text:
Painkiller supplies run low on high street as Omicron patients drive up demand
People struck down with the Omicron variant of the coronavirus are buying so much paracetamol that supplies are running low in many shops.
Official data published today indicates that nearly a third either have low or no supplies of the painkiller. Ibuprofen is also in high demand with a fifth of stores experiencing shortages.
Those needing pain relief, however, should still have no difficulty finding the drugs they need. The data shows that 71 per cent of shops have a high or medium level of paracetamol available while 80 per cent have enough ibuprofen.
The figures, published by the Office for National Statistics (ONS), also indicate that people are buying more rolls of lavatory paper, perhaps to deal with the sniffles that are a common symptom of the latest wave of Covid-19.
The ONS reported that one in ten shops had low supplies lavatory paper while one in 20 had run out over the weekend.
Government data reports that over the past week an average of 125,000 people a day have come down with Covid-19, meaning that nearly 900,000 have had the virus. The real number could be significantly higher with some estimates suggesting that twice as many as officially reported are contracting the disease.
About two thirds of people with Covid report some symptoms, with the most common being a runny nose, headache, fatigue, sneezing and a sore throat.
The ONS data came from nearly 6,000 visits to 270 shops across 133 locations around the UK. On each visit, shoppers were asked to register whether supplies of products that they could see across 21 categories were either high, medium, low or non-existent.
The statistics agency pointed out that the results were therefore subjective because one person's view of what constituted a low supply may not be the same as someone else's. It also said that the results did not imply that stock availability in warehouses or storage facilities was low.
After lavatory rolls, fresh fish was the product with the most shortages, followed by frozen chips, fresh pork and bottled water. Across all 21 categories only 11 per cent had low or no supplies on average.
Beer was the product category in most plentiful supply with 98 per cent of stores having decent stock levels, perhaps reflecting the fact that many people are choosing not to drink because they are ill or because they have given up for "dry January".
The ONS also reported that approximately 3 per cent of the workforce were on sick leave or not working because of coronavirus symptoms, self-isolation or quarantine late last month, the highest level since comparable estimates began in June 2020.
Nonetheless, the overall figure is much below the 10 per cent absence level reported by some parts of the NHS. The ONS said that the hairdressing and beauty industry had the highest absence rate of any sector of the economy at 7 per cent.
The figures also paint a tough picture for high streets, with footfall levels at only 78 per cent of the same week last year.
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PHILIPPINE STAR/ MICHAEL VARCAS SAO PAULO — Brazil's federal health regulator Anvisa on Saturday suspended the use of over 12 million doses of a...
THE GOVERNMENT has partnered with grocery operator Puregold Price Club, Inc. on a program that will offer cheaper frozen meat products to consumers. Under...
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GLOBE Telecom, Inc. announced on Tuesday that it signed term loan facilities with Bank of the Philippine Islands (BPI) and Metropolitan Bank & Trust...


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Бингу ва Мутарика (рођен као Брајтсон Вебстер Ракјтсон Том) (Тхјоло, 24. фебруар 1934 — Лилонгве, Малави, 6. април 2012) био је председник Малавија од 2004. године па све до своје смрти 2012. године. По занимању Мутарика је био економиста и политичар. Један је од оснивача Уједињеног демократског фронта, партије у Малавију, а након сукоба са осталим члановима, формирао је своју странку Демократску прогресивну партију. Био је и председавајући Афричке уније у периоду јануар 2010-2011. На месту председника Малавија наследила га је Џојс Банда.

Види још
 Малави
 Афричка унија

Спољашње везе

 Преминуо Бингу ва Мутарика

Рођени 1934.
Умрли 2012.
Председници Малавија

redpajama_set_name: RedPajamaWikipedia


text:
/**
 * Created by grumoon on 16/8/30.
 */
import React from 'react'
import {Card, Row, Col, Tag as AntTag} from 'antd';
import $ from 'jquery';
import {Link} from 'react-router'
import {Utils, Constants} from '../lib/common.js'

import {PostList} from '../component/post-list.js'

export class TagPostPage extends React.Component {
    constructor(props) {
        super(props);
        this.state = {
            postList: []
        }
    }

    // 获取数据
    fetchFn = (tagId) => {
        $.ajax({
            method: "GET",
            url: Constants.baseCGIUrl + "post/tag/" + tagId,
            dataType: 'jsonp',
            success: function (data) {
                this.setState({postList: data.resData})
            }.bind(this),
            error: function () {
            }
        });
    };

    componentWillReceiveProps = (nextProps)=> {
        this.fetchFn(nextProps.params.tagId);
    }

    componentDidMount() {
        this.fetchFn(this.props.params.tagId);
    }

    render() {
        return (
            <PostList postList={this.state.postList}></PostList>
        )
    }
}

redpajama_set_name: RedPajamaGithub


A line of beautiful black crows tumble around each other in a spiraling vortex over a beautiful winter wood. They form a spiral that may possibly be pulling the landscape towards them a little. Painted in thick oil paint on deep edge canvas in very vibrant colours with lots of movement. Expressionist and gestural in style. The edges are painted a very light peach colour to match the sky colour.
This artwork is sold and shipped to you by Gill Bustamante, and will be packaged in a cardboard box. Artworks are dispatched within 3 working days from United Kingdom.


