By taking and passing the broker's exam, you will then be free to start your own real estate agency and collect commissions from the real estate agents who work for you. Because most brokers take between 20 and 50 percent of an agent's commission, it pays to become a broker yourself—and not just because you could make an extra buck, but because you won't be losing out on the money you... Real Estate Broker from Stanton, California replied almost 5 years ago In addition you should create a employment agreement, as to how you will structure employees.
Opening a real estate firm in Florida is a lot more than an ability to sell property. It requires a business plan, the proper licensing, investment funds and a strong marketing strategy to open an office and lure clients who are looking to sell and buy real estate.


Wow. A month. I've had her a month, although a short month, because February. It's amazing how much Hilda has grown in just a month, and how much she's changed. She makes less noise for less time in the crate now, and she's mostly decided that I'm not a chew toy. When she decides to pay attention to me, she'll sit, at least some of the time. She's mostly got that parking happens outside, and all the accidents have been full bladder or too much excitement and an emptying bladder. I'm starting to catch on, meaning that I'm pretty much catching her right after she's done the deed. And, usually, it isn't much she's let loose either. i call this a win. No puppy poopy in the house since the second day either. Definite win. I wonder idly, however, if puppy poopy is usually softer than adult dog poopy. Hilda's is, though it's still able to be picked up, but yeah, pretty soft. One friend opines that GSD's have softer stools than labbies, a thing on which I have no opinion.
I've had a lot of this and that to do this week, and today was the first pretty nice day that I could go out for a walk around the block with Hilda. I don't know if it wore her out or not (I suspect not), but it sure wore me out! Pretty exciting stuff for a puppy…she was over here, and over there, and behind me, and circling behind me, and getting kicked in the nose from being right behind one foot or another, and hey, what's that over there, and jumping. We'll get the hang of this sooner or later.
Mealtimes. Oh, mealtimes. My goal is to have her sit for a second or two waiting for a release phrase before she eats. I've been having her sit, and then immediately giving the release as soon as the bowl hits the ground. This week, mealtimes are getting a little harder. Now, I want her to sit, and stay seated for even just half a second before the release. The first time I introduced this, she barked and yowled like someone pulled her leg off. And I thought, mealtimes are going to be noisy for a while. We've got things down to a little whine, only four days later, and she's actually sitting with a minimum of restraint. I started with having the bowl up, then when she sat, I held her back as I put the bowl down. If she jumped and carried on, we started over. Eventually, once I got a sit, and relative quiet, I'd let her go. I think she'll have this down shortly.
Vet check at 12 weeks has her at 19 pounds, 8 oz. She's getting tall! The teary eyes are probably just from dirt, since puppies get into pretty much everything, and the vet sees nothing to worry about. That left ear is starting to stand up straighter again most of the time. I'm also noticing that her fur is starting to change, being coarser down her back and tail, and longer on her chest and the backs of her hind legs. She's still got a lot of downy soft puppy coat too, but I can definitely see that that will be on the way out. Also, maybe I'm crazy, but her head is changing shape, too. Earlier, it was more round…hard to explain. Now it's getting longer from back to front, more like what I usually expect for a GSD head.
I've also discovered that, while you can definitely handle her feet as much as you like, the clippers make her a little nervous. And she wants to try to take the brush in her mouth. However, a bully stick (yes, I know what those are) makes everything better. You can brush or clip or what have you as long as she's got one of those to chew on. If that will help with positive associations, well, all right then.
Puppy kindergarten starts on April 10.
And that's about all I've got to say about that.
There really isn't a lot to say about the last few days. Progress will probably be incremental, rather than in leaps and bounds. Still, progress is progress.
Not at all incremental is how Hilda is growing. Stepping on the scale with her Saturday tells me she's something around 18 pounds. And probably needs her food intake increased again. Which we've done. As predicted, her coat seems to be lightening, according to Alena anyhow. She still has soft puppy fur. And, since Thursday, her left ear is drooping at the end again a little, but that's coming back up, too. We've also noticed watery eyes, so we'll ask the vet about that on Friday when she gets her 12-week shots and they see a stool sample.
Thursday, we had visitors. Heidi, who has another of Sharon's dogs, came over with her family to help with annoying paperwork and to play with pups. They even brought pizza. They did a nice job of wearing out the pup, too.
Sunday, I had an activity with Alena, which meant I was going to be gone longer than the usual or recommended time. All together, we were gone for over five hours, so I opened up the big crate and stuck some newspaper in it. Yeah, all that junk mail is handy. She was sure to express to the newspaper her displeasure at being penned up, as we found lots of shredded newspaper thrown out of the crate. Fortunately, however, we also found soiled newspaper where we expected to find it, so all was well. I think taking her around the block helped to tire her out for that, at least, I hope so, because it sure tired me out! She of course wanted to go here and there and check out dogs she heard behind doors. She jumped. She stepped in front of me, and consequently got stepped on more than once, but she's no worse for it. We've definitely got a long way to go before walking with Leno will be fun and easy. We did, however, make it the whole way around, if not exactly gracefully.
By the way. Long-lasting bully sticks? Don't believe a word of it. Leno finished one in five minutes or less. Hilda took a bit longer, but still made short work of it. Fiona got one today, and she was not well pleased when I took it away after about 10 minutes. These things must be like doggie crack, because all the dogs just love them. I find this vaguely disturbing, considering what they're made out of. There's probably a subtext in there somewhere which I don't really care to examine.
I swear she grew overnight. Seriously, Hilda's collar, which has her name and my cell number on it, was maybe a little big for her, but not so much as to not use it. It's less big this morning than it was yesterday evening, I swear it's true. Also, Alena tells me she's more brown than black. I should get another picture to compare between today (well, OK, tomorrow) and earlier pics. Sharon did say her coat would lighten before darkening again. It's kind of interesting really. It's especially interesting to see such drastic changes so quickly.
Still getting the hang of this puppy park break schedule thing. That would be both of us, but more me than her of course. Still, it's better, and when there's peeing on the carpet, it's not a flood or anything like that. I think we're both getting the hang of this thing.
I think I might have found something that gets her attention. At least, it does today. Tomorrow? Who knows? But Leno has several of these plush ducks that quack. There's a little box in there that, when pressed juust right, quacks. No doubt it runs on some tiny battery that will die eventually. Anyway, besides the ducks, I got a frog that croaks, and I pulled that out. When it croaked, Hilda came to see what it was. I'll reserve that for helping to get her attention to teach her to come to me. Which sounds like a brilliant plan today, but will maybe not work tomorrow. I also wonder at what point she'll decide that it's a lot more fun to disembowel such toys.
We also confirm that Hilda is, in fact, fearless. While she did bark at the vacuum, with the same bark as she used to call out the cats, she took a treat that I sat on it, and, while she did back away from it a little when I turned it on, she also approached it shortly after. Then later, when I had it going in front of the crate, I let hereto of the crate, and she casually walked over to the toy basket, grabbed a bone, and started chewing on it while I vacuumed the floor just a couple feet from her. I'm not sure how much more clearly she could have said, "Nope, couldn't care less about that thing" than that.
Something I heard this morning put it all into perspective. A puppy is like a toddler. Needs lots of sleep but doesn't want to take a nap, and will thus complain a lot when you try to put her down for one. Yeah, that analogy works for me.
She sure is headstrong though! She wants to chase the cats. Very badly. My cats are unfortunately too nice, however, and she has now pinned both of them, and neither of them gave her a "Listen here, we mean business, now stop it already" snootful of claws. I really wish one of them would though. Or that I could convince her that chasing down the cats is not in her best interest.
In order to try to get some energy off her, we went for a short walk. No problem with the cane, she didn't seem to pay that any mind much, but everything else was dead interesting of course. We were able to keep her mostly moving in a mostly forward direction about halfway around the block, then when she started stopping to, I don't know, eat dirt or something and not moving in a forward (or any other, really) direction, we figured she was getting tired, and, like a toddler, didn't want to admit it. Don't let anybody tell you that 10-week-old GSD puppies ain't heavy. I got maybe another 1/4 a block around before I had to just walk and hold her in both arms and pray I didn't trip over something, which I didn't, because it was the sidewalk on my side of the block. No loose dogs out, so it was all OK. I know there's some concern about her getting something before her final shots, but she did just have her second round not long ago, and she's going to have to see some of the world besides our driveway. Also, I hope she's tired, because I sure am.
It's been an eventful couple days. First, thanks for the encouragement on pretty much everywhere…facebook, twitter, comments, it's really helped a lot to know this is all pretty normal.
This morning on Pet Life Radio, a rerun of one of their shows, in fact, one of these, talked about how your puppy can be interested in lots of things more than you, and how puppy being interested in dirt was a real blow to the ego. Yeah, that was kind of appropriate. There are a couple of shows I really like on Pet Life Radio. Teoti's is one, another one is It's A Doggy Dog World, and of course Working Like Dogs. Other interesting stuff there too. But I digress.
Yesterday was a water day, I guess. Water coming out of a dog, water on the floor. Hilda peed a bucket in the crate. Twice. My timing appears to be a little off. But that's even getting better, because accidents today were very minimal and I got it together. She also dumped over a full bowl of water. Twice. Two different times. I'm here to tell you, that's not a whole lot of fun.
Once, she got away from me in the kitchen when i didn't have ahold of her leash, and she went after Jasper. She wrestled him to the ground, they rolled around some, somehow got back to me, I rescued Jasper, and he ran off. I'm not sure what he thought of the encounter, but he didn't make any noise at all. No yowling or snarling or spitting in protest. I suspect if she got into it with Abigail, Abigail would be a lot less likely to be intimidated by her antics, anyway.
In good news, she's chewing on me less, and also trying to chew on her leash less. My fingers are thankful. So are my toes. Also, it looks like she is capable of climbing stairs. She went about halfway up before I picked her up. I'm pretty sure she'd have made it the rest of thew ay. Sharon doesn't recommend letting them go down for a while yet, to help ensure good hips. I did let her go down the front steps, just to see if she would, and she did, hesitantly, but without any problems.
I guess it's also safe to say Hilda still thinks I'm OK, even if my role lately has been "the guy who puts me in the crate and pulls stuff out of my mouth". She definitely came over to me more and lays down to relax and chew on a bone next to me.
I'm amazed at how she's growing, too. Her head is up to my knee if she sits up her tallest. She's got to be getting past 15 pounds if not closing in on 20, but I'm not sure. I'll have to see.
Just for fun, I let her run and chase Abigail. Again, wrestled Abigail down, Alena said Hilda was beating Abigail up. No complaints from Abigail. The palayed chase, Abigail ran into the basement, Hilda waited for her to come back up, and off they went again. I don't think they're going to have a problem.
Make no mistake, this isn't Hilda's fault. Maybe not even mine. It's just been one of those days. The thing is, I kind of thought about not writing this entry at all, but then, thinking about it some more, I decided that it would be disingenuous of me to leave it out. What good is documenting an experience if it's all positive and whitewashed?
The thing is, if not for just a bunch of things stacking up today, this probably wouldn't be anything at all. The whole keeping on top of an active puppy (one who just had some nasty diarrhea this morning, besides) combined with a bunch of runaround and what not with melanie's care, I sort of started feeling like the guy juggling plates, or better yet, flaming torches, and being just about to drop one. So as Hilda and Leno and Fiona barked and growled and played and had a high old time, and then as I spent lots of time telling Hilda she couldn't chase the cat, and oh…did she just pee?!, And no, you can't go there, and ouch, here, chew on this instead, and no, don't eat that, and Hilda, over here, this way, c'mon, there's a girl (as she stared fixedly at a cat, or Leno, or god only knew what and blithely ignored me), and Sorry Hilda, you have to go in the crate, yes again, I thought, wow…this dog thinks just about anything is more interesting than I am! Where did I go wrong?
Yes, today was a day with a bit more crate time than usual. Some of that was having to do stuff that wouldn't allow me to give Hilda proper attention. Later, some of it was as much to preserve my sanity as anything, because really, I just didn't have the energy for one more "Off" or "keep the puppy from chasing the cats" or whatever. In short, my brain was in serious danger of going into meltdown. Which then of course made me wonder if I was well on my way to breaking the puppy. You know, everything on the critical puppy periods stresses how, well, critical it is that puppy's experiences are very positive, and how some mistake or other could scar your puppy for life, or…well…just lots of ways things can go very, very wrong. So had a brief chat with a couple of folks, both of whom assure me that puppy is just being a puppy, not to worry, everything is fine. Which helped a little, anyway.
The awful truth? I don't have a clue what I'm doing! You know how they say that kids don't come with a user's manual? I guess puppies don't either, although there's lots out there that is supposed to be helpful. It probably is, but, like kids, I guess puppies don't come with user's manuals either. I guess, about like everyone else, I'll muddle through the best I can.
What made me think this was a good idea? I'm not sure, but I'm sure it was a good idea anyway. This is just a bit of a rough patch. Puppy is just being a puppy.
I guess it was bound to happen sometime. After eating only most of her breakfast, we went out, and I heard the sound no one likes to hear. No, the other sound that no one likes to hear. Twice. No wonder she drank so much right before. I think maybe we'll take it easy today. Though, fortunately, no more happened since this morning at around 7.
Looks like it might be one of those days. That is, if so far is any indication.
I've got the spare room so that there shouldn't be anything that Hilda can get into (umm…yeah, good luck with that, right?) So we may do some stuff in there without a leash and see how it goes. That may, however, be tempting fate. Last night at about 12:30, I woke up to loud Hilda complaints. I thought, well…she didn't go much on our last trip, maybe she's got to go. Well, turns out she done went, and the crate contained the contents of a pretty full puppy bladder. I'm not sure from where, since she hadn't had water for quite a while. So out we went, we got another park, crate got cleaned up, back to bed we went.
We went out in the morning, she didn't seem to want to do much. Got another park eventually, but she didn't want breakfast. OK, I've heard of this, so we'll just eat later. All good. After futile attempts to chase the cats, back into the downstairs crate so I could take care of Leno and feed the cats, and of course the whole time keeping an eye on Alena as she got herself together for school. Off to let her out, and again, the contents of a puppy bladder. Now she's waiting upstairs, since I just cleaned the downstairs crate and now need to take care of my breakfast.
If you're walking, and the puppy stops for no reason, there's a reason.
OK. Pretty obvious, right? Well, like I said.
Today I got leashes and the training collar from Handcraft Collars. All made out of black tubular nylon, which isn't tubular at all, so I'm not sure why they call it that…someone explained it but I still don't understand. Anyway, Debbie at Handcraft tells me that this is the stuff the mountain climbers use, and it doesn't burn your hands the way standard nylon webbing can do. The training collar is an adjustable Snaparound Training Collar, the so-called (but not really) Volhard collar, popularized by the Volhards, who have used it in training for ages. While it's true she's still young for a training collar, and this one's a little too big for her, it won't be too big for her for long. I really want to know what the snap they use to close the collar is called, as I think it might be the perfect thing for a removable harness handle, provided it can be welded to the ends of a harness handle to keep movement to a minimum. The shortcoming in most commercially available guide dog gear I've seen, or seen descriptions of, appears to be the handle and its attachment points, in my opinion. With traditional bolt snaps the way they're often used, there are way too many spots where something moves…but I digress. The leashes are the exciting thing. The short leash, I got them to make up like a standard guide dog leash, meaning it can be folded in half to make a short leash for working, and then unclipped to make the leash longer for parking or what have you. However, instead of using two rings, I just had Debbie use one ring for the short leash position, then put the handle through a second bolt snap, so making a long leash involves only unclipping the bolt snap. One step instead of two. She'd never made one like this before, but it's exactly right. The other leash is a standard 15-foot long leash, which will be nice to give Hilda a bit more freedom but still have some control or at least knowledge of where she is.
The long leash may help address my next challenge: getting (and keeping) Hilda's attention. The stuff I've read suggests that getting your dog to come to you can be easily accomplished by running (or anyway, moving) backwards, away from your dog, which will theoretically make your dog follow and come towards you. This isn't exactly easy to do with just four feet of leash. Still, getting her attention when she's fixated on, say, a cat, or pretty much whatever isn't me, is my next challenge to overcome.
Besides "Sit" and "Down", and she's really getting "Sit" nicely, being that she is expected to sit before I put her meals down, I'm teaching her to touch my hand with her nose. I figure this is maybe good substitute for people who have a command to have their dogs look at them. Clearly that won't work for me, so I have to figure out some other thing.
Panic, twice, both today. Once, I had Leno out, and I had Hilda out at the same time. This was because I had to take Leno out, but I didn't really want to put Hilda in the crate yet, because I figured she'd have plenty of time there. Anyway. Dropped her leash by accident and had an OMG you idiot moment, but she didn't go far. A similar thing at the crate later. Took the collar off, let go of her, she walked off, I called her, and she came running back. Whew…can't count on that just yet though!
The first full week is almost up, and we've come a long way.
The big thing we're working on is chewing on toys, not on me. She still really, really wants to chew on me, but she's starting to get that I'd rather she didn't. She's also stopped trying as hard to chew on the leash.
I'm also seeing lots more quiet periods in the crate. It could be that those are happening while she naps, but at least she's comfortable enough to fall asleep instead of just expressing her displeasure full time.
She's also sitting for meals, which is great!
Housebreaking is just super. Each accident was very definitely my fault, and those have been very, very rare. One poo in the crate yesterday, and pee today, but! With the pee today, she was very definitely trying to rush outside. It was I who was slow. She was seriously trying very, very hard to get to the door. Proud of her! And it wasn't very much she got out either.
We're still exposing to "sit" and "down", and adding "Off" to the mix, because she's started jumping onto the food buckets. And the chairs. And jumping at me and Alena sometimes.
For a first week, she's sure learned a lot and made a lot of huge adjustments. This dog is just full of potential, I can already tell that!


