text:
Variety Plus Icon Read Next: Amazon Prime Video Inks Multi-Picture Licensing Deal With South Africa's Known Associates (EXCLUSIVE)
Oct 14, 2012 9:41am PT
'Taken 2' bests newcomers with $22.5 mil; 'Argo' strong second with $20.1 mil
Neeson thriller stays on top in second frame for robust $86.8 mil domestic cume
By Andrew Stewart
Andrew Stewart
@Variety_Stewart
Box Office: Fox's 'X-Men: Days of Future Past' Powers Up With $111 Mil Domestic Start 9 years ago
'Frozen' Reaches $1.219 Bil to Become Fifth-Highest Grossing Film Globally 9 years ago
Box Office: 'X-Men: Days of Future Past' Sets Franchise Best With $262 Mil Global Bow 9 years ago
The weekend box office was buoyed by a mix of pics ranging from hip to hip replacement.
Playing strongly to auds 50 and over, Warner Bros.' "Argo," with an estimated $20.1 million, led the weekend's quintet of new wide releases, while Fox added to the congestion as holdover champ "Taken 2" collected $22.5 million in its second frame, leading the B.O. with a beefy domestic cume of $86.8 million.
Trailing "Argo" among the weekend's newcomers, Summit's haunted house scarer "Sinister" got off to a good start, with an estimated$18.3 million from auds mostly under 35.
Sony's Kevin James family comedy "Here Comes the Boom" grossed a projected $12 million, while CBS Films' "Seven Psychopaths" underperformed, earning $4.3 million from 1,480 locations. "Psychopaths," however, will have an opportunity to redeem itself Oct. 26, when CBS expands the pic further domestically.
Despite a little cannibalization, the competitive mix of new entries and holdovers boosted totals some 45% over this time last year — the second straight comparable year-over-year improvement.
Self-distributed sequel "Atlas Shrugged: Part II," from Atlas Distribution, was a test case in laissez-faire capitalism, as moviegoers voluntarily decided to buy just $1.7 million worth of tickets, even though the Ayn Rand adaptation bowed at an aggressive 1,017 Stateside locations. The free market resulted in an average of just $1,688 per screen.
Holding extremely well, Sony's toon repeat player "Hotel Transylvania" dropped just 36% in its third outing, grossing $17.3 million — enough for the weekend's No. 4 spot and a topnotch domestic cume of $102.2 million.
Disney's soph-sesh pic "Frankenweenie," meanwhile, fell 39% for a weekend gross of $7 million. Domestic cume is $22 million.
Though "Taken 2" again won overall internationally, with $41 million (down 26%), the Spanish opening of tsunami disaster pic "The Impossible," at $13.4 million via Warner Bros. Intl., broke records for the country's biggest three-day and four-day opening ever. Summit bows the pic Stateside Dec. 21.
Another record fell this weekend as Universal's "Ted," with $469 million worldwide, became the highest-grossing original R-rated comedy, beating "The Hangover" ($467.5 million).
Cannibalizing crowd?
The crush of five wide entries this weekend hurt "Seven Psychopaths," which had to compete for male interest in "Taken" and "Sinister." R-rated "Sinister" skewed 56% male, with two-thirds of the aud in the 18-34 demo.
"Psychopaths" earned 62% of its opening from men, and 71% of the pic's crowd was 25 and older.
"Argo" drew an overwhelming 74% over-35 crowd, of which more than half was over 50. As evidence, the film increased a sizable 47% from Friday to Saturday, driven largely by adults.
"Just looking at the demos, it's exciting," said Warner domestic distribution prexy Dan Fellman, referring to the pic's potential legs. "Adult movies tend to play and play. I just feel like we benefited from the perfect storm."
"Argo" should play similarly to helmer Ben Affleck's 2010 "The Town," which opened with $23.8 million and cumed $92 million domestically. Fellman said he feels "Argo" could hit $100 million Stateside, which would be a five-times multiple, based on the film's $20 million opening.
"Argo" received an uber-rare A+ CinemaScore rating.
Fellman admitted there still is room for improvement in places across the South and Midwest, as well as throughout Canada (excluding Toronto). That said, Canada made up more than 8% of the film's domestic opening, compared to the country's more typical 6% contribution.
Budgeted at around $50 million, "Argo" is based on the true story of a 1980 CIA operation that centered around a fake Hollywood movie production used to rescue six Americans trapped in the Canadian embassy in Iran. The film stars Affleck, Bryan Cranston, Alan Arkin and John Goodman.
Sony's "Here Comes the Boom," meanwhile, likely was hurt somewhat by overperforming family fare like "Hotel Transylvania," though "Boom" still earned 55% of its opening from non-families. Of the pic's family turnout, parents contributed 19%, with children under 12 at 26%. Sony spent considerable marketing muscle targeting the film to families and Hispanics.
"I definitely think this film will be around for weeks to come," said Sony distrib topper Rory Bruer.
Paramount's big opener "Paranormal Activity 4" will severely limit playability for "Sinister" next weekend, though David Spitz, exec VP of distribution for Lionsgate, said the film's opening has positioned it well regardless.
"Everybody was saying Thursday that there was no way for us to break through the clutter, but we wound up being the No. 1 film on Friday," Spitz said. "For us, it was always about getting the movie open at the highest possible level."
Since "Sinister" cost just $3 million from producer Jason Blum's Blumhouse shingle, the film is on track to becoming profitable. It had this weekend's highest per-screen average among the wide releases at $7,222 from 2,527 locations.
'Perks' droops slightly
Summit's other current title, "The Perks of Being a Wallflower," faltered for the first time since opening four weeks ago, averaging a so-so $2,983 from 726 locations. "Perks" just cracked the top 10 with $2.2 million for a solid domestic cume of $6.2 million.
The teen-targeted film has been legging out nicely since bowing Sept. 21, though pic was likely hurt somewhat in wide release by Universal's sturdy femme-driven holdover "Pitch Perfect," which fell just 37% this weekend.
In limited release, Sundance title "Middle of Nowhere," which is distributed by African-American Film Festival Releasing Movement (AFFRM), estimated $78,000 from six locations, yielding the weekend's highest per-screen average of $13,000.
Sony Pictures Classics launched another pic from Park City, "Smashed," which scored a not-so-hot $7,506 per-screen average from four locations in New York and L.A. SPC's music docu "Searching for Sugar Man" reached $1.7 million domestically thanks to an aggressive expansion to 157 engagements this weekend.
Seven Psychopaths,
Sinister,
Taken,