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"Not Victims But Leaders": Oscar Contender 'Landfall' Examines Puerto Rico At Crossroads After Hurricane Maria
'Dunkirk' Production Designer Nathan Crowley On "Rawness, Simplicity & Brutalism" Of World War II Epic
By Matt Grobar
Matt Grobar
Assistant Editor, Awardsline
More Stories By Matt
Greasepaint And Horsehair: How 'Ma Rainey's Black Bottom's Makeup & Hair Designers Captured Essence Of A Trailblazing Blues Singer And Her World
'Earwig And The Witch' Director Gorô Miyazaki On The Challenging Process Of Crafting Studio Ghibli's First 3D CG Feature
Production Designer Michael Carlin On The Incredible Ambition Of 'Radioactive' & Meeting Former Guantanamo Detainee Mohamedou Ould Salahi On 'The Mauritanian'
November 28, 2017 11:03am
Speaking with Christopher Nolan's below-the-line collaborators on the epic Dunkirk, several themes emerge. All are students of history—and World War II, in particular—and all are attracted to the "large-scale" filmmaking that Nolan champions, as he fights to keep the theatrical cinematic experience alive. Such is certainly the case with production designer Nathan Crowley, who has received each of his three Oscar nominations for Nolan films, from The Prestige to The Dark Knight and Interstellar.
Per Crowley, while Interstellar was the most design-heavy of his Nolan collaborations, Dunkirk was the most physically rigorous. The crew shot in extreme weather conditions out on location in Dunkirk where the real historical events took place, and Crowley was required to recreate the historic "mole," an extremely narrow pier extending a kilometer out to sea, where thousands upon thousands of Allied soldiers expected to be bombed at any minute.
Like 'Dunkirk' And 'Darkest Hour,' It's A Year For Movies That Need Each Other
While Crowley was concerned that Dunkirk wouldn't resonate outside the UK, the reviews and box-office results tell a different story. Below, Crowley discusses his first journey to Dunkirk and the many logistical challenges inherent to the early Best Picture frontrunner, which has held on in the awards conversation despite its July release date.
What were the aspects of Dunkirk that were compelling to you?
This was my seventh film with Chris. I think he is a very intelligent, good filmmaker, and he works at a scale that I like to work at. I like large-scale cinematic films, being a big David Lean fan.
When Chris came to me with Dunkirk, and being English as well, it was like, Wow. It's a big event for an Englishman, and I'd never taken on a war film. I'd always wanted a war film but in particular to do Dunkirk, which had really never been done in a modern fashion.
I was concerned that no one would care what Dunkirk was outside of the UK. It was very much an English story. I think Chris wanted to tell it as a huge, dramatic piece, and that became very attractive as well. He's always got an interesting approach. I had to do it.
What kind of preparations did you go through for the film?
First of all, I read a lot of books. I live in New York, so I listened to them on the subway, going uptown every day. I did a lot of research, but I always start with Chris in his house. We've always done work in his old garage, for the art department. We talked for a bit, and then he was going on a family holiday to Scandinavia, and it occurred to me that, "You know what, I've got to see Dunkirk."
So we met there, and walked 18 kilometers that day, and it was obvious we had to film there. It's such a unique place, but the challenge was filming there with the English Channel, with the 21-foot tide, with rebuilding the mole, with getting real ships. Our policy has always been that we do everything for real, until we can't, and every film I've done with Chris has taken all the knowledge of the [films before it].
Between the ships, rebuilding the mole, flying spitfires, pulling real cockpits into old Russian planes, flying spitfires into the sea for real, it was tough. It was physically tough. This is the most physical film I think we've ever done.
I've heard that the weather posed a significant challenge.
Yeah, the weather was a challenge, but we've had this policy since Batman Begins that when we got a storm in Iceland, it looks really good on film. People say we're unlucky with the weather, but it makes for a great-looking image.
We got hit by a huge storm on the mole. It ripped up boards. It created sort of a foam froth on the beach. It was visually stunning, and kind of told us about the rawness, simplicity and brutalism we needed to enforce in the film.
It was tough. We had crews trying to fix our set, the mole was hit and bits would just break off. This is what the English army dealt with, and the navy. I think they had better weather, but they were being shot at. It proves it was hard to get off that beach.
What was involved in the process of constructing the mole?
When we went to Dunkirk, we walked to the end of the stone portion, which was probably about 300 feet, and the rest of the wood and concrete section that had been built in '37 had gone. But the foundations were there. I remember standing there with Chris. There were a bunch of French fisherman out there, and I remember saying, "We need to rebuild this thing." Because it's so unique. It's this 7-foot, 7-foot-6 wide pier extending a kilometer out to sea, because of the shallowness of the tide.
The port of Dunkirk was amazingly helpful. I brought over one of my key construction team from America who happened to be born down the road in Calais, and with his help and skill as a construction foreman, we figured out that even though a lot of it had been replaced by concrete, we'd build it out of wood because it was the fastest, easiest material, and we painted it white.
We had these mammoth sections. We came to the conclusion that if we got a crane barge from the dock and we put steel plates on the old foundation, we could lower in these 21-foot by 21-foot sections of pier on the low tide. Our window on the low tide was four hours, so we pre-built these huge 12-by-12 timbers with enough structure in them to withstand the sea.
It was a very tight schedule and was dependent on weather, and we had decent weather in the prep. So, we prefabbed these with a U.S. and French team in a warehouse next to the dock that the city gave us, and then we barged them out in sections, and we had that four-hour window to get them on their bolt plates. Then, we would literally build up with the tide. We would have carpenters putting up decks, handrails, additional structure, as the tide came in.
Every day, we would try and get one section in, although that didn't always work. So, it was a nail-biting affair. The only plus was that when that storm hit us, it turns out that the pier that we rebuilt was strong enough to withstand. Visually, it was about this road to nowhere—this white pier that went to nowhere.
How did the team orchestrate those shots, with thousands of soldiers packed together on the mole like sardines? Were CGI set extensions employed?
There was probably a couple of shots that they extended, but it was engineered to hold that many people. [The boats] didn't actually touch the pier, so there was never any danger of being structurally compromised. A lot of the extras on the beach were actually cardboard cutouts. We must've had like 2,000 men as cutouts that were permanently on the beach, and then we had a giant cutout of a destroyer that was wrecked on the beach. This is the in-camera method. We try and get as much in camera as possible, and the effects would enhance and take away stuff that wasn't correct.
How did you acquire all the period airplanes and boats for the film, some of which participated in the actual Dunkirk evacuation?
The spitfires were easier because there's a lot of spitfires still flying. Finding the Mach 1 spitfires was harder. The Mach 1's were half black and half white, which ran into our white pier, and industrial bits and kept this brutalism idea. In Cambridge, Duxford got on board with two, and then there was an American man in Texas who has a third Mach 5 that we converted into a Mach 1. He actually landed his spitfire on the beach in Dunkirk, at low tide, which was a terrific moment.
For the ships, we'd literally go to Latvia. If we got a sniff of any boat, we'd go and look at it, so we went all over the place. We got the hospital ship out of Norway, the Rogaland. It was a museum ship, but its engine still worked, so all the gentlemen who run the boat agreed to sail it down to Dunkirk from Norway, and agreed to let us paint it white. That was one down. The destroyer was the hardest to find, a destroyer with engines.
Were scale models employed too, when it came to the planes?
Yeah, they were like 18-foot wingspan, so we had to build some of them. We built some planes, essentially. We built full-size spitfires that we could catapult off charges into the sea for Collins' landing in the sea. To put that together, we needed a lot of different techniques to gain the realism, so we'd have to divide up the techniques for each shot. It became a complicated film—by far, the most complicated ever.
What was it like shooting on the water for much of this film? That can't have been easy.
It was cold. [laughs] Basically, everyone had some kind of craft to get on. The Moonstone was sort of the core, which was a boat found out of Scotland, in Rosneath, that was visually correct and had the right layout to shoot on it.
First of all, we needed to find our sea legs. I remember early prep. There was a storm in Dunkirk, and they'd asked the lifeboat guys to take us out. I could see what he was doing—he was trying to find his sea legs. We'd take the lifeboat in rough seas to Belgium and back, and it was like, "Jesus Christ." [laughs] And Chris would say, "Hey, we've got to get used to this shit."
There were different boats. There was plenty of places you could get onto, provided you could board them. In quieter seas, it was easy, and we had stunt guys running routes between the boats so you could get off one boat and go to another. On the Rogaland, we had a lot of space. There really was a limited crew. If you didn't need to be out on the sea, you weren't going out there.
So, I'd go visit and check in with them, and come back, or get on another boat, and you don't get out for the rest of the day. You get stuck on boats for the whole day. It's kind of brutal, that sea. That upside-down hull was a set piece on a scaffold rig that we put into the sea. We had to protect it with barges from the waves until we could get out there and shoot. We spent a lot of time, in our department, on big crane barges. We were always fixing everything. Every time we fly or land the spitfire in the sea, and try to retrieve it, it was destroyed, so we'd take a crane barge out, go fish it out and have a shop just fixing spitfires all the time.
It was a very difficult film, and it was all outdoors. There was no sound stage. I guess there was one in LA, but that was it. But that seemed like a piece of cake after doing it at sea. It was a tough film, but all Chris Nolan films are tough. But it's very important to me that it's cinematic, because that's why I've always gone to the cinema. I want to be blown away. So, that's really critical. That's what the cinema gives you that no other form does. It's a Chris Nolan film.
Nathan Crowley
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redpajama_set_name: RedPajamaCommonCrawl


