among congenial colleagues. Sayers' advertising agency in spite of murder and blackmail is more fun than than the paper suppliers of Ricky Gervais's The Office.
Miss Meteyard,:- "Sopo Day is Cinema Day." "Leave the Laundry to ruin itself while you addle your brains at the Talkies." Muck! Dope! And they pay me £10 a week for that sort of thing. And yet, if we didn't do it, what would happen to the trade of this country? You've got to advertise.'
And everyone smokes as they did to about the beginning of this millennium. I remember when the accounts room was blue with haze.
The big campaign Sayers' advertising agency works on is cigarettes.. "This scheme should carry a strong appeal to women.. We want to get women down to serious smoking. Too many of them play about with it.... You can smoke a lot more of them in the day without killing yourself. And they're cheaper. If we increase women's smokes by 500 percent – there's plenty of room for it-"
That is what really makes this novel show its age. Also, the newspaper that runs the advertisements is the Morning Star. It's a fictitious paper. The Commie rag with that name was then called the Daily Worker.
*She came up with the Toucan rhyme for Guinness:-
Thank you for this informative and informed study. It will send me back to the Sayer novel. Charles and Lupin Pooter came to mind as examples of the office class at the latter end of the 19th century and a whole raft of 'Punch' cartoons. I was lucky enough to retrieve the bound volumes of the first 50 years of 'Punch' from a college where I studied (they were bound for a skip but £5 made them mine) and it is a complete treasure trove of social attitudes many of them similar to those you outline above (and some shockingly worse--Jews, Irish, servant gals).
Posted by: Allan Ronald | 25 November 2015 at 07:22 PM
I was staying in a cottage in Skye where there was a set of bound Punches from 1910-1920. Much joking about commuting. However it was assumed that your life was your own when you left the office and the white collar workers had time for gardening and cricket. They didn't have such exotic holidays - a week in Margate seems to be the standard - but their day to day life looks a lot pleasanter and a little more rural. You can say the same about Pooter. He works conscientiously at a dull job but maintains quite a decent standard of living for him and Carrie. Of course what sets him apart from the last 30 years or so is the assumption that you will work in the same organisation all your life.
Posted by: RosieBell | 29 November 2015 at 09:24 AM
Also, I had a look at the 1973 television adaptation of Murder Must Advertise. Ian Carmichael a bit too old for the part but otherwise very good, and the look and feel of the office felt right. Not open plan those days.


Since David Hockney entered his eighth decade (he is now 77), we seem to have witnessed an accelerated output of major exhibitions, biographies and documentaries. The public appetite has never tired of this most tireless of artists, but it's an interest that's been given fresh impetus by the exuberance and vivacity of his epic series of paintings of the Yorkshire Wolds. Bruno Wollheim's TV documentary, Hockney: A Bigger Picture (2009), was a look at this recent period of renewed vigour and creativity, while Randall Wright's cinema-released second film of the artist – the first, David Hockney: Secret Knowledge (2003), was about the artist's decades-long exploration of the traditional use of optical aids – concentrates on the arc of Hockney's life and career.
Made up of archive footage interspersed with current interviews with intimate friends, his sister Margaret and Hockney himself, the first thing any diligent Hockney-observer should note is that the film really isn't as well-researched as it should be. One friend talks of the teenaged David's youthful fearlessness in defiantly standing out from the crowd, mentioning as proof his unflattering pudding bowl haircut and his habit of pushing a pram around Bradford. What's odd is that there's no mention that this was obviously him mimicking Stanley Spencer, who would daily push his battered pram, containing all his painting equipment, around the Berkshire village of Cookham. What Spencer did seemingly unconscious of his image, Hockney copied fully cognisant of his. Given this, perhaps one shouldn't be surprised that in a recent interview with Wright, the director struggled to name any of Hockney's artistic influences.
The film also omits the death last year of Hockney's 23-year-old assistant Dominic Elliott, who died at the artist's Bridlington home after drinking drain cleaner following a 24-hour drug binge. The death precipitated Hockney's return to LA, and though one might understand the danger of this untimely death dominating the film, to omit it altogether feels oddly conspicuous, especially when Hockney talks quite candidly about the untimely death of friends.
This is an affectionate portrayal that won't delve deeply and will offer no unexpected insights. But its real problem is that it can't utilise the material expertly enough not to feel both disjointed and meandering. If you want to see a masterclass of how archive material and talking heads can make a truly great portrait of an artist, even when there are clearly topics that are off limits, then watch Michael Scorsese's epic No Direction Home, a bravura portrait of the ever-enigmatic Dylan, or perhaps Robert B. Weide's equally fascinating Woody Allen documentary. If only Wright could handle his material half as well.
No extras feature in this release.