text:
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Okeechobee Music & Arts Festival 2017: Check the Dates, Get Discount Tickets!
OMAF announces 2017 dates and presale tickets are now available. Read here why this the-four day event will be a unique experience in its second edition next year. | By Pedro Penalver, WPB Magazine Editor in Chief.
(Staff Writers)
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Keep up to date with all that's happening in West Palm Beach
Okeechobee Music & Arts Festival, the 4 days event that started this year on March, will be back in 2017. The music festival successfully drew thousands of spring breakers and music fans across the country during its inaugural edition. In 2017, Okeechobee Music & Arts Festival will continue to be the new Florida tradition at Sunshine Grove.
The second annual event will take place March 2 – 5, 2017. The festival will again be held during the perfect time of the year to enjoy an incredible Florida weather in an ideal setting. The festival's home is widely regarded among the best music festival destinations in the world. A unique place featuring lush grassy flat lands, a sandy beach, stunning tufts of tropical jungle and a majestic grove that houses the main stages.
Okeechobee's second year promises to build upon its reputation as an incomparable, multi-faceted entertainment experience. There will be incredible music and art in an environment of pristine nature with top notch logistics and organization. In terms of scope and creativity, the festival promises to evolve beyond last year. New and exciting elements to the music lineup and activity features will be added in 2017.
Okeechobee Music & Arts Festival will take place March 2 through 5, 2017 at Sunshine Grove. The address is 12517 NE 91ST Ave, Okeechobee, FL 34972. Pre-sale tickets are available now you can purchase them here starting at $229.95 for GA Paradise Pass and $599 for Eternal Sunshine VIP Experience. There also are payment plans available during presale.
The lineup will be announced around October and it will also be a superb catalogue of outshining headliners like in its first year.
Chief Creative Officer and co-Founder Paul Peck said in a recent interview, "There were so many once-in-a-lifetime moments at Okeechobee '16. In 2017, we're going to build upon the magic we created last year by adding new, next level surprises. Those special, shared experiences that will never happen again is what Okeechobee is all about."
Stay tuned for more information and news about the upcoming Okeechobee Music & Arts Festival 2017. More information about camping, schedule of events, and transportation will be available in the coming weeks.
Okeechobee Music & Arts Festival got undivided attention from thousands of millennials in 2016. The inaugural festival was nothing short of amazing! Now that you have re-lived the magic through the above "Take Me Back" Official #omf16 Aftermovie, get ready for #omf17 coming soon!
Here are some of the best photos of the 2016 OMF:
Click on the images to enlarge them
Creative Visions in "The Art of Sherlock Holmes" Exhibition
Miracle on Rosemary by Death or Glory Puts on a Special Twist
Give Back this Holiday Season at Urban Youth Impact's Annual Christmas Store
WPB Magazine is your source for the latest happenings about art, entertainment news, business reviews, opinion, real estate, culture, fashion, dining, and more about West Palm Beach. This website publishes stories on a daily basis. An exclusive edition of WPB Magazine is printed every quarter and it can also be read online for free here or through our App Store. To read the current print issue, go to www.digital.wpbmagazine.com
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redpajama_set_name: RedPajamaCommonCrawl


text:
package prometheus

import (
	"fmt"