text:
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About Mound City Bank
Building lasting relationships with premier financial solutions
Mound City Bank began operations as a state-chartered bank on February 18, 1915 in Platteville, WI. The founders of the bank mirrored the 4,500 residents of the City of Platteville, representing both farming and business interests. Their fierce independence and commitment to community remains the cornerstone of the bank's philosophy even today. Seeing a need for these same services, Mound City Bank established a branch in Belmont, WI in 1935.
Fast forward to 1992 when we opened our Cuba City Branch to provide more convenient full service banking to the Southern portion of our market area. The Main Office in Platteville continued to grow and in 1995, the bank constructed a new 4 lane motor branch for convenient drive-up banking, drive-up ATM services, and a community room. In 1996, the Main Office doubled its previous size affording the space to provide new and non-traditional banking services to its ever-growing customer base.
Mound City Bank shareholders approved the formation of Mound City Financial Services, Inc., a one-bank holding company in 1997. The holding company formation increases the bank's options for continued growth and expansion of its current products and services as well as the development of new non-traditional products, and the expansion of its market area. With the vision of market growth along the Highway 151 corridor, the Mount Horeb Branch was established in 2007 along with a Mineral Point Branch in 2008.
Mound City Bank has come a long way from its humble beginnings as a $55,000 total asset bank in 1915. Today with assets of over $384 million, six locations and over 68 full-time equivalent employees, we are "Proud to Be Here for You" building lasting relationships with our premier financial solutions.
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text:
using System;
using Microsoft.AspNetCore.Http;

namespace MockResponse.Web.Models
{
    public interface ISiteRequestContext
    {
        (string, TimeSpan) SaveUserSession(UserSession userSession);

        bool Authenticated { get; }

        UserSession Session { get; }

        string ApiKey { get; }

        HttpContext HttpContext { get; }

        void ClearSession();
    }
}


text:
Home India Nehru is to be blamed for Kashmir situation, says Kailash Vijaywargiya
Nehru is to be blamed for Kashmir situation, says Kailash Vijaywargiya
BJP's national general secretary Kailash Vijaywargiya blamed the country's first Prime
Minister Jawaharlal Nehru for the present situation in Jammu and Kashmir.
Vijaywargiya said, "Congress's dilly-dallying policy has caused the present problem in Jammu and Kashmir. Had Prime Minister Jawaharlal Nehru given liberty to the Home Minister Sardar Patel to
integrate Jammu and Kashmir with India like other princely states after the Independence, such a problem would not have arisen."
Photo: Hindustan Times
Nehru had "special attraction" for Kashmir, because of which he granted it special constitutional status, he said.
The state has been witnessing violent protests since the killing of terrorist Burhan Wani in an encounter last month.
Prime Minister Narendra Modi on Friday said at an all-party meeting that the doors of the government were open for addressing "grievances" of all sections in Jammu and Kashmir
under the Constitution, but made it clear there cannot be any compromise on the nation's integrity.
Previous articleरेलवे की नई पहल, सोशल मीडिया पर अपनी यात्रा की अच्छी यादें शेयर कीजिये
Next articleशाहरुख़ की अमेरिका में हिरासत के बाद, ब्रिटैन ने सरोद वादक अमजद अली खान को वीसा देने से इनकार किया, दोनों के नामों में खान