text:
The Rise Of 22″ Bikes
There's a been an increasing number of 22″ Bikes popping up…
Faction Amero 22″ BMX Bike
A few years ago when we personally first started hearing about 22″ Bikes we didn't quite know what to think or if it would ever actually take off. The guys at Faction BMX were the first to start trying out this unique size that fit right between 20″ and 24″ bikes way back in 2002. It was a very small niche in the BMX industry that was geared toward riders that wanted something a little bigger than a traditional BMX bike, but didn't want to go for an all out cruiser bike. It wasn't a huge change, just slightly bigger wheels, fork and frames, really. This story of the rise of 22″ bikes originally started 15 years ago.
If you didn't already know, there tends to be a bit of resistance to "new" things in BMX. Just like the first set of 8″, 9″ and 10″ rise BMX bars, there were a lot of people that were pretty hard stance. Either you like it and you are down to try it out, or you have zero interest at all and don't see the point. Why change things if it already works the way it is, right? I still have friends that absolutely refuse to get bigger bars and I cannot for the life of me understand why they're so against it. But, that's why frames and parts come in so many different sizes; everyone has their own preference for a size that feels right.
In reality, that's probably one of the hardest parts about innovation in BMX. You could have an amazing idea that works, but unless you convince enough people to try it, understand it and see the benefits, it will likely fail. I mean, how many times have we seen bash guards on the bottom bracket try and fail? The idea is great and it does work, but not enough people are into it to really see it become a "normal" part of BMX bikes. So, the idea goes back on the shelf and collects dust until somebody else decides to take a crack at it. Another example would be when Odyssey released their Twisted PC pedals. They were available for a few years before they actually started selling a notable amount of these plastic pedals compared to their metal options. Now the Twisted PC pedals are undoubtedly one of Odyssey's most popular products and plastic pedals are more commonly found on a BMX bike than metal, but there was definitely a period of time where there was a weird rivalry between the two. The same could be said with plastic pegs… That was a weird time, too. Now it's just a regular option for riders.
A prototype build and the S&M 22″ Holmes kit from 2012
Just like the Twisted PC pedals, the 22″ Bike wasn't exactly something that gained traction over night. After the Faction guys started working on 22″ designs and ultimately went on to release a frame, fork, tires and rims, it was close to 10 years before S&M Bikes decided to see what all the hype was about. In 2012 S&M designed a frame and fork to test out, which lead to the 22″ Holmes Kit that offered rims and tires being made under their sub-brand Revenge. The options for 22″ frames, forks, rims and tires have have remained a part of their line up ever since. Even after S&M and Revenge also threw their hat in the 22″ ring back in 2012, we didn't see a big surge in the 22″ BMX bike category. I will admit having a notable brand like S&M getting into it did probably help make it a little more appealing and a little more known. But it still wasn't something that really got much attention.
Even though S&M and Faction were offering kits to build your own 22″ bike, it didn't seem like we were seeing a ton of riders rushing to pick up a kit to try out the larger size. A kit from Faction goes for around $750 and a frame from S&M is in the $349.99 – $419.99 range, so it's hard to spend that kind of money just to see if you're into the bigger size.
UPDATE: Apparently we have been out of the loop! There's another company based out of Austin, Texas called Indust that have been making 22″ frames, parts and some custom build bikes since around 2011 that we had never heard about until now. Shout out to Max Krauss for tipping us off. Crazy how we missed that! Technically these guys were doing 22″ before S&M.
2017 S&M 22″ ATF Frame
After another few years had passed with a few 22″ options but nothing really new being added, we saw something starting to happen in 2016. We started seeing some serious interest being put into these bigger bikes. The guys at FBM started offering a 22″ Steadfast Frame to give riders another option that could also be customized to your preference. Shortly after that it was announced that United Bike Co. were releasing the first 22″ complete, the 2017 KF22 Complete Bike and Fit Bike Co. were working on the Brian Foster signature 22″ complete. Some of you might be able to connect the dots with S&M, Fit, Revenge and United since all four are pretty closely related. S&M, Fit and Revenge are owned by Chris Moeller and The Building Distribution, which also distributes United Bike Co. in the United States. So now, we now have Faction, S&M, Revenge, Indust, Fit Bike Co., FBM and United offering 22″ products. Still, a fairly small circle of brands when looking at the overall number of brands in BMX.
Sneak peek QBMX posted of a 22″ tire that Wethepeople are working on…