With more than 63% of the audience surf internet over their handful devices like- Tablet, Smartphones, and Phablets, your customers have already changed, & you can't afford to lose this huge number. But, it's also a fact that your broken and ugly site on mobile is not gonna impress these users anymore. You just have less than a second of time. If a user browses your website over their tablet or Smartphone, they must have easy and trouble free experience.
And this is what responsive designing services do by exploiting the fluid grid layouts and fluid graphics, which targets the width of in-use browser and resolves the appropriate website display for the accessing devices starting from desktops to laptops, tablets to smartphones and more.
Recommended By Google– Google states that responsive web design is its recommended mobile configuration.
Highly Flexible– Since responsive websites are fluid, content can freely move adjusting the size of the device.
Excellent user experience– With people are short on time, a responsive website reduces their manual efforts of searching things and serve what exactly then need on their preferred device.
Low on budget– With one website compatible with all the devices, you'll have no expenses of creating the website for each device particularly.
Reduces the bounce rate– Since a responsive website is designed with optimal user experience, regardless of the device website is being searched on, it's pages automatically gets scaled according to its size. And the user gets the exact information that they require.
Responsive Website Design Company: With responsive web design solutions, you can technically changeover your website to convene Google specified mobile optimized recommendations.
Why choose Responsive Website Design Services of IS Global Web?
Being a full-fledged responsive design and development agency, we can help you have a website which is attractively designed and technically appropriate to meet your all marketing goal. However, if you already have one, we can optimize it and make it more responsive.
Our technologically advanced team of responsive website designers, mold and resize your website according to the mobile devices so that they could omit highly functional browsing experience. It means that on all on-the-go devices can have a smoother view without facing display issues.