Perfectly positioned in a quiet cul-de-sac, sit this charming family home.
Enter the home though the spacious separate entrance. A huge dining / living area opens to a stylish updated kitchen with gas cooking and lots of cupboard space, overlooking the large deck which is the perfect place to entertain or you can soak up the morning sun.
The separate lounge including gas heater awaits with plenty of windows to let in the natural light. New carpets in the bedrooms and lounge area complete the feel of warmth and space. Four good sized bedrooms are on offer, all with built in robes allowing the family to spread out.
Ducted cooling and gas heating for your year round comfort is a plus.
This property would suit couples and families and is positioned close to shops, schools and transport. Pets are negotiable.


Welcome to New Edge Window Replacement. We're a Chicago based full service window company. We specialize in utilizing the highest quality materials, workmanship and customer service and deliver the best service possible to all of our Chicagoland customers. Our story began in 2013, but our experience in the industry and commitment has let us become one of the area's leading window companies. Our locally owned and operated business has grown into a well-established company that is focused on building long standing relationships with our clients and providing them with an exceptional product that is engineered to today's highest standards.
We began humbly, as a small company working on simple residential window projects and evolved into a successful, professional window installation business. This growth came out of the demand for professional window installation of a wide variety of window types – from bay windows and basement windows to vinyl, wood and storm windows, and much more. Not only to we install windows, but we also offer professional window glass repair and window replacement.
Our commitment to this objective and to our local community helps us accomplish our tasks more efficiently on a daily basis. Over the years we've grown thanks to paying a lot attention to our clients and employing dozens of highly skilled professionals striving to achieve the same goal: to ensure that our clients are being served with their best interests in mind and that they're getting the absolute best value.
From the moment you start working with us until the completion of your project, we ensure that your case will be dealt with absolute professionalism. Our window installers treat your home and property with respect throughout the entire process. Our strength lies in the quality of our services and dedicated team of highly knowledgeable and committed contractors. The combination of our talented team and professionalism is integral to New Edge's outstanding track record performance.
We are proud of having gained customers' trust. That's why after every service we perform, we encourage our clients to share their experience and post a review online. Our reputation was built on the satisfaction of our customers and we would like to continue to grow and expand. At New Edge Window Replacement we believe that customers should get the best possible results when choosing to install, replace or repair windows in their home. As one of the area's leaders in the window installation industry, we are capable of undertaking all types of jobs, while providing the best customer service possible. That's why we work hard to keep up with new technologies and innovations and always try to improve our service and quality.


Union Lake is an 898-acre reservoir located in the town of Millville in southern New Jersey. The lake dates back to the 1790s, when the damming of the Maurice River created a small reservoir used to power a local mill. The lake was bought by the Millville Manufacturing Company in 1868 and a new dam was built downstream that increased the lake to its present size of four miles long and one mile wide. In 1982 the lake and 5,000 acres surrounding it were sold to the New Jersey Division of Fish and Wildlife, who rebuilt the aging dam and turned the lake and the surrounding land into a wildlife management area. Union Lake is the largest freshwater lake in southern New Jersey and a popular place for fishing, swimming, and boating.
Union Lake is especially known for its bass fishing, and bass tournaments are a common occurrence on the lake. The lake is home to both largemouth bass and smallmouth bass. The New Jersey Division of Fish and Wildlife has placed special emphasis on stocking the lake with smallmouth bass since there a so few places in southern New Jersey that these fish can be found. Union Lake is also home to striped bass, which is unusual for an inland lake. In addition to bass, yellow perch, white perch, crappie, chain pickerel, channel catfish, and sunfish can all be found in Union Lake. The addition of man-made structures such as Christmas tree reefs and tire reefs in the lake have helped make it an ideal habitat for these fish. Anglers can access the lake via two public boat launches. There is a 10 horsepower limit on motorboats in the lake.
Union Lake isn't just for fishing boats: sailboats, canoes, and kayaks are also welcome at the lake. The lake is a popular place for sailing, and local sailing clubs often host regattas there in the summer. Sailing enthusiasts of all ages can be found gliding across the lake's warm waters on weekend afternoons. Canoes and kayaks can be seen paddling the lake, or using it as a starting point for a longer trip down the Maurice River, part of the National Wild and Scenic Rivers System. Union Lake is a perfect summertime destination even if you don't have a boat. Union Lake Park has a swimming beach that is open in the summer, complete with a concession stand, playground, softball field, and beach volleyball court.
Nature lovers can enjoy Union Lake's status as a wildlife management area. There are many miles of unmarked trail curving through the forest and along the lake's shoreline, perfect for hiking, biking, or horseback riding. Birdwatchers can expect to see bald eagles, who often nest at the lake, as well as osprey, several varieties of ducks, and wild turkeys. In the fall, the forest is full of birds beginning their migration, and purple martins can often be seen by the thousands. Hunting is available by permit, and deer, turkey, and waterfowl are plentiful at Union Lake.
If you are planning a trip to southern New Jersey, don't overlook this little lake. There's plenty to do, from bass fishing to birdwatching. Union Lake is the perfect place to enjoy a little of the Garden State's natural beauty.