Things have started happening and it would appear that the wheels on the 22″ bikes are really starting to turn (pun intended) and the guys at Faction weren't so crazy after all. If you have picked up a 22″ bike or you have been interested, it looks like 2017 might just be the year to jump on the train, because your options are about to grow. In the past few months we have seen or heard of a few other brands that are joining this "revolution" of sorts. We have spotted a prototype 22″ tire from Wethepeople, which leads us to believe they will be offering a complete bike or aftermarket frame and parts for 22″ bikes. We haven't heard exact details yet, but we could see Wethepeople or their sub-brand Salt Plus having 22″ parts options. The guys at Deluxe BMX are working on 22″ frames now that they're building frames in-house in Pennsylvania, so there's another American made option.
Update: After we posted this Wethepeople confirmed that they will have a mid-range complete 22″ bike, along with aftermarket frame, fork, rims, tires and complete wheel sets coming soon. Wethepeople will be offering a frame and fork kit as well. Also, Salt will also be offering 22″ wheelsets at a more affordable price point.
FBM's 22″ Steadfast frame"
2017 Brian Foster Signature 22″ Complete Bike
United's KF22 Complete Bike
Pair of 22s got together this week! @michaelpotoczny battleship grey and @urrydayimshovelin custom. #whitegirlcoffee #cantlooseon22s #deluxebmx
A post shared by Deluxe BMX (@deluxebmx) on Apr 7, 2017 at 12:01pm PDT
We also have 100% confirmation from Stolen Bikes that they are going to be offering a full line up of parts between Stolen and Fiction. Both brands will be offering a Stolen "Spade Pro" 22″ Frame, along with a Spade Complete Bike and the Fiction Troop Tire will come in a 22 x 2.30″ size. Those will all be dropping in June. Stolen also have 22″ wheelsets and rims that are already shipping to distributors worldwide as we write this. You can expect to see those popping up soon.
Stolen Rampage 22″ Wheels
Let's go over this one more time. Faction, S&M Bikes, Fit Bike Co., Revenge, United Bike Co., Indust, FBM, Deluxe, Wethepeople, Stolen and Fiction are all either offering or will be offering 22″ bikes, frames or parts. That's just what we're aware of. If there's one thing we know, it's once something starts getting popular, it won't take look for the rest of the industry to get in on the mix. That's not a bad thing, though. It doesn't hurt to have options, right? Competition leads to innovation and had S&M not decided to give Faction a little competition back in 2012, we might not be seeing the growth we are seeing in 2017 for 22″ bikes. We would imagine that list will grow in the coming year.
Update: Thanks to the guys at 22-Inch BMX, we were filled in on a few other options for 22″ bikes that we were unaware one. DK Bicycles have their 22″ Vega complete and Canadian brand Encore Bikes have their 22″ Anthem complete as well. Two bikes we were unaware of. Also, Laird Frames, Dave Harrison, Standard Bykes and Stout Bikes all offer 22″ custom frames. It turns out that there is A LOT more 22″ bikes popping up than we actually thought. We have also been tipped off that it sounds like Subrosa will be offering a 22″ complete bike in their 2018 range of bikes later this year. That means there are at least 17 potential options for 22″ bikes, frames or parts in 2017? Talk about an explosion of these bikes becoming available. Once again, big thanks to 22-Inch BMX for the heads up!
It's kind of crazy to think that it took 15 years before these bikes really became a force in BMX. We give Faction big props for sticking it out and proving to all of us that there is a place for the 22″ bikes in this sport.
What do you think? Have you tried out a 22″ bike? How do you like it? Haven't tried one? What do you think about this? Could you see yourself trying one? Let us know in the comments below!
Fit Bike Co. – Kairi Yamada
Brad Simms – Power
Wethepeople – Nick Halisheff Welcome Video
S&M Bikes – 9 Acres: Over/Under
Fit Bike Co. – Mikey "Milky" Andrew
United – Jo Gass "Con Leche"
Jeniffer Hooper says
My son weighs around 110kgs and was advised to ride a bike. What are the types of bikes which cater to that weight and also durability? Is BMX good for that too?
pegs on a 22?? yes or no?
I can relate to you, Todd.
I've been on a road and mountain bikes during the past couple decades and am thinkin' about BMX'ing again so I'm considering the 22 inchers.
Gonna do some more digging to see if this type of bike is right for me as I'm 5'6″ but prefer to have a more "adult" version of the BMX with few sacrifices as related to hopping and doing any tricks.
I'm a touch taller than you at 5'7″. I've recently purchased a WTP Audio. It is really good. I've flipped the stem because I'm not a fan of the high front ends. It's good to jump and I can manual it better than my 20″. The parts are good too. I'm looking forward to heading out to more trails soon.
Todd says
Wow, was about to make a return to BMX after 10yrs riding MTBs, hopped on the 20″, felt so small.
Started researching 24″ thinking that would be the go and bam 22″ pops up on my search, I never knew, now i'm more confused than ever haha
I have been watching the rise of 22″ bikes for some time now, waiting to see how much it would catch on. I am now more tempted to buy than ever.
Ldn22 says
Anyone reading this and wondering whether to make the switch: just go for it!
I picked up a KF22 and absolutely love it. As a 6′ 3″ older rider who enjoys tracks and bowls it is better than a 20 in every way.