Students currently enrolled in Music Theater Dance I may continue and we welcome new students to join us!! The Music Theater One Dance class for ages 6-9 encompasses studies in Broadway style dance, vocal preparation and acting techniques. Each genre will be taught within the hour focusing on basic dance warm- ups, choreography, vocal scales, Broadway songs and improvisational acting skills. Students will learn the fundamentals of how to audition for musical theater. Students will be prepped to audition for leading roles in upcoming showcases. All pieces for the showcases will contain singing, dancing and character work. This class helps prepare young students to audition for theaters in the community by allowing them to feel more confident about pursuing roles in any musical theater production.
Jennifer studied ballet, pointe, tap, jazz, lyrical, modern and hip-hop genres at Body Language Dance Studio, one of the top competitive studios in New York, and was a member of Stony Brook University's dance company throughout her college career where she worked with choreographers from NYU, Julliard, Joffrey Ballet, Alvin Ailey and Yale. After graduation, she returned to Body Language Dance Studio as their Junior Dance Company instructor and danced professionally with groups throughout New York City and Long Island. Jennifer continued her dance career after moving to Nashville and became the St. Cecilia Academy Dance Program director, Musical Theatre choreographer, and dance instructor. When Jennifer moved to Wichita she taught tap, jazz and ballet at Northwest Dance Academy and created their very first musical theatre dance program. She currently teaches English at the Independent School and is thrilled to continue teaching musical theatre dance here at The Wichita Center for Performing Arts!


IPL: Stop the Run Chase!
As the most popular T20 league, the IPL, takes over everyone's lives for the next 6 weeks or so, there is an IPL game in town that will take over everyone's social media lives.
With the IPL frenzy ongoing, Expedia India have launched an IPL based game called 'Stop the Run Chase!'.
The objective of the game is exactly as the name suggests - one needs to stop the runs from flowing and keep the points total down to win.
Interestingly, no team has been able to stop the run chase in the IPL yet with Mumbai Indians, Delhi Daredevils, Royal Challengers Bangalore, and Rajasthan Royals all failing to defend their totals.
However in Expedia's IPL game you can defend! All you have to do is tap on the 120 balls that are hit to different parts of India and defend your score.
It is quite an interesting and unique game that will keep IPL fans engaged on social media as they play to better their friends.
The balls coming your way are being hit towards different parts of India - specifically the 8 cities that are represented in the IPL. And your role is to stop the balls and keep the score low.
To obtain top position, you need keep the points total to under 120. And if your points total is above 360 you are at the bottom of the pile.
The different ranks are associated with the IPL teams based on their rankings in the previous edition of the IPL.
Can you beat the defending IPL Champions, the Mumbai Indians?
Play Expedia India's 'Stop the Run Chase' and find out if you can keep the total below 120 to be ranked top!
If you thought the IPL was exciting, you haven't experienced this IPL.


This entry was posted in Humor & Pathos, Personal Musings, They Have Touched My Heart, Thursday Re-View and tagged addiction, angel, mental health, therapy. Bookmark the permalink.
You would have loved her feisty spirit and 'take no prisoners' attitude. But once you gained her respect, you never lost it. She died content with herself for the first time in her 40 plus years. That she could genuinely smile after living so long in a mental hospital was a tribute to her as a survivor.
Weeping here…but in a good way. We are kindred spirits in many ways. Bless you!!
Yes, that we are, my friend. You understand the 'good weeping' – this work is sacred ground.
It is such a challenge, Michelle, as your daughter undoubtedly knows. "Dual Diagnosis" – substance abuse combined with a mental illness. Where I did an internship awhile back, I had the option of not treating clients until they were 'clean and sober,' but that is not reality any longer. It is difficult to know where one ends and the other begins, along with which issue began first. Send along my best to her (as well as you).
Man, what a story. I don´t know how you wake up and go to work day after day. I´m sure glad there are good people out there that try to help in their own way bad people, that includes me. I have a social worker which took also care of me long time ago plus some legal problems here and there, no biggy though. I myself now find it depressing to go and see the social worker, but still have to by the state. You guys must have a thick skin, sort off like doctors operating on the ER.
No "bad people," maybe just people who've made some poor decisions. Those of us in this type work believe in people's ability to change; there is always hope in life – always. I consider my work to be a privilege, sacred ground. I have learned as much from my clients/patients as I hope they have learned from me. Good luck!
Bad people was a poor choice of words since I don´t consider myself a bad person, quite far from it. But sure made bad decisions and substance abuse probably has to do with a lot of them.
I´m sure glad there are people out there like you.
Thanks, been sober for some time now. But know the life and is not fun.
A truly beautiful story. You are/were a wonderful therapist.


Celtic Woman, the Grammy -nominated, multi-platinum international music group announced its return to North America with a brand new live show, Ancient Land. The tour announcement comes on the heels of the release of the 13th studio album of the same name. Celtic Woman will visit nearly 70 North American cities in 2019 including one performance at Monroe's WL Jack Howard Theater on April 24, 2019. Celtic Woman Ancient Land will go on sale to the general public on Wednesday, October 24.


New Zealand Vintage Computer Forums • View topic - Can anyone recommend an sdcard system for an Apple 2?
I spent ages tonight trying to work out why my Apple 2 wouldn't load files properly.
Turns out on the old 2's you had to load dos first.
Anyway who want's to screw around with dirty disk drives?
Re: Can anyone recommend an sdcard system for an Apple 2?
This card is pretty good Matt, although it's not cheap!
Wow they all cost a fair bit, but that's fair enough.
I wonder if there's one I can parallel with a drive, such that the drive makes the right noises, but the actual code loads off an sdcard.
I'm tempted to just build one myself.
There's a fair bit of code online about this.
What would be cool is if it could connect to home network via WIFI and you could go to a page on a tablet and select the disks you want to insert.


Very nice place, friendly personal, and real good food!! We were in 5 and all of us liked everything we had ordered!!
Good restaurant in the heart of Trastevere. A convenient place to have pasta or antipasti.
Good pasta, excellent carbonara! The coda alla vacinara was poorly re-heated, cold by inside ????
Wonderful location! Lovely and good food! We tried Trippa romana, Saltimboca,Tiramisu. It was great.Reasonable prices. Super Aperol Spritz!
Smaller than expected (from the photos), still very nice place for a quick lunch! food was good, drinks were good!
The food was incredible. The service was fast and able to communicate well in English. Amazing place to eat in Trastevere.
Buonissimi i primi, carbonara e gricia.....super!!
-30% on « MENU' DI PASQUA », or € 35,00 instead of € 50,00!
Restaurants around "Belli all'angolo Hosteria Caffè"


The old walking foot does not fit the new Janome sewing machine. At some point I will have to splash out and treat the new machine to some feet all of its own but right now that is just something else to add to the wish list. Instead armed with screwdriver in one hand, instruction booklet in the other and hoping for some luck I went back to the broken Singer to see if anything could be done to fix it. After a lot of poking, prodding, cleaning, removal and replacement of bits I crossed my fingers and switched on the machine. Everything whirred and hummed as it should so the next step was to thread it up and actually try to sew something Thread wound onto bobbin no problem, bobbin dropped into place just as it should. Cotton reel on the machine, thread it up correctly, put some scrap cotton under a new needle and off we go. It works perfectly, no fuss, no nonsense no skipped stitches. I ran it through its list of stitch designs and it was happy with them all. I swapped the general sewing foot for the walking foot, took a deep breath and started to stitch. No problems.
I layered up the quilt squares I had made as a test for the Janome and did some very basic quilting on them, the quilting line is 1/4" each side of the seam and give the effect of a square inside the 2"squares with a smaller square at the intersections. Four done so far with another eight to go. They will be joined using a technique learned in a Craftsy online course taught by Ann Petersen.
I have been exteremly lucky and the tumble I took while carrying the sewing machine seems to have left both of us with no long term damage and as i was treated to the Janome to keep me sewing while the Singer was fixed I now have one machine always set up to piece and another to quilt.
where lots of other people are also showing what they have been up to recently. There is some very interesting stuff to look at over there.
And another friend lives near her--in Kingsteignton. Its amazing how the world gets smaller with the internet!
Its winter here on the plains of the Midwest--its been warm the last few days and cold is coming. Much colder than the UK in winter. And summers are much hotter--land of the extremes!


text:
package org.apache.activemq.artemis.core.protocol.core.impl.wireformat;

import java.util.Arrays;

import org.apache.activemq.artemis.api.core.ActiveMQBuffer;
import org.apache.activemq.artemis.core.persistence.Persister;
import org.apache.activemq.artemis.core.protocol.core.impl.PacketImpl;
import org.apache.activemq.artemis.core.replication.ReplicationManager.ADD_OPERATION_TYPE;
import org.apache.activemq.artemis.utils.DataConstants;

public class ReplicationAddTXMessage extends PacketImpl {

   private long txId;

   private long id;

   /**
    * 0 - BindingsImpl, 1 - MessagesJournal
    */
   private byte journalID;

   private byte recordType;

   private Persister persister;

   private Object encodingData;

   private byte[] recordData;

   private ADD_OPERATION_TYPE operation;

   public ReplicationAddTXMessage() {
      super(PacketImpl.REPLICATION_APPEND_TX);
   }

   public ReplicationAddTXMessage(final byte journalID,
                                  final ADD_OPERATION_TYPE operation,
                                  final long txId,
                                  final long id,
                                  final byte recordType,
                                  final Persister persister,
                                  final Object encodingData) {
      this();
      this.journalID = journalID;
      this.operation = operation;
      this.txId = txId;
      this.id = id;
      this.recordType = recordType;
      this.encodingData = encodingData;
      this.persister = persister;
   }