text:
Questions Concerning Operation
Here are links to frequently asked questions. For your convenience, these questions have been divided into two categories. General Questions deals with questions concerning scientific calculators in general while Questions Concerning Operation answers questions related specifically to operating our calculators.
What is a WriteView calculator?
A WriteView calculator is a scientific calculator that can display fractions and symbols (such as " ") that are used in mathematical formulas, as in the display example shown here.
What is a scientific calculator?
Calculators that have functions such as trigonometric functions are generally called scientific calculators.
What is a programmable calculator?
A programmable calculator is a scientific calculator with algebraic memory functions.
What is a graphing calculator?
A graphing calculator is a scientific calculator with graphing functions.
What is the D.A.L. system?
D.A.L. is the abbreviation for the Direct Algebraic Logic system.
It is a way of inputting that follows the exact order of the equation. Sharp was the first company to incorporate this system into non-programmable scientific calculators in 1992.
How is the D.A.L. system different from V.P.A.M.?
V.P.A.M. can be found on Casio's calculators and is essentially the same as Sharp's D.A.L. Nowadays it has become standard to enter an equation as it appears on the page.
What should I pay attention to when buying a new scientific calculator?
Scientific calculators have many functions. Therefore, you should know what functions are needed today or in the future and whether the functions in your field are included. Other factors, such as price, durability and usability, should also be considered.
Are the functions and operating methods different between educational and general scientific calculators?
Basically they are the same. Educational calculators have functions that are helpful for education, such as the D.A.L. system and the mathematical display.
Why are scientific calculators used in education?
Many students say they don't like mathematics or science and find calculations difficult. Scientific calculators reduce the burden of computation and allow teachers to spend more time explaining theories and showing fascinating aspects of mathematics, thereby helping students become interested in mathematics. This is why the use of calculators in classes and in tests has been spreading world-wide.
Tell me about cheating prevention and the model certification system.
In order to prevent cheating, some schools ban programmable and graphing calculators that can store formulas or functions that interfere with learning the curriculum. These schools apply a certification system to determine which calculators are appropriate for education. Only models that conform to the certification can be selected.


text:
14 км — служебный остановочный пункт в Выборгском районе Санкт-Петербурга на линии Санкт-Петербург (Финляндский вокзал) — Выборг. Остановочный пункт располагается между станциями Шувалово и Парголово. Станция имеет 2 короткие посадочные платформы. Станция служит для подвоза сотрудников подстанции ПС № 410 «Парголово». Вход и выход осуществляется из кабины машиниста. С 2016 платформы практически разобраны (превратились из высоких в низкие, таблички с названием станции отсутствуют), все электропоезда следуют станцию без остановки. На станции 3 пути: 2 пассажирских и один перпендикулярный им подъездной путь к подстанции.

Источники
 https://wikimapia.org/19796511/ru/Платформа-14-й-км
 https://railwayz.info/photolines/station/25591

Железнодорожные станции и платформы Санкт-Петербурга
Станции Санкт-Петербургского отделения Октябрьской железной дороги


text:
Q: Unable to click download button with web scraper for whatever reason mechanize is unable to click this export button to automate downloading a public government csv file, i'm trying to automate downloading a fishing report, does anyone have any ideas on how to get it to work?
agent = Mechanize.new
url = 'https://nrm.dfg.ca.gov/FishPlants/'

log :debug, "reading HTML from #{url}"
page = agent.get(url)

log :debug, 'loaded page'
form = page.search('#aspnetForm').first
button = page.search('.application_button').first

log :debug, 'clicking Export button'
response = agent.submit(form, button)

i get a stack trace with the following error
...
    form.add_button_to_query(button) if button
        ^^^^^^^^^^^^^^^^^^^^
/Users/aronlilland/.rvm/gems/ruby-3.1.2/gems/mechanize-2.8.5/lib/mechanize.rb:581:in `submit'
/Users/aronlilland/Documents/dev/fishing-report/tasks/download/fishing_report.rake:27:in `block (2 levels) in <top (required)>'
Tasks: TOP => download:fishing_report
(See full trace by running task with --trace)

the form is confirmed returns successfully, but the button is an input field
the page seems relatively straight forward, so dont know why i'm unable to scrape it - and its also public data
<form method="post" action="./" id="aspnetForm">
  <!-- .... -->
  <input
    type="submit"
    name="ctl00$cphContentMiddle$btnExport"
    value="Export"
    id="ctl00_cphContentMiddle_btnExport"
    class="application_button"
  >
  <!-- .... -->
</form>

A: agent.submit got the wrong type for form
The issue here could be seen if you had included the beginning of the stack trace:
.../ruby/gems/3.1.0/gems/mechanize-2.8.5/lib/mechanize.rb:581:in `submit': undefined method `add_button_to_query' for #<Nokogiri::XML::Element:0x1ea14 name="form" attributes=
[#<Nokogiri::XML::Attr:0xbd38 name="method" value="post">, ...

Mechanize expects the submit to act on a Mechanize::Form instance, but instead got an instance of Nokogiri::XML::Element, as you can see by adding this to your code:
form.class # => Nokogiri::XML::Element

If you check the docs for the Mechanize::Form class, you can see the example they give to get you the form object is this:
form = page.forms.first # => Mechanize::Form

as opposed to what you used:
form = page.search('#aspnetForm').first

The call to search here is delegated to Nokogiri, and therefore doesn't return the object type you need, but rather a Nokogiri element.
button also has the wrong type
By the way the same applies to this line:
button = page.search('.application_button').first

If you fix the type of form, you'll get into a similar issue with button not being the expected type. Again, there's an example in the docs showing how a button is found:
agent.submit(page.forms.first, page.forms.first.buttons.first)

You'll need to figure out how to find the specific button you need though, I haven't worked with Mechanize before, so I can't offer a suggestion here. Presumably there's a way to convert the button you find through search to a Mechanize::Form::Button instance.