Really hoping that this isn't a temporary fad and it becomes impossible to buy tyres etc in a few years down the line…
dfuse says
But what's the reason for the bigger wheels? I'm about to buy my first bmx, I'm 6'5″. I'd guess a 22″ would be a better fit for me? Have to order online so can't test 🙁
22-InchBMX says
Hey. Dave from 22-Inch BMX here. The 22″ size with bmx geometry is the perfect blend of stability of a bigger bike and being nimble like a 20″ bike. Plus, the larger diameter means there's a better footprint on the ground which means more traction when you need it. As for your height, you are not going to be as cramped on your bike, and will feel like you're on a "regular" size bmx bike that fits you. With being 6'5″ you'll probably want something in a 21.75″ toptube or better. The 2018 Fit BF22, DK Vega and General Lee have a 22.125″ toptube. The STLN Spade will have a 22.25″ TT. All of them will be 100% chromoly.
Join us on our Facebook page https://www.facebook.com/22inchbmx/ or the Instagram @22inchbmx.
Aaaah! So we MTB guys aren't the ones with new wheel sizes!
evi1joe says
Would the bigger wheels add any advantage for heavier riders? I'm 5'10" and 280lbs, but didn't know if 22 helped absorb weight or if it was just for taller guys.
Kurt says
Not 100% on that one. I would imagine it could help since the larger wheels would offer more surface area to absorb impacts better. That's a really good question.
Xaveus says
Big props to BMXunion for giving twenty2s the coverage!
Arjan says
Salvo bikes from South Africa are doing 22's for a while. I got mine from them in 2014.
Also Felt did the Catch 22 complete in 2014.
Based on Moeller instagram S&M is coming with a 22″ speedball tyre.
And then you have the race version of the 22″, the Tioga OS20. Minor difference in tyre size, but the same idea of an option between 20″ and 24″. Tioga, GT, Standard, Alienation and Meybo/SuperDuper are among the companies with offerings in that size. My Salvo frame accepts OS20 and true 22″ wheels.
Thanks, Arjan! I hadn't heard of Salvo Bikes until now, which is pretty crazy. I'll look into them for sure! I wasn't aware Felt was doing much with freestyle anymore. I haven't kept tabs on them since their team kind of disappeared.
I did see that Speedball tire. That should be an awesome addition since that tire is really good.
The race world is a whole different game. We have always tried to stick to the freestyle side since we don't have much of a background in the race side of things, so that would make sense that I hadn't seen those options.
I am fairly new to BMX. I started racing cruiser class because my 3 boys are all big into BMX and we spend alot of time at the track. We also spend alot of time at skateparks and indoor bike parks but I found my cruiser a bit big for the tighter turns. I started riding my friend's 22 and fell in love. Now I have the Fit BF22 and absolutely love it. The 20″ bikes are too small and reactive for me. The 22 is perfect and now I prefer it to my cruiser. And I can hang with my boys wherever we are riding!
That's so good. I've been hearing that a lot since we posted this between the Facebook comments and here. It seems like it's a size that is drawing a lot of riders back to the "small" bikes. Stoked on this. Thank you for commenting!
I'm 6'8″, riding a fit bf22, just ordered a 22 lairdframe. 22 is the best thing that's ever happened to me regarding BMX.
That's so rad. I'm only 5'10" so I have no idea how it feels to be that tall, but it's pretty awesome hearing how this size has made it more accessible / comfortable for taller guys like yourself. I would imagine that Laird Frame is going to be amazing.
Matt B. makes some awesome 22s in Houston! His company is Stout bikes! http://stoutbikes.blogspot.com
I wasn't aware of Stout Bikes until we posted this, but we've been hearing nothing but good things about Stout! Thank you!
Seriously, the DK Vega has been out for a while now. Do better research and give them some love.
Sorry we missed it. We had added it into the post to mention it. We clearly haven't been doing a good enough job keeping up with everything DK is doing.
Let me know if you ever need anything about what's going on with 22s.
David at 22-InchBMX, @22inchbmx
Thank you, David! You have been a huge help in making sure we didn't miss anything. Pretty crazy how many options there are either available or coming soon! It's blowing up!
I wasI. A 22″ front 20″ rear BMX in 1977 on my GRACO MX1000 .
That's rad. We have heard of people doing that 22″ in the front and 20″ in the rear. I guess it works really well. Obviously you would know that!
Willard says
You guys didn't mention the DK 22″ complete the vega? No ❤ for DK?
Added it in there! We blanked on that one. Sorry about that! It's crazy how many options there are popping up or have been available.
Posted: April 18, 2017 Tagged With: BMX bikes, BMX fork, BMX frame, BMX rim, BMX tires, Deluxe BMX, DK Bicycles, Encore Bikes, Faction BMX, FBM BMX, Fiction BMX, Fit Bike Co., Indust BMX, Laird Frames, Must See, Revenge BMX, S&M bikes, Stolen BMX, United BMX, Wethepeople BMX
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The Museum of Latin American Art (MOLAA) has announced that Lourdes I. Ramos, Ph. D. has been selected as the museum's new President and CEO.
Lourdes I. Ramos, Ph. D.
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text:
#ifndef OSLEXEC_H
#define OSLEXEC_H