   // Public --------------------------------------------------------

   @Override
   public int expectedEncodeSize() {
      return PACKET_HEADERS_SIZE +
            DataConstants.SIZE_BYTE + // buffer.writeByte(journalID);
            DataConstants.SIZE_BOOLEAN + // buffer.writeBoolean(operation.toBoolean());
            DataConstants.SIZE_LONG + // buffer.writeLong(txId);
            DataConstants.SIZE_LONG + // buffer.writeLong(id);
            DataConstants.SIZE_BYTE + // buffer.writeByte(recordType);
            DataConstants.SIZE_INT + // buffer.writeInt(persister.getEncodeSize(encodingData));
            persister.getEncodeSize(encodingData); // persister.encode(buffer, encodingData);
   }

   @Override
   public void encodeRest(final ActiveMQBuffer buffer) {
      buffer.writeByte(journalID);
      buffer.writeBoolean(operation.toBoolean());
      buffer.writeLong(txId);
      buffer.writeLong(id);
      buffer.writeByte(recordType);
      buffer.writeInt(persister.getEncodeSize(encodingData));
      persister.encode(buffer, encodingData);
   }

   @Override
   public void decodeRest(final ActiveMQBuffer buffer) {
      journalID = buffer.readByte();
      operation = ADD_OPERATION_TYPE.toOperation(buffer.readBoolean());
      txId = buffer.readLong();
      id = buffer.readLong();
      recordType = buffer.readByte();
      final int recordDataSize = buffer.readInt();
      recordData = new byte[recordDataSize];
      buffer.readBytes(recordData);
   }

   /**
    * @return the id
    */
   public long getId() {
      return id;
   }

   public long getTxId() {
      return txId;
   }

   /**
    * @return the journalID
    */
   public byte getJournalID() {
      return journalID;
   }

   public ADD_OPERATION_TYPE getOperation() {
      return operation;
   }

   /**
    * @return the recordType
    */
   public byte getRecordType() {
      return recordType;
   }

   /**
    * @return the recordData
    */
   public byte[] getRecordData() {
      return recordData;
   }

   @Override
   public int hashCode() {
      final int prime = 31;
      int result = super.hashCode();
      result = prime * result + ((encodingData == null) ? 0 : encodingData.hashCode());
      result = prime * result + (int) (id ^ (id >>> 32));
      result = prime * result + journalID;
      result = prime * result + ((operation == null) ? 0 : operation.hashCode());
      result = prime * result + Arrays.hashCode(recordData);
      result = prime * result + recordType;
      result = prime * result + (int) (txId ^ (txId >>> 32));
      return result;
   }

   @Override
   public boolean equals(Object obj) {
      if (this == obj)
         return true;
      if (!super.equals(obj))
         return false;
      if (!(obj instanceof ReplicationAddTXMessage))
         return false;
      ReplicationAddTXMessage other = (ReplicationAddTXMessage) obj;
      if (encodingData == null) {
         if (other.encodingData != null)
            return false;
      } else if (!encodingData.equals(other.encodingData))
         return false;
      if (id != other.id)
         return false;
      if (journalID != other.journalID)
         return false;
      if (operation != other.operation)
         return false;
      if (!Arrays.equals(recordData, other.recordData))
         return false;
      if (recordType != other.recordType)
         return false;
      if (txId != other.txId)
         return false;
      return true;
   }
}

redpajama_set_name: RedPajamaGithub


This week has seen another wave of appointments and departures at brands, media owners and agencies. The Drum has rounded up the key moves from the EMEA, APAC and North America regions below. This week's features moves at Mother, Huawei, Huge London, SpotX, Clear Channel and Dentsu Aegis Network APAC.
Huge London has appointed a trio of creative directors. HariBajwa and Patrick Lendrum have joined the agency from AKQA. Cátia Oliveira has moved over from Nike to take up the newly created design director role.
SpotX, the video advertising and monetisation platform, has recruited Graeme Lynch as head of demand. Lynch will oversee SpotX's agency development and demand operation teams with a view to deriving increased revenues from UK publishers, broadcasters and app developers.
After recently opening its London office, JustWatch has got Toby Smith on board as head of sales UK. He joins the company from Venatus Media and will lead the setting up of a team to work closely with its clients in London.
We Communications has shaken up its leadership team.Kass Sells has been elevated from president of North America to global chief operating officer and president of international, and Dawn Beauparlant will add president of North America to her current responsibilities as chief client officer.
Clear Channel has added MT Rainey and Joe Marchese to its board, as it prepared to separate from iHeartMedia.
Dave Day is leaving Pablo to join Crispin Porter & Bogusky London as its executive creative director.
Former Publicis Media chief executive EMEA, Iain Jacob, has become Cinema First's chair.
HeyHuman has appointed John Frood as executive planning director. Frood will work closely with HeyHuman's neuroscience team.
Kelkoo Group has hired Vincent Vaussion as its global partnership director. He will be responsible for developing partnerships with merchants looking to target customers through Google shopping ads.
Olivier Lefebvre has been promoted to president and partner at FF Paris.Lefebvre joined FF in 2014 as executive director.
Monetate has appointed Brandon Atkinson as chief operating officer. Atkinson was most recently senior vice president, global services at AppNexus.
Mother has promoted Susan Hosking and Peter Robertson to executive creative directors, International. They will work across the Mother offices to help with international opportunities, the development of talent and growing the brand.
Mixcloud has hired Joseph Strinati as business director of brand partnerships. He has been tasked with growing Mixcloud's commercial relationships with both existing and new clients, globally.
Tom Stevens is to lead marketing for Pride in London.
Jo Rigby is to lead global business development and marketing at MediaCom. Rigby was previously global head of marketing and new business at Vizeum.
Greg Womack has been appointed by Merkle to the newly-created role of vice president of enterprise sales. He joins the agency from Adobe, where he was director of strategic accounts.
Alex Roper has joined Clemenger BBDO Melbourne as the newly-created head of planning. Roger first joined the Dentsu-Aegis owned network in August 2017, after five years as strategy director at M&C Saatchi.
Candice Lester has joined Huawei as head of PR and communications for Australia and New Zealand. Lester was previously corporate affairs manager for Optus.
Ex-McCann general manager, Nicole Gardner, has joined Edge as its executive director, account management. After leaving McCann in 2017, Gardner took up the position of head of account management at Quantcast.
Vanessa Nicol has been appointed as managing director for CHE Proximity. She was previously a managing partner at Clemenger group.
Hootsuite has hired Heather Cook as managing director and head of sales. Pamela Kemp is also joining as head of marketing.
Merkle APAC has appointed Frank Zhang as chief operating officer. He will take on this new role in addition to his current role as senior vice president and general manager. Merkle has also appointed Ted Bray as managing director of Merkle Southeast Asia.
BBDO China has promoted Angela Gao from senior planner to planning director.
Paul Kent has been appointed as Sizmek's APAC commercial director. Sizmek has also hired Heidi Monro who will take up the role of sales director in New South Wales.
Baxter International has hired Bella Ling-Nair as director of communications for APAC and Greater China. Prior to this, she was head of communications for Airbnb Greater China.
MasayaNakamurua has been promoted to deputy chairman and chief growth officer for Dentsu Aegis Network APAC. He will report to TakakiHibino, who has been promoted to executive chairman.
Inskin Media has appointed Darryl Choo as head of sales for South East Asia. He will head up a newly expanded sales team and is responsible for driving revenue in South East Asia.
The commerce arm of the business will be led by Yi-Chung Tay, co-chief executive, VMLY&R Asia, who has moved to Singapore from Shanghai, China and Nick Pan has been appointed the managing director, Strategy & Commerce, while Sujay Kar takes on the role of group director, e-commerce, SEA & India.
The agency's content and media innovation will be led by Camellia Tan, managing director, Strategic Growth. The data and insights practice will be led by Hari Ramanathan, chief strategy officer & chief transformation officer, and Rajeev Lochan, who has transitioned to vice president, Insights.
Experience design and technology will be led by Donald Lim, regional head, Experience Design.
Goodby Silverstein & Partners (GS&P) has hired two creative leads. Matt Edwards and Wes Phelan will work on the BMW account GS&P won last March.
Mindshare, the WPP media agency, has hired a new chief data strategy officer. Shane McAndrew will help the agency further integrate data and analytics into its media planning operations.
Dagger has announced the hiring of Al Patton as chief creative officer, the first post of its kind since the 2013 inception of the Atlanta-based content agency. Patton joins Dagger from 22squared, where he served as executive creative director of the Atlanta office. Before that, Patton spent the better part of a decade at R/GA in New York, climbing the ranks to vice president, group executive creative director, while overseeing Nike and Samsung. In addition to R/GA, Patton has held creative roles at DDB, FCBi, DigitasLBi and Deutsch.
Ueno has hired Gillian Rode and Pen Stanton as executive producers in the agency's San Francisco and New York offices. The two will lead client services and project management in their respective offices.
Facebook's former head of creator partnerships, Lauren Schnipper, has been hired as Next 10 Venture's vice president of creator partnerships. Schnipper has been tasked with forging new creative partnerships and working on Next 10 Venture's EduCrator Incubator and the iflix Creator's Hub in Southeast Asia.
Stringr has appointed Drew Berkowitz to its leadership team as the newly-created senior vice president of sales.
George P. Johnson has hired Brian Neville as general manager for the Boston and New York offices. He will be responsible for ensuring success for agency clients, supporting agency growth, managing existing accounts and building teams.
Bazaarvoice has hired Joe Rohrlich as chief revenue officer. He has been tasked with leading the company's global sales, marketing and client success teams.
Rhapsody International has appointed Angel Gambino as its chief commercial officer. She will lead its business development, marketing, product and partner management teams in North America, Europe and Latin America.
Boston's Sleek Machine has made two hires to its creative department. Ashley Lawlor has joined as integrated producer and MikaylaBelson as art director.
Whalar has hired Olivia Stephens to head up its new tech, telco and auto division. Ian Forrester is also joining to head up its research and analytics team.
Gretchen Walsh has been named the newly-created managing director of McKinney Durham. Walsh has previously served stints in media planning, strategy and account management at McKinney.
The global digital performance agency announced the appointment of Doug O'Reilly as senior vice president, head of data and insights, a newly-created role to bolster the agency's data and insights capabilities. He will report directly to Mike Gullaksen, president, iProspect US.