redpajama_set_name: RedPajamaStackExchange


text:
The Trouble with Girls
By Cynthia Hawkins
This week, Girls' writer/director/actress Lena Dunham went on NPR's Fresh Air to address criticisms that the show is a particularly whitewashed view of entitled twenty-something women emotionally adrift in New York City. Even before the show aired on HBO, Girls had garnered a tremendous amount of buzz as a series helmed, for a change, by a woman. Just a few episodes in, the buzz erupted in debate on Girls' representations of gender, class, and race as well as its worthiness of being the focus of so much debate to begin with.
To date, the non-white characters on Girls have been the scant flat or stereotypical characters largely relegated to the periphery of the story, and the descriptions on the casting call for nannies and receptionists certainly haven't helped the perception of Girls as a series that lacks depth and diversity. On this issue of race, Dunham told NPR:
Something I wanted to avoid was tokenism in casting. If I had one of the four girls, if, for example, she was African-American, I feel like — not that the experience of an African-American girl and a white girl are drastically different, but there has to be specificity to that experience [that] I wasn't able to speak to. I really wrote the show from a gut-level place, and each character was a piece of me or based on someone close to me. And only later did I realize that it was four white girls. As much as I can say it was an accident, it was only later as the criticism came out, I thought, 'I hear this and I want to respond to it.' And this is a hard issue to speak to because all I want to do is sound sensitive and not say anything that will horrify anyone or make them feel more isolated, but I did write something that was super-specific to my experience, and I always want to avoid rendering an experience I can't speak to accurately.
It's problematic if Dunham's own insularity as a writer is such that she feels she "can't speak accurately" to characters unlike herself or unlike the people she's closest to. Write what you know, sure, but maybe work on knowing a little bit more. At the same time, there's much that Girls does well. It puts a woman in control of stories about women in a major forum. It gives voice to the sort of woman we haven't often seen depicted front and center elsewhere on television – a more realistic, more relatable sort of woman driven by something other than shopping and diets and Mr. Right. And it's as funny in its exploration of contemporary twenty-something existence as it is painful.
One of the most thorough and thoughtful responses I've read to Girls, the hype, the backlash, the expectations of women writers making inroads, and issues of representation across the board came last week from Roxane Gay at The Rumpus:
We put a lot of responsibility on popular culture, particularly when some pop artifact somehow distinguishes itself as not terrible. In the months and weeks leading up to the release of Bridesmaids, for example, there was a great deal of breathless talk about the new ground the movie was breaking, how yes, indeed, women are funny. Can you believe it? There was a lot of pressure on that movie. Bridesmaids had to be good if any other women-driven comedies had any hope of being produced. This is the state of affairs for women in entertainment—everything hangs in the balance all the time.
Do yourself a favor and read Gay's "Girls Girls Girls" here.
TAGS: A & C, Bridesmaids, girls, HBO, Lena Dunham, Roxane Gay, Television, The Rumpus, TNB
TNB Arts and Culture Editor CYNTHIA HAWKINS teaches creative writing at the University of Texas at San Antonio. Most of what she thinks she knows comes from movies, including how to tango, how to take someone down with a ballpoint pen, how to curse in French, and how to catch a moving train. Her work, on movies and otherwise, has appeared in literary journals and magazines such as ESPN the Magazine, Parent:Wise Magazine, The Good Men Project, New World Writing, Strange Horizons, and numerous alternative weeklies and anthologies. You can find Cynthia on Twitter and at cynthiahawkins.net.
33 responses to "The Trouble with Girls"
Not wanting to cater to tokenism is one thing. But I have a hard time believing that at no point during the writing, casting, filming, editing, and promotion did ANYONE notice that this is a really, really white show. If so, not only is Dunham's particular creative field of vision insular, but so is that of the production staff she's surround herself with.
Gay's piece is stellar.
Stellar indeed!
I don't know what would be sadder — if no one else had noticed or if they'd noticed and said, "meh, no matter." Also depressing, the number of really, really white shows.
The "tokenism" is apparently not an issue when characters you see for 30 seconds with one or two lines on the show are concerned. Ironic that she was simultaneously trying to "avoid tokenism" and didn't realize that there were only white characters. Both can't really be true.
I really do appreciate seeing a show where the main character isn't skinny and gorgeous, though. I'm pretty sure this has some basis, in terms of characters, in Sex in the City — they all correlate with "personality types" on that show.
Phat B says:
I find Lena incredibly gorgeous, but then I've always been attracted to what lies between a woman's ears: her eyebrows. Seriously though, I'm tired of looking at attractive people with glowing white teeth as well. That's why COPS will always be my favorite show. Diversity, insanity, toothlessness, stupidity, the occasional tazer deployment. Talk about a show that hits all the right notes.
Yes, I appreciate that Dunham's the central character, eyebrows and all. The night the show aired, she posted a photo of herself dressed for the big premiere — in pajamas and towel-wrapped head alone in her apartment. I loved that.
Hey, Phat B, COPS is still on?!
You betcha. In glorious HD no less.
Art Edwards says:
I watched my first episode a few weeks ago, after watching the indie movie around which the series is based, and I was left with mixed feelings. I thought much of the writing was astoundingly good, but I just found the characters unsympathetic in a way I haven't experienced in a long time. The main girl was being cut off from her allowance two years after graduating from college, and whining about it, and I just couldn't make myself care about her. I also was blaming her for not getting away from that guy she was seeing. As opposed to responding to the characters' travails, I felt my buttons being pushed, which is always a red flag with me.
Thanks for the insight, C.
I'm not really connecting to the characters yet either. I'd wondered if that might be new-show-ness — you know, that period in which it takes awhile for the cast to gel as an ensemble and for the actors to really get a handle on their characters. But for now, the characters often seem inconsistent, particularly Jessa, and I don't always get their motivations. It'll be interesting to see how it evolves and develops.
Thank you, Art!