#include "oslconfig.h"

#include <OpenImageIO/refcnt.h>     // just to get shared_ptr from boost ?!
#include <OpenImageIO/ustring.h>

OSL_NAMESPACE_ENTER

class RendererServices;
class ShadingAttribState;
typedef shared_ptr<ShadingAttribState> ShadingAttribStateRef;
struct ShaderGlobals;
struct ClosureColor;
struct ClosureParam;
struct PerThreadInfo;
class ShadingContext;

/// Opaque pointer to whatever the renderer uses to represent a
/// (potentially motion-blurred) coordinate transformation.
typedef const void * TransformationPtr;

// Callbacks for closure creation
typedef void (*PrepareClosureFunc)(RendererServices *, int id, void *data);
typedef void (*SetupClosureFunc)(RendererServices *, int id, void *data);
typedef bool (*CompareClosureFunc)(int id, const void *dataA, const void *dataB);

class OSLEXECPUBLIC ShadingSystem
{
protected:
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    ShadingSystem ();
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public:
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                                  TextureSystem *texturesystem=NULL,
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    /// Set an attribute controlling the texture system.  Return true
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    /// Get the named attribute, store it in value.
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                               void *val) = 0;
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    bool getattribute (const std::string &name, int &val) {
        return getattribute (name, TypeDesc::INT, &val);
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    bool getattribute (const std::string &name, float &val) {
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            val = f;
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        const char *s = NULL;
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        if (ok)
            val = s;
        return ok;
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    /// Set a parameter of the next shader.
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    virtual bool Parameter (const char *name, TypeDesc t, const void *val)
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#if 0
    virtual bool Parameter (const char *name, int val) {
        Parameter (name, TypeDesc::IntType, &val);
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    virtual bool Parameter (const char *name, float val) {
        Parameter (name, TypeDesc::FloatType, &val);
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    virtual bool Parameter (const char *name, double val) {}
    virtual bool Parameter (const char *name, const char *val) {}
    virtual bool Parameter (const char *name, const std::string &val) {}
    virtual bool Parameter (const char *name, TypeDesc t, const int *val) {}
    virtual bool Parameter (const char *name, TypeDesc t, const float *val) {}
    virtual bool Parameter (const char *name, TypeDesc t, const char **val) {}
#endif

    /// Create a new shader instance, either replacing the one for the
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    virtual bool Shader (const char *shaderusage,
                         const char *shadername=NULL,
                         const char *layername=NULL) = 0;

    /// Signal the start of a new shader group.
    ///
    virtual bool ShaderGroupBegin (const char *groupname=NULL) = 0;

    /// Signal the end of a new shader group.
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    /// Connect two shaders within the current group
    ///
    virtual bool ConnectShaders (const char *srclayer, const char *srcparam,
                                 const char *dstlayer, const char *dstparam)=0;

    /// Return a reference-counted (but opaque) reference to the current
    /// shading attribute state maintained by the ShadingSystem.
    virtual ShadingAttribStateRef state () = 0;

    /// Clear the current shading attribute state, i.e., no shaders
    /// specified.
    virtual void clear_state () = 0;