text:
Lockport: Niagara County Detroit in the Buggy Age? | Lifestyles
By Donald K. Bowers	 On Dec 1, 2021
It is common to think of the Niagara frontier as just a maker of parts, not vehicles. Harrison Radiator / GM, the leading local car and truck parts maker founded in 1910 in Lockport, comes to mind.
The end of the horse and buggy at the turn of the 20th century was an innovative and creative era. A new industry centered around the automobile was launched. Buggy, bicycle and blacksmith shops built cars with engines, gas, electricity and steam. There was hesitation, experimentation, and the rise and fall of new companies as they tried to imagine, design and manufacture new vehicles to replace the horse.
Niagara County was a region of transport pioneers. According to my investigations, entrepreneurial engineers in the cities of Lockport, North Tonawanda, Niagara Falls, Gasport and Wilson have created more than 10 companies that produced complete vehicles during the period of transition from railcar to motor vehicle.
During the early days of the auto industry, Lockport, the vehicle production center of Niagara County, housed five of the companies: American Motor Truck Company, 1904; Secret Motor Vehicle Company, 1901; Lockport Bicycle Works, 1895; SBM Steam, 1901; and Fonderie Dussault, 1904.
It was a fast-paced business, and tooling, workers, and manufacturing often moved to other workshops, making it difficult to determine who was making what and when. There are rumors of other vehicles and there may have been a few prototypes. For example, an article by Clarence Lewis, a Niagara County historian, claimed that the first horseless steam car in the United States was built in the late 1800s by Elisha West, a Lockport resident, machinist and fitter. steam. There is a credible account of two tests of this first vehicle at Lockport. In tracing the story, I verified that West had a store during this time at 79 Market Street.
If you needed a motor vehicle you could do local shopping and the man who rode your horseless car lived in town.
Let's take a look at the pioneers and companies that made Lockport the hub of motor pushchair manufacturing in Niagara County.
American Motor Truck Company
Founded in Lockport, the main office and factory of the American Motor Truck Company was located in a large building on Caledonia Street near Gooding Street. At first, the company was involved with the Findlay Motor Company of Findlay, Ohio, and the two later merged.
In 1908, EB Olmsted was the vice president, overseeing the manufacture of trucks for agricultural and commercial use. The company also had sales offices in Chicago and San Francisco. Continuing its influence, the company exhibited at numerous national auto shows of the time.
Claiming to be "built for the transport of goods and passengers," American Motor produced a series of rugged-looking trucks, including passenger coaches, ambulances, delivery, patrol and chemical cars.
Secret Motor Vehicle Company
It was founded in 1901 by Byron V. Covert, a local hero and civic-minded businessman. He built an emergency quarantine hospital on the grounds of Lockport City Hospital in just two days, to treat those affected by the 1918 flu epidemic. Covert was also involved in starting Harrison Radiator.
Covert's first business was a bicycle store at 56 Market Street where he sold Columbia bikes and his own brand. The head office was then moved to 57-61 Richmond Avenue (Canal Street), and there is also a listing at 12-18 Richmond Avenue. The building at 57-61 Richmond Avenue was sold to Herbert C. Harrison, who founded Harrison Radiator in the same building. Later, a new and large secret factory was built at 91-95 Grand Street.
Secret automobiles manufactured from 1901 to 1907, fueled first by steam, then by gas. The bodies of the Covert cars were finished and painted by the Bronson Carriage Shop on Park Avenue (later the location of the Park Hotel). The cars were also exported to England under the Covert-Jacksons name. Covert had sales offices in Rochester and Detroit.
After 1907 the company was known as the Covert Gear Company. Covert continued to manufacture parts, specializing in transmissions. The last record dates back to 1933 when the company closed.
A Covert car, in restored condition, can be found at the excellent Wilson Historical Society Vehicle Museum.
Lockport Bicycle Works
In 1892, Fred W. Korff (also known as Korf) and Edward M. Bunce were listed as the owners of Lockport Bicycle Works at 58 Market Street. A Mr. Brice is also registered as involved in the development of this buggy, a lightweight horseless cart with bicycle wheels.
This unique automobile is not included for its practicality but for its inventiveness and creativity. I would call it a cart without horses; you can't call it an automobile because it didn't really have an engine. The feed method consisted of two large winding springs that could be continuously twisted as the vehicle moved.
Ancient automotive literature calls the vehicle the "Lockport". There is a sketchy story suggesting that two prototypes were produced. A descriptive road test in the Lockport Journal, October 17, 1895 edition, presented these highlights: "… the vehicle was exhibiting considerable speed … at the front are two small steel barrels which contain the springs." . ".
We must thank Korff and Brice for their experimentation and their daring while other emerging car manufacturers used gas, steam or electric engines.
SBM Steam
At the turn of the 20th century, SBM Steam, 86-88 Market Street, was producing steam cars and parts for steam vehicles. This company produced the engine for the oldest surviving Canadian automobile. The 4 horsepower, 2 cylinder steam engine was purchased by a Canadian company for the Neff Steam Buggy in 1901. In the same year, SBM produced a steam runabout.
SBM was named after the directors, Schaeffer, Bunce and Marvin. The company was rebranded as SB Steam and turned to selling motorless cars when Marvin left. The speculation is that Marvin had the rights to the steam engine.
Dussault Auto Works
Dussault Auto Works, 19-21 Buffalo Avenue, was founded by Albert H. Dussault, a former employee of Covert Motor Vehicle Company. An enterprising Lockport man, he had a series of businesses. In 1904 he opened a machine shop (Auto Works) and an advertisement in 1904 indicated that the shop made automobiles "to order". Dussault held a patent on a 3-cylinder engine of his design.
Dussault was also director of the Dussault foundry at 2-6 Washburn Street.
A 1927 business directory lists Dussault Auto Works selling automobiles at 53-55 Richmond Avenue.
In the transition to the automobile, the change came in the companies that supported the horse. In 1895, 16 blacksmiths were listed in the Lockport Directory; and by 1920, there were only six left.
The enterprising, self-taught engineers at Lockport imagined and created these first cars, participating in the greatest revolution in 20th century transportation history. Why did Lockport have so many early vehicles? Perhaps we can attribute it to geography and the Erie Canal. Due to the lowering of the canal at Lockport, it had accessible hydraulic power. Using the oars of the mill off the canal, many factories were built. Then steam and electricity followed.
As a result of this initial manufacturing, Lockport has developed a core of skilled and experienced inventors, machinists and craftsmen. Since it was a small town, the exchange of ideas was easier. Tracing the history of these early vehicles at Lockport, I discovered an interaction and movement between the workshops of the inventors. You can walk to all of the listed vehicle stores in 15 minutes, and even stop by the Harrison Radiator factory on Richmond Avenue for a tour. With early manufacturing, a concentration of the right people and mind, things turned out at the right time at Lockport for the fledgling motor buggy business.
Originally from Lockport, Jim Boles is the operator of Vanishing Past Press, whose goal is to develop, publish and market scholarly and culturally significant work relating to under-examined and unexplored local history. To ask questions or suggest additions to his list of local automakers, contact him at [email protected] Resources used in his research were provided by the Lockport Public Library, the Niagara County Historical Society, and the Wilson Historical Society.
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redpajama_set_name: RedPajamaCommonCrawl


text:
django-abo
==========

Recurring Payment / Subscription Handling for Django, supporting different payment gateways

**Currently django-abo is in alpha/beta phase, please use with caution!**

## Contribute

If you have a good idea or a specific problem, let us know! We'd love to get some feedback and we need more backends.

If you see a bug or want to contribute code in any way, please create a pull request on GitHub.

If you want to discuss changes (without comitting code), please create an issue on GitHub.

## Supported Backends

* [Paymill](https://www.paymill.com/)

## Installation

```bash
pip install django-abo
```

## Definitions

* *Plan* = something a customer can subscribe to, for example: "Premium Plan, 10$/month"
* *Subscription* = an actual subscription from a customer to a plan

## Usage

### 1. Setup settings

Add `abo` to your `INSTALLED_APPS`:
```python
INSTALLED_APPS = (
    # ...
    'abo',
)
```

Add these lines to your settings:

```python
ABO_BACKENDS = ('abo.backends.paymill', )
INSTALLED_APPS += ABO_BACKENDS

ABO_DEFAULT_BACKEND = 'abo.backends.paymill'

ABO_BACKENDS_SETTINGS = {
    'abo.backends.paymill': {
        'PAYMILL_PUBLIC_KEY': 'your public key',
        'PAYMILL_PRIVATE_KEY': 'your private key',
        'PAYMILL_WEBHOOK_HOST': ''  # hint: use ngrok.com for testing
    }
}
```

### 2. Setup URLs

Include the payment URLs in your `urls.py`:

```python
urlpatterns = patterns('',
    # ...
    url(r'payment/^', include('abo.urls')),
)
```

Now, open http://localhost:8000/payment/subscribe/

### 3. Optional: Custom templates

*django-abo* comes with it's own templates so you don't have to start from scratch.

You can override backend specific templates and generic templates.

1. Just create a `abo` subdirectory in your own templates directory and put your own templates there.
1. Make sure they have the same filename as the original ones.

For example, start with [subscription_success.html](https://github.com/ubergrape/django-abo/blob/master/abo/templates/subscription_success.html)

### 4. Optional: Create your own plan and subscription models

*django-abo* has two models you can easily extend. If you have ever swapped Django's default user model for your own, you'll see that the technique is very similar.