Eh, I dunno about all the backlash. Seinfeld was a show about 4 thirty-something white jewish people, and I don't recall a whole lot of backlash about that aside from a couple stand up comedy routines. I think part of racial harmony is not noticing or caring that all the characters on the show are white. Like that South Park episode where everyone was up in arms about the flag with the black guy on it, and only the kids were the ones who couldn't see it, cuz all they saw was a human being on a flag. It's just a show about 4 female human beings cutting their teeth in New York who show their boobs a lot.
ELizabolt says:
I wholeheartedly agree. If we want to reduce the issues people have with racial equality, we need to stop pointing out everything that's "different." There are shows that exist in the US with considerably more diverse characters – so if that is what you are looking for, watch them! Or go out and make a multi-racial Girls. Or just watch the show and move on with your life.
It is well established that Girls was initially "refreshing" because it featured 'real,' well-written, strong(-ish) women. Now we look for the flaws and race is the next societal issue to tackle. I don't think Girls was trying to identify with every person who could ever happen upon the show; very few television shows attempt this, much less those who manage it.
If you're going to watch Girls, great! If not, stop complaining and change the channel.
Andra says:
I also agree. One wouldn't go up to Toni Morrison and say, hey, you have a really myopic view of white people, why don't you work on knowing a little bit more. There is room for all voices and experiences in the world. If one's experience is limited, then it is important to be honest about that and work on changing it. (Maybe the characters will wake up one episode and realize their relative isolation in one of the most diverse cities in the world.) I was really prepared to hate this show, but in the end I have to appreciate that this chick did not use her money and connections to pitch and produce another Sex and the City, or better yet, a reality show claiming to be the "real" Sex and the City.
There must have been some boob-showing quota instituted by the HBO big-wigs for all of its shows. Have you seen Game of Thrones? All boobs! Interrupted by the occasional beheading.
Yes, I think one of the most curious aspects of this whole brouhaha is how Girls gets ripped for what has been true of many, many, many other shows, past and present, that exist/have existed with little to no criticism on the matter. I think Gay's essay really nails it on the reasons for why that is.
CAC says:
This reminds me a Kurt Vonnegut short story that I read in the 7th grade about a world in which everyone is legally "equal", so any differences in intelligence, attractiveness, or physical ability is "handicapped" so others won't feel lesser than others. Attractive people have to wear masks. Ballerinas have to wear weights. Intelligent people have to wear devices that interrupt thought processes.
No one criticizes shows that focus on the African American experience as being "too black", or the Jewish American experience as being "too Jewish". What is wrong with depicting children of white privilege? I went through 12 years of private schools, a private women's college, and then a fairly prestigious graduate school. I am older than these girls now, but watching this show is sometimes funny and uncomfortable for me, because I do see myself and my friends in the some of the characters. It is, actually (and sometimes awkwardly), my experience in many ways (albeit, a generation earlier).
When the act of creativity is watered down to the point that it pleases everyone and offends no one, we are stuck with mediocrity. We watch movies and television shows, and read books, and listen to music, to understand different perspectives and to understand different points of view. Some of which mirror our own experience, and some of which do not. Whether you like them or not, these girls exist and are part of the American tapestry. There is nothing wrong with this. I don't want to live in that Kurt Vonnegut world.
Patrick T. Kilgallon says:
Yes, that is the short story, Equilibrium.
I tend to be facinated with characters that I dislike the most. I am always interested in how that person came to be like that. I tend to like reading or watching stories about whiny or cruel characters who successfully got into touch with his or her inner douchiness. I think it is a mixture of Black's Philosophy and because it is usually funny to me.
Hey hey, thanks all for weighing in!
Patrick, now you have me thinking of all the characters I dislike, even loathe, that I still find intriguing. The guy who plays Adam on Girls is a good example of that. I think with every episode I dislike that guy all the more — but his jackassery is so very compelling. Oh! And Van Alden better be back in the next season of Boardwalk Empire so I have someone to yell at. He is most definitely, as my mother would say, "a real piece of work."
Henry Escobar says:
I DO NOT agree with this criticism. Is getting old. In fact, I don't even know if this was an article at all. I remember when Sofia Coppola was questioned about the same thing –after the release of 'Somewhere'–. She answered something along the same lines: this is the world i live in; experimenting w/ other stratus would be disingenuous. Cinthya says Lenna can work on knowing a little bit more; please give examples. I bet that representing the experiences of other ethnic groups successfully (when you don't belong to them), would end up in a stagnant production process. There is one thing I agree on, the series is in fact a bit overrated. It is an OK show, just like Coppola's movies are fine, and just fine. Nothing over the top. However, I bet everyone here likes the show a lot, and wouldn't have even think of this typical –almost envious– critique, if it wouldn't have been approached as such a reproduced-cliche from someone at the NY Times (something that even Terry Gross fell for). SMH.
Hi Henry! Thanks for taking the time to read my clichéd non-article and offer your perspective!
I think that line stood out for me as a writer because I felt that'd be creatively prohibitive even in more general ways – say, writing a drug-addicted former astronaut living in a hovel in the Appalachian mountains wouldn't happen because she's not, nor does she know in her closest circle, a drug-addicted former astronaut living in a hovel in the Appalachian mountains. And don't we all need that story to be told?
True, the criticism is overmuch. True, it's overly focused on one show. Interesting note about Sofia Coppola as well. Lost in Translation is one of my faves. I haven't seen her recapture that kind of magic since, but I'm hopeful! One of these days ….
It's just the ethnicity thing. More and more feels like either a writer's antidote, or a subliminal (abused but effective) publicity tactic. Your note has the least of these ingredients (not backpedaling), is that snowball from the NYTimes and alikes i mentioned above… Sure it would be revealing to explore the apathy of a honduran exile towards sex, after his/her arrival to NY. Ironically the city of the same government –and country–, that backed the coup in his/her native home (twice). But that won't be one of the original ideas of a typical 25 year old rookie producer for a show.
Where i will definitely backpedal is on Coppola's Lost in Translation. I agree with you there: it was marvelous.