    /// Optional: create the per-thread data needed for shader
    /// execution.  Doing this and passing it to get_context speeds is a
    /// bit faster than get_context having to do a thread-specific
    /// lookup on its own, but if you do it, it's important for the app
    /// to use one and only one PerThreadInfo per renderer thread, and
    /// destroy it with destroy_thread_info when the thread terminates.
    virtual PerThreadInfo * create_thread_info() = 0;

    /// Destroy a PerThreadInfo that was allocated by
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    virtual void destroy_thread_info (PerThreadInfo *threadinfo) = 0;

    /// Get a ShadingContext that we can use.  The context is specific
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    /// thread-specific pointer created by create_thread_info, or NULL,
    /// in which case the ShadingSystem will do the thread-specific
    /// lookup automatically (and at some additional cost).  The context
    /// can be used to shade many points; a typical usage is to allocate
    /// just one context per thread and use it for the whole run.
    virtual ShadingContext *get_context (PerThreadInfo *threadinfo=NULL) = 0;

    /// Return a ShadingContext to the pool.
    ///
    virtual void release_context (ShadingContext *ctx) = 0;

    /// Execute the shader bound to context ctx, with the given
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    /// run the shader.  Return true if the shader executed (or could
    /// have executed, if 'run' had been true), false the shader turned
    /// out to be empty.
    virtual bool execute (ShadingContext &ctx, ShadingAttribState &sas,
                          ShaderGlobals &ssg, bool run=true) = 0;

    /// Get a raw pointer to a named symbol (such as you'd need to pull
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    /// context (presumably already run), name is the name of the
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    virtual const void* get_symbol (ShadingContext &ctx, ustring name,
                                    TypeDesc &type) = 0;

    /// Return the statistics output as a huge string.
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    virtual void register_closure(const char *name, int id, const ClosureParam *params,
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    void register_builtin_closures();

    /// For the proposed raytype name, return the bit pattern that
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    /// If option "greedyjit" was set, this call will trigger all
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    /// specified number of threads (0 means use all available HW cores).
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private:
    // Make delete private and unimplemented in order to prevent apps
    // from calling it.  Instead, they should call ShadingSystem::destroy().
    void operator delete (void *todel) { }
};

/// This struct represents the global variables accessible from a shader, note
/// that not all fields will be valid in all contexts.
///
/// All points, vectors and normals are given in "common" space.
struct ShaderGlobals {
    Vec3 P, dPdx, dPdy;              /**< Position */
    Vec3 dPdz;                       /**< z zeriv for volume shading */
    Vec3 I, dIdx, dIdy;              /**< Incident ray */
    Vec3 N;                          /**< Shading normal */
    Vec3 Ng;                         /**< True geometric normal */
    float u, dudx, dudy;             /**< Surface parameter u */
    float v, dvdx, dvdy;             /**< Surface parameter v */
    Vec3 dPdu, dPdv;                 /**< Tangents on the surface */
    float time;                      /**< Time for each sample */
    float dtime;                     /**< Time interval for each sample */
    Vec3 dPdtime;                    /**< Velocity */
    Vec3 Ps, dPsdx, dPsdy;           /**< Point being lit (valid only in light
                                          attenuation shaders */
    void* renderstate;               /**< Opaque pointer to renderer state (can
                                          be used to retrieve renderer specific
                                          details like userdata) */
    void* tracedata;                 /**< Opaque pointer to renderer state
                                          resuling from a trace() call. */
    void* objdata;                   /**< Opaque pointer to object data */
    ShadingContext* context;         /**< ShadingContext (this will be set by
                                          OSL itself) */
    TransformationPtr object2common; /**< Object->common xform */
    TransformationPtr shader2common; /**< Shader->common xform */
    ClosureColor *Ci;                /**< Output closure (should be initialized
                                          to NULL) */
    float surfacearea;               /**< Total area of the object (defined by
                                          light shaders for energy normalization) */
    int raytype;                     /**< Bit field of ray type flags */
    int flipHandedness;              /**< flips the result of calculatenormal() */
    int backfacing;                  /**< True if we want are shading the
                                          backside of the surface */
};

/// RendererServices defines an abstract interface through which a
/// renderer may provide callback to the ShadingSystem.
class OSLEXECPUBLIC RendererServices {
public:
    RendererServices () { }
    virtual ~RendererServices () { }

    /// Get the 4x4 matrix that transforms by the specified
    /// transformation at the given time.  Return true if ok, false
    /// on error.
    virtual bool get_matrix (Matrix44 &result, TransformationPtr xform,
                             float time) = 0;

    /// Get the 4x4 matrix that transforms by the specified
    /// transformation at the given time.  Return true if ok, false on
    /// error.  The default implementation is to use get_matrix and
    /// invert it, but a particular renderer may have a better technique
    /// and overload the implementation.
    virtual bool get_inverse_matrix (Matrix44 &result, TransformationPtr xform,
                                     float time);