#### Example custom Subscription model

Let's say you have an `Organization` model in your `accounts` app and you want every `Subscription` object to belong to an organization.

1. Create an app, if you don't have one already, that should contain your own `Subscription` model. For example `payment`

1. Put your custom `Subscription` model in your `models.py`, subclassing `AbstractSubscription`.

    ```python
    from django.db import models

    from accounts.models import Organization
    from abo.models import AbstractSubscription

    class Organization(models.Model):
        name

    class Subscription(AbstractSubscription):
        organization = models.ForeignKey(Organization, null=True)
    ```

1. Put this in your settings:

   ```python
   SUBSCRIPTION_MODEL = 'payment.Subscription'
   ```

1. Create your own View for Paymill:

    ```python
    from abo.backends.paymill.views import PaymillView

    class CustomPaymillView(PaymillView):
        def form_valid(self, form):
            r = super(CustomPaymillView, self).form_valid(form)

            # Let's assume you have a middleware that puts the organization in request.
            self.subscription.organization = self.request.organization
            self.subscription.save()

            return r
    ```

1. Put it in your urls.py

    ```python
    urlpatterns = patterns('',
        # ...
        url(r'^paymill/subscribe/$', CustomPaymillView.as_view(), name='abo-paymill-authorization'),
        url(r'^', include('abo.urls')),
    )

#### Custom Plan model

The same works for the `Plan` model. If you created your custom `Plan` model, let *django-abo* know where it is:

```python
PLAN_MODEL = 'payment.Plan'
```

## Inspirations

*django-abo* uses ideas from:

* [Django user model](https://docs.djangoproject.com/en/dev/topics/auth/customizing/#substituting-a-custom-user-model) - same techniques are used to make my Plan and Subscription model swappable
* [django-getpaid](https://github.com/cypreess/django-getpaid) - abstraction with backends etc.
* [django-paymill](https://github.com/ulfur/django-paymill/) - mainly event/webhook handling
* [django-stripe-payments](https://github.com/eldarion/django-stripe-payments) - some architecture details

Thanks to all contributers of theses projects


text:
A Play out of Habit.
Posted by mindbodydoc under arts 'n mind., review, theatre
Do writers tend to write more about themselves as they get older? I guess they do. Art, literature, musical composition is projection; an expression of aspects of the self. This applies to all creative activity; the world seen through the filter of personal experience. It tells us more about the artist than the image.
Alan Bennett's latest work, The Habit of Art is currently playing at The National. The overworked metaphor of Russian Dolls comes to mind. It is a play within a play. It is about creating a production about the relationship between Wystan (WH) Auden and Benjamin Britten. Set in a rehearsal space, which has been designed to resemble Auden's grace and favour flat at the Brewhouse in Oxford, where he lived for the last year of his life, it deals with the artifice of creating a play. This explains and fills out a plot that never was, allowing Bennett to explore the chaos of creativity, the competing voices, the author, the absent director, the stage manager who fills in, the biographer, the vanities and fragilities of the actors. Bennett argues that the actors are the foot soldiers; they have to go over the top every night; it's important they understand their roles. So queries about the text could be put into the mouths of the actors. It's a clever device; too clever by half, one feels. Maybe Bennett has become unassailable.
Actors bring their own experience to a play. For a few, it's a job of work, but for most, the role is something they have involved in, to live. Some contemporary directors, Robert Goode, for example, lets the actors determine the way the play turns out. Art, laziness, bad habit?; one senses Bennett has sympathy with this attitude.
So Fitz, exasperated, asks, 'Why is it all about dicks? Why so little poetry?' Maybe homosexuality still has the ability to generate tension. But isn't Bennett exploring his own attitudes to being gay. Doesn't he identify with Britten, who was always somewhat reticent and ashamed of his homosexuality? Britten was the boy who never grew up; his operas were all on the theme of innocence corrupted, Peter Grimes, Billy Budd, even Death in Venice, but who was being corrupted, was it the Professor or the boy, or was in more a collaboration? Isn't there something of this in The History Boys and in the relationship between Wystan and Stuart?
Britten's pleaded for constraint as far as sexuality was concerned. Maybe Bennett feels the same. He feels the abolition of censorship in the theatre takes away the tension of the plot.
Auden was much more open and more cynical; he would pay his rent boys and was very matter of fact about what he wanted them to do. He didn't seem to care what people thought of him; he just wanted his poetry to be noticed. Both Britten and Auden had lost the meaning of what they were doing; it had become a habit; the habit of art, in much the same way as their sexuality. Neither could deny their art or their nature. Auden became a pedagogue and a bore towards the end of his life. He tended to repeat himself. It was said that you could never tell Wystan anything, just remind him of it. Britten and Pears were notorious for their defensiveness, for cutting people out of their lives. Real artists are not nice people. All their best stuff goes into their art.
Bennett has become a National Treasure. People love his whimsical imaginings, his cosy reminiscences; his diaries, 'The Lady in the Van, 'The Uncommon Reader', 'The History Boys'. In this bitter sweet play, Bennett brings out his dark side. For all his self deprecation, he has an acerbic wit; he can be bitchy and cutting. There is more than a bit of Wystan in him, as well as Britten.
The Habit of Art is currently playing at the National Theatre with Richard Griffiths as Fitz playing Auden and Alex Jennings as Henry playing Britten.