Not just a fine movie. And to recap on both issues, here is one of Coppola's answers on the topic; like i said, on the eve of Somewhere (coincidental article-title by the way, coinsidental also, an easily seen link to an article on Dunham on the righ), check out question #4: Sofia Coppola: Not just for girls .
(…) a "writer's-block antidote" i meant to say. xD
Thanks for the link! Checking it out now …
Oh and if anyone is looking for another show created by white chicks, but with less boobs and weird sex, check out Best Friends Forever. Created and written by a couple of UCB's finest, and they happen to be best friends in real life so the chemistry is amazing. Improv actors are just perfect for sitcoms. I think the eps are up on Hulu and on demand or what have you, but it's on NBC so they'll undoubtedly cancel it soon.
Righto you are! Canceled: http://latimesblogs.latimes.com/showtracker/2012/05/nbc-axes-bent-awake-chelsea-best-friends-forever.html
NBC has its head up its peacock ass. If they didn't renew Community I was gonna go down there and be very upset with the receptionist cuz they probably have great security.
Sung J. Woo says:
Just read that article you referenced, Cynthia, the one in Racialicious by Kendra James. So if Brooklyn is 2/3rds non-white, then perhaps it could be argued that Dunham is actually writing from the point of view of a minority. And if so, then does she get a pass, like the way minority shows like "Roc" and "Living Single" can display only one specific race and ignore the rest? (I know there have been African-American sitcoms later than these, but alas, my TV knowledge is dated and limited!)
I'm certainly not supporting Dunham's limited view of the city, but it does seem like she's getting bashed when what she was doing is what young writers are told to do — write what they know. And I'm not sure if Kendra James is leading the readers somewhat regarding her alma mater, Oberlin, which is pretty white-bread — according to http://www.cappex.com/colleges/Oberlin-College-204501, it's 74% white. Compare that to NYU (http://education-portal.com/directory/school/New_York_University.html), which is 48% white. So not exactly difficult to graduate from Oberlin, if you are a white girl, with only white friends.
– Sung
Thanks Sung! That's an interesting take on it, re. the statistics, etc. I appreciate that Girls is a milestone for at least one underrepresented group in the industry — women producers, directors, and writers — as well as a step for an underrepresented kind of lead character — a woman who isn't skinny and pretty by Hollywood standards (I happen to think she's just fine, for the record). So I'm willing to wait it out and see how the series develops from here. I'm also very interested to see how Dunham evolves as a writer as her world opens up around her. Really, she is a young writer, as you note, just getting started (and getting started in a huge and amazing spotlight, no less).
Elizabeth Collins says:
I don't know that I think "Girls" is brilliant–it's very interesting the way it catches a certain set of people–but I think the chatter about lack of diversity is silly, in this case. That's not the story Dunham is writing. She would be disingenuous if she acted as if she were capable of doing that in this particular show, set where it is, with its particular group of fancy friends. That said, the shirtless, zitty guy sofa sex scene was so skeevy, I still have not recovered. Girls acting stupid who will eventually know better. That's basically what I thought of the show, but I only saw one episode. I do want to see more.
You've only seen the skeevy guy in the first episode? Believe it or not, he gets worse!
I'm pretty sure that he is shirtless in every scene, and the button on his pants is always undone.
Robby Auld says:
I have nothing intelligent to contribute, but I love this show.
Robby, the two things I know about you are that you write awesomely astute book reviews and that you are a young guy. And I'm very interested that you love this show, because a friend of mine who is some sort of media studies specialist once suggested that youngish people wouldn't like Girls as much as oldish people because youngish people would be too uncomfortable with some of the familiar realities it presents. I wasn't so sure about that. Now I'm going to tell her, "I've now heard from a young person! He loves it!" And somehow this means I win. Thank you!
Thank you for the compliment! Those familiar realities are precisely why I'm drawn to it. It's raw and "awkward" and vulgar, but human, and beautiful. It's difficult to see some of the characters act as they do, especially Hannah, but we all have a bit of her in ourselves, which is from where the discomfort stems. I think. Also, it's hilarious.
Arturo R. Garcia says:
Hi Cynthia,
As a companion to Kendra's piece, I'd recommend reading by our editor, Latoya Peterson, on why stories of people like Lena Dunham – 20-something white cis-women – get prioritized over those of, say, Issa Rae, an award-winning webseries showrunner.
I also wanted to respond to a couple of comments made earlier in the thread:
* Re: Seinfeld. It's important to remember that that show existed during a time when a) social media did not exist and b) safe spaces online for people of color weren't as prevalent, if they were around at all. But Girls fits perfectly in line with a number of shows – Sex & The City being another one – set in New York and promoted/reviewed as "America's Best _______." Here, again, an all-white experience is defined as being "universal." To suggest that shows like Roc "get a pass" is questionable, if not outright distasteful, in that context.
* Re: The argument that people should "stop complaining" and "make their own Girls." They do, and they have, and they continue to do so – this post shows us that there are people like Issa Rae creating their own alternative content – but, again, in a TV industry that has largely been getting less diverse behind the camera over the years, those experience apparently aren't seen as "valuable" to a market geared almost exclusively toward white people. Thanks for hosting this discussion, Cynthia!
Arturo R. García
Managing Editor,
Racialicious.com
Thanks for stopping by to add to the conversation, Arturo! You make some really important points. Yes, I think the stop-complaining-and-write-your-own-series kinds of comments on this issue, as if people aren't already doing just that to no avail, are a bit naive. I'm glad you included the info on Issa Rae as well as on diversity behind the camera being increasingly less so in television. Much appreciated!


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Cab app Uber has admitted the details of 57 million customers were stolen during in a hack in 2016 - here's what you need to know.
The company's chief executive officer Dara Khosrowshahi said the names, email addresses and mobile phone numbers from Uber users around the world, and the details of 600,000 USA drivers, were downloaded by hackers in October 2016.
He said he only found out about the hack recently, and ordered a full investigation into how it was handled at the time including why drivers, customers and regulators were not told.
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I use Uber - what should I do?
Uber says information including names, email addresses and mobile phone numbers were taken, but has not yet confirmed how many of these were from UK customers.
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