    /// Get the 4x4 matrix that transforms by the specified
    /// transformation.  Return true if ok, false on error.  Since no
    /// time value is given, also return false if the transformation may
    /// be time-varying.
    virtual bool get_matrix (Matrix44 &result, TransformationPtr xform) = 0;

    /// Get the 4x4 matrix that transforms by the specified
    /// transformation.  Return true if ok, false on error.  Since no
    /// time value is given, also return false if the transformation may
    /// be time-varying.  The default implementation is to use
    /// get_matrix and invert it, but a particular renderer may have a
    /// better technique and overload the implementation.
    virtual bool get_inverse_matrix (Matrix44 &result, TransformationPtr xform);

    /// Get the 4x4 matrix that transforms points from the named
    /// 'from' coordinate system to "common" space at the given time.
    /// Returns true if ok, false if the named matrix is not known.
    virtual bool get_matrix (Matrix44 &result, ustring from, float time) = 0;

    /// Get the 4x4 matrix that transforms points from "common" space to
    /// the named 'to' coordinate system to at the given time.  The
    /// default implementation is to use get_matrix and invert it, but a
    /// particular renderer may have a better technique and overload the
    /// implementation.
    virtual bool get_inverse_matrix (Matrix44 &result, ustring to, float time);

    /// Get the 4x4 matrix that transforms 'from' to "common" space.
    /// Since there is no time value passed, return false if the
    /// transformation may be time-varying (as well as if it's not found
    /// at all).
    virtual bool get_matrix (Matrix44 &result, ustring from) = 0;

    /// Get the 4x4 matrix that transforms points from "common" space to
    /// the named 'to' coordinate system.  Since there is no time value
    /// passed, return false if the transformation may be time-varying
    /// (as well as if it's not found at all).  The default
    /// implementation is to use get_matrix and invert it, but a
    /// particular renderer may have a better technique and overload the
    /// implementation.
    virtual bool get_inverse_matrix (Matrix44 &result, ustring to);

    /// Transform points Pin[0..npoints-1] in named coordinate system
    /// 'from' into 'to' coordinates, storing the result in Pout[] using
    /// the specified vector semantic (POINT, VECTOR, NORMAL).  The
    /// function returns true if the renderer correctly transformed the
    /// points, false if it failed (for example, because it did not know
    /// the name of one of the coordinate systems).  A renderer is free
    /// to not implement this, in which case the default implementation
    /// is simply to make appropriate calls to get_matrix and
    /// get_inverse_matrix.  The existance of this method is to allow
    /// some renderers to provide transformations that cannot be
    /// expressed by a 4x4 matrix.
    ///
    /// If npoints == 0, the function should just return true if a
    /// known nonlinear transformation is available to transform points
    /// between the two spaces, otherwise false.  (For this calling
    /// pattern, sg, Pin, Pout, and time will not be used and may be 0.
    /// As a special case, if from and to are both empty strings, it
    /// returns true if *any* nonlinear transformations are supported,
    /// otherwise false.
    ///
    /// Note to RendererServices implementations: just return 'false'
    /// if there isn't a special nonlinear transformation between the
    /// two spaces.
    virtual bool transform_points (ShaderGlobals *sg,
                                   ustring from, ustring to, float time,
                                   const Vec3 *Pin, Vec3 *Pout, int npoints,
                                   TypeDesc::VECSEMANTICS vectype)
        { return false; }

    /// Get the named attribute from the renderer and if found then
    /// write it into 'val'.  Otherwise, return false.  If no object is
    /// specified (object == ustring()), then the renderer should search *first*
    /// for the attribute on the currently shaded object, and next, if
    /// unsuccessful, on the currently shaded "scene".
    virtual bool get_attribute (void *renderstate, bool derivatives,
                                ustring object, TypeDesc type, ustring name,
                                void *val ) = 0;

    /// Similar to get_attribute();  this method will return the 'index'
    /// element of an attribute array.
    virtual bool get_array_attribute (void *renderstate, bool derivatives,
                                      ustring object, TypeDesc type,
                                      ustring name, int index, void *val ) = 0;

    /// Get the named user-data from the current object and write it into
    /// 'val'. If derivatives is true, the derivatives should be written into val
    /// as well. Return false if no user-data with the given name and type was
    /// found.
    virtual bool get_userdata (bool derivatives, ustring name, TypeDesc type,
                               void *renderstate, void *val) = 0;