text:
Tenant & Landlord Resources
Coming Together for Poverty Reduction
Cover the Coast recently partnered with The Poverty Reduction Strategy Project to host three virtual forums that brought community members together to learn about issues impacting poverty on the Sunshine Coast. The purpose of these forums was to develop a shared vision of a healthy, caring, and fair community, and a commitment to take action and embrace changes required to address these issues.
Each Forum was directed towards a different regional area: Gibsons, Sechelt, and Rural Areas.
The Poverty Reduction Strategy is a 9-month project that aims to:
understand what contributes to poverty on the Sunshine Coast
develop action plans to build a healthy community
identify champions for poverty reduction work
The next step for the Poverty Reduction Strategy is to produce a formal report of their findings, which will be shared in June 2021.
At least one in five children on the Sunshine Coast is living in poverty.
Housing availability and affordability are the critical issues affecting poverty on the Sunshine Coast.
There has been a 40% increase in demand for Food Bank in the last few years.
Businesses and services cannot find staff to hire due to lack of housing and childcare.
View the FORUM presentation
Keep up with Cover The Coast.
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Although music is encoded to a digital format with a clearly defined maximum peak amplitude, and although most recordings are normalized to utilize this peak amplitude, not all recordings sound equally loud. This is because once this peak amplitude is reached, perceived loudness can be further increased through signal-processing techniques such as dynamic range compression and equalization. Therefore, the loudness of a given album has more to do with the year of issue or the whim of the producer than the intended emotional effect. Because of this, a random play through a music collection can have one leaping for the volume control every other track.
There is a solution to this annoyance: within each audio file, information can be stored about what volume change would be required to play each track or album at a standard loudness, and players can use this "replay gain" information to automatically nudge the volume up or down as required.
The ReplayGain specification is a standard which defines an appropriate reference level, explains a way of calculating and representing the ideal replay gain for a given track or album, and provides guidance for players to make the required volume adjustment during playback. The standard also specifies a means to prevent clipping when the calculated replay gain exceeds the limits of digital audio, and it describes how the replay gain information is stored within audio files.
Loudness is a subjective measure of the intensity of sound. The correlation of perceived loudness to sound pressure level is determined by the peculiarities of the auditory system. ReplayGain attempts to model those peculiarities with the following measurement procedure.
The human ear does not perceive sounds of all frequencies as having equal loudness. For example, a full-scale sine wave at 1 kHz sounds much louder than a full scale sine wave at 100 Hz, even though the two have identical energy. To account for this, the signal is filtered by an inverted approximation of the equal loudness curves (sometimes referred to as Fletcher–Munson curves) which describe the sensitivity of the ear as a function of frequency. The desired filter response derived from the equal loudness curves is shown in figure 1 (blue).
At higher frequencies a 10th order IIR filter designed by MATLAB's "yulewalk" function is an excellent approximation to the target. This is cascaded with a 2nd order Butterworth high pass filter, with a high pass frequency of 150 Hz (Figure 1 [green]). The resulting combined response (Figure 1 [red]) is close to the target response, and is used by ReplayGain.
The filter topology used for the components of the loudness filter is shown in figure 2. The filter coefficients for 48 and 44.1 kHz sample rates are given for the Butterworth and "yulewalk" components in tables 1 and 2 respectively. When using other sample rates, coefficients must be transformed to maintain the same filter response.
Input samples from the audio file to be analysed must be run in cascade manner through both of these filter components before being analysed further.
Next, the energy during each moment of the signal is determined by calculating the Root Mean Square (RMS) of the filtered signal every 50ms.
Every sample value is squared (multiplied by itself).
The mean average is taken.
The square root of the average is calculated.
For stereo signals, in step 3, the mean average of all squared samples from both channels over the 50ms measurement interval is taken.
Where the average energy level of a signal varies with time, the louder moments contribute most to perception of overall loudness. For example, in human speech, over half the time is silence, but the perceived loudness of speech is primarily determined by the levels between silences.
A good method to determine the overall perceived loudness is to sort the RMS values into numerical order, and then pick a value near the top of the list. For highly compressed pop music (e.g. Figure 5(c), where there are many values near the top), the choice makes little difference. For speech and classical music (Figures 5(a) and 5(b) respectively), the choice makes a huge difference. The value which most accurately matches human perception of perceived loudness is 95%, so this value is used by ReplayGain.
The audio industry does not have a standard for playback system calibration, but in the movie industry a calibration standard has been defined by the Society of Motion Picture and Television Engineers (SMPTE). The standard states that a single channel pink noise signal with an RMS level of -20 dB relative to a full-scale sinusoid should be reproduced at 83 dB SPL.
ReplayGain adapts the SMPTE calibration concept for music playback. Under ReplayGain, audio is played so that its loudness, as measured using the procedures described in Loudness measurement above, matches the loudness of a pink noise signal with an RMS level of -14 dB relative to a full-scale sinusoid, also measured using the procedures described above.
In ReplayGain implementations, the reference level is described in terms of the SMPTE SPL playback level. By the SMPTE definition, the 83 dB SPL reference corresponds to -20FS dB system headroom. The -14 dB headroom used by ReplayGain therefore corresponds to an 89 dB SPL playback level on a SMPTE calibrated system and so is said to be operating with an 89 dB reference level.
SMPTE cinema calibration calls for a single channel of pink noise reproduced through a single loudspeaker. In music applications, the ideal level of the music is actually the loudness when both speakers are in use. So, ReplayGain is calibrated to two channels of pink noise.
is the measured loudness of the audio file.
Replay gain is positive if the loudness of the audio file is lower than the pink noise reference. The gain is negative (representing an attenuation) if the loudness of the audio file is higher than that of the reference. The gain is stored as metadata with the audio file as described below and is used by players to adjust output volume of tracks as they are played as described in Player requirements below.
If calculated for an individual track, the loudness measurement (as specified above) yields track replay gain. If calculated on an album basis, with all tracks concatenated to make one long audio file, the loudness measurement yields album replay gain.
Under some listening conditions, it's useful to have every track sound equally loud. The problem with a track-by-track approach is that tracks which should be quiet in the context of the album on which they reside will be brought up to the level of all the rest. For casual listening, or in a noisy background, this can be a good thing. For serious listening, it does not respect the intent of the artist or mastering engineer; a tender ballad track will be blasting at the same loudness as a hard rock track on the same album. It's generally ideal to leave the intentional loudness differences between tracks in place, yet still correct for unmusical and annoying loudness differences between albums. To accomplish this, ReplayGain suggests that two different gain adjustments should be stored as metadata with each sound file.
Album replay gain represents the ideal listening gain for an entire album. ReplayGain reads the collection of tracks that comprise a album, and calculates a single replay gain for the whole set. This single gain can be used for playback of all tracks of the album. Intentionally quiet tracks then stay appropriately quieter than the rest. It still solves the basic problem (annoying, unwanted level differences between discs) because quiet or loud discs are still adjusted overall—so the pop CD that's 20 dB louder than the classical CD will be brought into line.
Scanning a track or album for the peak amplitude can be a time-consuming process. Therefore, it's helpful if this single value is stored as metadata. This is used to predict whether the required replay gain adjustment will cause clipping during playback.
The maximum peak amplitude value is stored as a floating point number, where 1.0 represents digital full scale. As with replay gain values, separate peak amplitude values are stored per track and per album.
For uncompressed files simply, scanners store the maximum absolute sample value held in the file on any channel for positive or negative excursion. The single sample value should be converted to a floating-point representation, such that digital full scale is equivalent to a value of 1.0.
Psychoacoustically coded audio, such as MP3, does not exist as a sequence of samples until it is decoded. Psychoacoustic coding of a heavily limited file can lead to sample values larger than digital full scale upon decoding. The coded files must be decoded using a fully compliant decoder that allows peak overflows (i.e. has headroom) and may result in peak amplitude values greater than 1.0.
The ID3v2 standard defines a tag which is situated before the data in an MP3 file. ID3 is used primarily with MP3 audio files but means of adapting the system to other file types have been developed.
The ID3v2 tag is divided into frames. The preferred means of storing ReplayGain metadata is use of TXXX key/value pair frames. Two other legacy schemes for storing ReplayGain metadata exist: RGAD and RVA2. These formats are documented in the appendix. Players may choose to look for these formats if metadata in the TXXX format is not found in the ID3v2 tag. New scanners may write these older formats in addition to the newer (TXXX) ones if they wish to remain backwards compatible with older players.
Gains are specified textually in decibels. Negative gains (attenuation) are prefixed with a '-'. Positive gains have no prefix. Integral portion of the gain (a) may be one or two numeric (0-9) digits. If there is no integral portion the field is '0'. The decimal portion of the gain (bb) is two numeric digits. Gains are suffixed with a space followed by 'dB'.
Peak levels are specified textually as a positive decimal. Peak level is a dimensionless quantity with 1.000000 representing full scale. No suffix is included on peak values. The integer field (c) is typically 1 or 0. Six numeric digits in the decimal field (dddddd) is adequate to accurately represent peak values for 16-bit audio data.
Other formatting errors indicate more severe problems and should result in player ignoring data as if the frame did not exist.
A Vorbis comment uses an ASCII key=value format. When Vorbis comments are used, the four ReplayGain metadata items are stored as separate comments. The keys and formatting for values is the same as specified for ID3v2. Keys and values are required by the Vorbis comment specification to be separated by '=' (equal character).
The APEv2 metadata format also organizes data into key/value pairs. Keys are ASCII format. A flags field allows support for several value formats including UTF-8 and binary. Under APEv2, ReplayGain meta data is stored using the same keys and data as ASCII values in the same format as specified for ID3v2.
Loudness normalization, pre-amplification and clipping prevention are the operations performed by a ReplayGain player.
Or, in words, ten raised to the power of one-twentieth of replay gain.
If the file only contains one of the replay gain adjustments (e.g. Album) but the user has requested the other (Track), then the player should use the one that is available (in this case, Album). If neither (Track or Album) gain metadata is available, then the player needs to choose a suitable default gain. Potential choices include unity gain (0 dB) or an average of gains from other tracks in the album or playlist.
Although the calibration level used by ReplayGain suggests that the average level of an audio track should be 14 dB below full scale, some pop music is dynamically compressed to peak at 0 dB and average around 3 dB below full scale. This means that, when the replay gain is applied, the level of such tracks will be reduced by 11 dB! If users are listening to a mixture of highly compressed and more dynamic tracks, ReplayGain will make the listening experience more pleasurable by bringing the level of the compressed tracks down into line with that of the others. However, if users are only listening to highly compressed music, then they may complain that all their files are now too quiet.
To address this problem, a pre-amp feature should be incorporated into the player. A user-supplied pre-amp setting is an adjustment to the calculated replay gain. It should default to perform no adjustment. This means that casual users will experience a moderate reduction in the loudness of their compressed pop music. Less-compressed material can generally be played at the same loudness without clipping. Normalization of more dynamic material may cause clipping or invoke the clipping prevention mechanism (see below). Power users and audiophiles can reduce the pre-amp gain to enjoy the full dynamic range of all of their music.
If enabled, the player should read the user selected pre-amp gain, and scale the audio signal by the appropriate amount. For example, a +6 dB gain requires a scale of 106/20, which is approximately 2. The replay gain and pre-amp scale factors can be combined for simplicity and ease of processing.
Recordings from certain genres and certain periods in the history of commercial recordings require additional headroom. Although these recordings can be accommodated through a downwards adjustment of the pre-amp setting, it may be difficult to determine a safe adjustment and it may be undesirable to lower average level to accommodate the rare track which requires it.
ReplayGain will make loud dynamically compressed tracks quieter, and quiet dynamically uncompressed tracks louder. The average levels will then be similar, but the quiet tracks will actually have louder peaks. If the user pushes the pre-amp gain upwards the peaks of the (originally) quieter tracks will be pushed well over full scale.
In coded audio (e.g. MP3 files) a file that was hard-limited to digital full scale before encoding will often be pushed over the limit by the psychoacoustic compression. A decoder with headroom can recover the over full scale signal by reducing the gain.
ReplayGain suggests two possible solutions which prevent clipping in these situations. A player should support one or both of these.
In situation 2 above, the user clearly wants all the music to sound very loud. To give them their wish, any signal which would peak above digital full scale should be hard limited at just below digital full scale. This is also useful at lower pre-amp gains, where it allows the average level of classical music to be raised to that of pop music, without distorting. The exact type of nature limiting or compression an implementation choice for the player.
The audiophile user will not want any compression or limiting on the signal. In this case the only option is to automatically and temporarily reduce the pre-amp gain below the user-selected setting for tracks where clipping would otherwise occur. Clipping can be predicted by examining the peak level of the track or album being played.
The player must read the peak amplitude metadata. If peak level metadata is unavailable, the player should assume a peak level of 1.0. If the peak level for both track and album is stored as metadata in the file, it is possible to calculate if, following the replay gain adjustment and pre-amp gain, the signal will clip at some point. If it won't, then no further action is necessary.
An overall scale factor for loudness normalization taking into account replay gain, pre-amp setting and clipping prevention through gain reduction is given below.
The above three steps are appropriate to software players operating on the digital signal in order to scale it. However, it is possible to send the digital signal to the DAC without level correction, and to place an attenuator in the analogue signal path. The attenuator can then be driven by the Replay Gain value. The clipping problem can be addressed by providing adequate headroom in the analog circuitry. Bit transparency and maximum signal to noise ratio is maintained in the digital signal and DAC process.
The original ReplayGain proposal (an archive is also available) was developed by David Robinson and was published 10 July 2001. Additional updates were published by David Robinson through 10 October 2001.
The following acknowledgement was included with the original proposal, "The algorithm to calculate an ideal replay gain has grown from my research into human hearing, with many additional ideas drawn from the work of E. Zwicker, and Brian Moore. I am currently completing my PhD at the University of Essex, and have been funded by the EPSRC." Additionally David Robinson credited Glen Sawyer (Snelg) and Jim Casaburi (Walrus) for software contributions and Bob Katz and Matt Ashland for ideas.
This updated ReplayGain specification reflecting current and recommended practice was prepared by Kevin Gross in 2011.
For ReplayGain-related questions or contributions, please post in the General Audio section of the Hydrogen Audio forums.
↑ The block length of 50ms was chosen after studying the effect of values between 25ms and 1s. 25ms was too short to accurately reflect the perceived loudness of some sounds. Beyond 50ms there was little change (after statistical processing). For this reason, 50ms was chosen.
↑ If these steps are read backward, it should be clear why the process is called Root Mean Square averaging.
↑ One could sum channels of a stereo signal to mono before calculating the RMS level, but then any out-of-phase components (having the opposite signal on each channel) would cancel out to zero (i.e. silence). That's not how humans perceive them, so it's not a good solution.
↑ Based on experiments performed by David Robinson, "I tried values from 70% to 95%. For highly compressed pop music, the choice makes little difference. For speech and classical music, the choice makes a huge difference. The value which most accurately matches human perception of perceived loudness is around 95%, so this value is used by Replay Level."
↑ "dB relative to a full-scale sinusoid" is preferred over "dBFS" as a unit of measure in this specification because there is some ambiguity whether the reference for dBFS is a full-scale square wave (peak reference) or a sine wave (RMS reference).
↑ Measured using a C-weighted, slow averaging SPL meter.
↑ The initial ReplayGain proposal used the same -20 dB reference used by SMPTE. The reference was raised to -14 dB early on in ReplayGain development. This reference is used in all current ReplayGain implementations.
↑ In reality, a monophonic pink noise wave file is used, and ReplayGain automatically assumes the file is being played through both speakers, as would any monophonic file.
↑ Metadata is "data about data." For example, the ID3 de facto standard provides a way to store artist, title, album title, track number, and other metadata in data blocks called "tags" immediately before or after the audio data in an MP3 file. Other metadata storage/tagging standards and conventions exist for other audio file formats.
↑ The ID3v2 format is explained at www.id3.org. The most useful document is the ID3v2 v2.3.0 standard. Although this document has been superseded by v2.4.0, the earlier document is complete (rather than an update), and in indexed HTML form. As such, it represents a better technical introduction to ID3v2.
↑ The original ID3 (v1) tags resided at the end of the file, and contained a few fields of information. The ID3v1 tag is not extensible and therefore cannot support ReplayGain metadata.
↑ Vorbis comment metadata format. ReplayGain metadata is documented on the Xiph Wiki.
↑ After any such operation, it's a good idea to dither the result. If this calculation and the pre-amp are implemented separately, then dither should only be added to the final result, just before the result is truncated back to 16 bits, or 24, or 8, as limited by the soundcard—not the file (i.e. after ReplayGain adjustment, an 8-bit file should be sent to a 16-bit soundcard at 16-bits).
↑ This problem can be especially noticeable on portable players with limited output or gain.
↑ Scale factors in Decibel units are added to produce the same effect as multiplying scale factors in linear units.
↑ Something like the Hard Limiter found in Cool Edit Pro (Syntrillium) would be appropriate for pop music at least.
↑ A system using today's 24-bit converters is unlikely to appreciate any overall gain in system performance with such an arrangement. A digitally-controlled analog gain element typically introduces significant noise and distortion.
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A woman who reportedly was a supporter of Republican presidential candidate Donald Trump was seen over the weekend tearing up a sign that was being held by a Latino protester.
According to news reports, protesters were waiting for Trump when showed up to briefly tailgate at the Iowa-Iowa State football game in Ames on Saturday.
Signs were seen reading: "#DUMPTHETRUMP #NoHateInThisSTATE" and "A vote for Trump is a vote for white supremacy"
A video uploaded to Twitter by Samuel Van Oort shows a white woman walking by a Latino man whose sign says, "Our Lives Begin To End The Day We Become Silent About The Things That Matter."
The woman casually turns to the protester and quickly rips his sign in half as the crowd jeers. Before walking away, she turns back to the activist, smiles and shrugs.
Iowa State University graduate student Maria Alcivar told the Ames Tribune that she and about 20 other students came to the game to protest Trump's views on immigration and his attacks on women.


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January 8, 2020, 11:31 GMT-0500 League of Legends
Half of the LCS' players in the 2020 Spring Split were imported
25 non-resident players will be taking the stage in a couple of weeks.
Tyler Esguerra
Photo via Riot Games
Over the years, there have been plenty of memes surrounding the status of the LCS when it comes to importing talent into the league. In 2020, however, the jokes have found a lot more merit because half of the LCS' players will be coming from different regions.
As pointed out by ESPN's Jacob Wolf, out of the 25 players who were imported into North America, 13 of them hail from Europe, eight are from South Korea, two are from Australia, and two come from Turkey. No other region has come close to this amount except for the LPL, which had 20 Korean imports in 2019 but also had six more teams than the LCS.
Related: Riot changes LCS playoff format for 2020, will also remove NA regional qualifiers
In comparison, the LEC only has six imports in the league in 2020: Excel Esports' Ki "Expect" Dae-han and Son "Mickey" Young-min, Misfits Gaming's Ju "Bvoy" Yeong-hoon, Schalke 04's Han "Dreams" Min-kook, Origen's Mitchell "Destiny" Shaw, and SK Gaming's Kim "Trick" Gang-yun. Four of these players competed in the LEC last year, which means that only two new imports joined the league this past offseason.
Whether it's the terrible solo queue culture, the struggling Academy league, or the low player base, NA doesn't have the environment to push players to become pros. Europe, on the other hand, is thriving because of how strong its semi-pro and amateur scenes are. But that's also because there's a huge player base in the region to justify creating 13 regional leagues.
As for the few NA talents left, teams aren't willing to take chances on them and would rather sign imports or well-known veterans to build their rosters. It's a slow and painful way to die out since the region will never grow internally with young, up-and-coming talent.
Riot has started to show some signs of support for the Academy scene by implementing games into LCS broadcasts this year, but there's still a lot of work left to do.
The 2020 LCS Spring Split will kick off on Saturday, Jan. 25.
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text:
Chicano/Son, "El Golpe"
cimarron75
This exclusive web extra features a performance by Chicano/Son, a local Los Angeles group based out of Boyle Heights. In this exclusive interview with KCET, Marco Amador, creator of Chicano/Son, talks about his music, his non-profit work, and how Ricardo Flores Magon continues to be a source of inspiration.
via Chicano/Son, "El Golpe".
Copyright © 2023 CHICANO/SON


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Sundays with Sacco: The legacy of Dr. Floyd Little
Next Sunday, May 15, Pro Football Hall of Fame running back Floyd Little will receive a doctorate degree, the highest academic honor, from his alma mater, Syracuse University.
This is not a new announcement, as it was made several weeks ago, but it stands as a continuing message from Floyd.
His greatest legacy is not that he was the first first-round draft choice ever signed by the Broncos, or that he was revered by his teammates so highly that he was named team captain as a rookie and continued as team captain for all nine of his pro seasons in Denver. Nor is it that his career that led him to become the first Ring of Famer ever selected, or his subsequent induction into the Hall of Fame in Canton.
Dr. Floyd Little's legacy is that he showed everyone a blueprint for how to live.
He is a dear friend, and when I called to congratulate him, he answered his cell immediately and I asked if "Dr. Little" was in. There was a pause, and he said, "Yes, Jim," and we both chuckled warmly.
Most people only know him as the great player he was, but not as the young kid coming home from school to see his mother's tears when he saw that the family had been evicted and kicked to the curb. Floyd vowed to do everything in his power to prevent his mother from being that sad ever again.
People do not know him as a young man who was not quite ready for college, instead going to Bordentown Military Academy, so distinguishing himself both on the field and in leadership skills that he was personally recruited to West Point by General Douglas MacArthur.
But he had given his word to Syracuse, and Floyd Little has always been true to his word.
Most people do not know that he was the first consensus, three-time All-American at running back (that is, every All-America team selected him for each of his three varsity seasons, and had him as the first-team running back) since the incredible Doak Walker at Southern Methodist.
A little-known fact is that when Walker, who ultimately retired to Steamboat Springs, was with the Broncos as a personnel man, he scouted Little himself, mostly through film at that time. But still, the two consensus three-time All Americans, one scouting another.
But the enduring legacy is, as Floyd always said during his playing days, that pro football, however successful, would not totally measure his life.
His brilliant playing career ended when he was 34, carried off the field by Broncos fans after that last home win over the Philadelphia Eagles in 1975, and his immediate message to us in the locker room was that this was just ending one phase of his life, but all the rest was still ahead, to be lived for him and as a role model for others.
He became a corporate executive for Adolph Coors Company, a successful auto dealer on the West Coast for many years, and for the last several years an executive administrator at Syracuse -- and a good friend for life.
Many times in life, you have to step outside the box to succeed. Floyd built his own box.
Winston Churchill once said something to the effect that "You cannot stand inside a bucket and lift the bucket by its handles."
Floyd's message is that in whatever you do, do your best and keep moving forward, with the moving forward part paramount to him. And the legacy continues.
The Broncos' rookie minicamp finishes Sunday, but first-round draft choice Paxton Lynch missed one day to take part in his graduation from the University of Memphis, and fellow draftee Devontae Booker likewise was absent one day for his graduation.
Neither guy had anything handed to them academically, and they could have concentrated totally on football, but they plowed forward and matched up academics with football and now have their degrees.
Floyd is a long way away, focused on all the events of his own upcoming doctorate, but he would like that a lot. He would tell them to keep grinding, to never let someone tell you what you cannot do, and look people in the eyes and become a leader.
Everybody wants a leader and there is always room for one more.
You would have to spend time with Floyd to fully understand the passion he brings to the table, and I am sorry that everyone cannot do that personally. But his tribute from Syracuse University next weekend, becoming the first Bronco to be awarded an honorary doctorate, is a measure of how he is measured by those whom he touches.
Syracuse also has erected a statue to Floyd Little on campus, and this is one case in which the mettle of the man and his message is as strong as the bronze in the statue.
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Broncos Team Historian Jim Saccomano looks back on the life of Floyd Little.
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