    /// Does the current object have the named user-data associated with it?
    virtual bool has_userdata (ustring name, TypeDesc type, void *renderstate) = 0;

    /// Filtered 2D texture lookup for a single point.
    ///
    /// s,t are the texture coordinates; dsdx, dtdx, dsdy, and dtdy are
    /// the differentials of s and t change in some canonical directions
    /// x and y.  The choice of x and y are not important to the
    /// implementation; it can be any imposed 2D coordinates, such as
    /// pixels in screen space, adjacent samples in parameter space on a
    /// surface, etc.
    ///
    /// Return true if the file is found and could be opened, otherwise
    /// return false.
    virtual bool texture (ustring filename, TextureOpt &options,
                          ShaderGlobals *sg,
                          float s, float t, float dsdx, float dtdx,
                          float dsdy, float dtdy, float *result);

    /// Filtered 3D texture lookup for a single point.
    ///
    /// P is the volumetric texture coordinate; dPd{x,y,z} are the
    /// differentials of P in some canonical directions x, y, and z.
    /// The choice of x,y,z are not important to the implementation; it
    /// can be any imposed 3D coordinates, such as pixels in screen
    /// space and depth along the ray, etc.
    ///
    /// Return true if the file is found and could be opened, otherwise
    /// return false.
    virtual bool texture3d (ustring filename, TextureOpt &options,
                            ShaderGlobals *sg, const Vec3 &P,
                            const Vec3 &dPdx, const Vec3 &dPdy,
                            const Vec3 &dPdz, float *result);

    /// Filtered environment lookup for a single point.
    ///
    /// R is the directional texture coordinate; dRd[xy] are the
    /// differentials of R in canonical directions x, y.
    ///
    /// Return true if the file is found and could be opened, otherwise
    /// return false.
    virtual bool environment (ustring filename, TextureOpt &options,
                              ShaderGlobals *sg, const Vec3 &R,
                              const Vec3 &dRdx, const Vec3 &dRdy, float *result);

    /// Get information about the given texture.  Return true if found
    /// and the data has been put in *data.  Return false if the texture
    /// doesn't exist, doesn't have the requested data, if the data
    /// doesn't match the type requested. or some other failure.
    virtual bool get_texture_info (ustring filename, int subimage,
                                   ustring dataname, TypeDesc datatype,
                                   void *data);

    /// Lookup nearest points in a point cloud. It will search for points
    /// around the given center within the specified radius. A list of indices
    /// is returned so the programmer can later retrieve attributes with
    /// pointcloud_get. The indices array is mandatory, but distances can be NULL.
    /// If a derivs_offset > 0 is given, derivatives will be computed for
    /// distances (when provided).
    ///
    /// Return the number of points found, always < max_points
    virtual int pointcloud_search (ShaderGlobals *sg,
                                   ustring filename, const OSL::Vec3 &center,
                                   float radius, int max_points, bool sort,
                                   size_t *out_indices,
                                   float *out_distances, int derivs_offset) = 0;

    /// Retrieve an attribute for an index list. The result is another array
    /// of the requested type stored in out_data.
    ///
    /// Return 1 if the attribute is found, 0 otherwise.
    virtual int pointcloud_get (ustring filename, size_t *indices, int count,
                                ustring attr_name, TypeDesc attr_type,
                                void *out_data) = 0;

    /// Options for the trace call.
    struct TraceOpt {
        float mindist;    ///< ignore hits closer than this
        float maxdist;    ///< ignore hits farther than this
        bool shade;       ///< whether to shade what is hit
        ustring traceset; ///< named trace set
        TraceOpt () : mindist(0.0f), maxdist(1.0e30), shade(false) { }
    };

    /// Immediately trace a ray from P in the direction R.  Return true
    /// if anything hit, otherwise false.
    virtual bool trace (TraceOpt &options, ShaderGlobals *sg,
                        const OSL::Vec3 &P, const OSL::Vec3 &dPdx,
                        const OSL::Vec3 &dPdy, const OSL::Vec3 &R,
                        const OSL::Vec3 &dRdx, const OSL::Vec3 &dRdy) {
        return false;
    }

    /// Get the named message from the renderer and if found then
    /// write it into 'val'.  Otherwise, return false.  This is only
    /// called for "sourced" messages, not ordinary intra-group messages.
    virtual bool getmessage (ShaderGlobals *sg, ustring source, ustring name,
                             TypeDesc type, void *val, bool derivatives) {
        return false;
    }

private:
    TextureSystem *m_texturesys;   // For default texture implementation
};

OSL_NAMESPACE_EXIT

#endif /* OSLEXEC_H */