	"github.com/golang/glog"
	"github.com/google/trillian/monitoring"
	"github.com/prometheus/client_golang/prometheus"
	dto "github.com/prometheus/client_model/go"
)

// MetricFactory allows the creation of Prometheus-based metrics.
type MetricFactory struct {
	Prefix string
}

// NewCounter creates a new Counter object backed by Prometheus.
func (pmf MetricFactory) NewCounter(name, help string, labelNames ...string) monitoring.Counter {
	if labelNames == nil || len(labelNames) == 0 {
		counter := prometheus.NewCounter(
			prometheus.CounterOpts{
				Name: pmf.Prefix + name,
				Help: help,
			})
		prometheus.MustRegister(counter)
		return &Counter{single: counter}
	}

	vec := prometheus.NewCounterVec(
		prometheus.CounterOpts{
			Name: pmf.Prefix + name,
			Help: help,
		},
		labelNames)
	prometheus.MustRegister(vec)
	return &Counter{labelNames: labelNames, vec: vec}
}

// NewGauge creates a new Gauge object backed by Prometheus.
func (pmf MetricFactory) NewGauge(name, help string, labelNames ...string) monitoring.Gauge {
	if labelNames == nil || len(labelNames) == 0 {
		gauge := prometheus.NewGauge(
			prometheus.GaugeOpts{
				Name: pmf.Prefix + name,
				Help: help,
			})
		prometheus.MustRegister(gauge)
		return &Gauge{single: gauge}
	}
	vec := prometheus.NewGaugeVec(
		prometheus.GaugeOpts{
			Name: pmf.Prefix + name,
			Help: help,
		},
		labelNames)
	prometheus.MustRegister(vec)
	return &Gauge{labelNames: labelNames, vec: vec}
}

// NewHistogram creates a new Histogram object backed by Prometheus.
func (pmf MetricFactory) NewHistogram(name, help string, labelNames ...string) monitoring.Histogram {
	if labelNames == nil || len(labelNames) == 0 {
		histogram := prometheus.NewHistogram(
			prometheus.HistogramOpts{
				Name: pmf.Prefix + name,
				Help: help,
			})
		prometheus.MustRegister(histogram)
		return &Histogram{single: histogram}
	}
	vec := prometheus.NewHistogramVec(
		prometheus.HistogramOpts{
			Name: pmf.Prefix + name,
			Help: help,
		},
		labelNames)
	prometheus.MustRegister(vec)
	return &Histogram{labelNames: labelNames, vec: vec}
}

// Counter is a wrapper around a Prometheus Counter or CounterVec object.
type Counter struct {
	labelNames []string
	single     prometheus.Counter
	vec        *prometheus.CounterVec
}

// Inc adds 1 to a counter.
func (m *Counter) Inc(labelVals ...string) {
	labels, err := labelsFor(m.labelNames, labelVals)
	if err != nil {
		glog.Error(err.Error())
		return
	}
	if m.vec != nil {
		m.vec.With(labels).Inc()
	} else {
		m.single.Inc()
	}
}

// Add adds the given amount to a counter.
func (m *Counter) Add(val float64, labelVals ...string) {
	labels, err := labelsFor(m.labelNames, labelVals)
	if err != nil {
		glog.Error(err.Error())
		return
	}
	if m.vec != nil {
		m.vec.With(labels).Add(val)
	} else {
		m.single.Add(val)
	}
}

// Value returns the current amount of a counter.
func (m *Counter) Value(labelVals ...string) float64 {
	labels, err := labelsFor(m.labelNames, labelVals)
	if err != nil {
		glog.Error(err.Error())
		return 0.0
	}
	var metric prometheus.Metric
	if m.vec != nil {
		metric = m.vec.With(labels)
	} else {
		metric = m.single
	}
	var metricpb dto.Metric
	if err := metric.Write(&metricpb); err != nil {
		glog.Errorf("failed to Write metric: %v", err)
		return 0.0
	}
	if metricpb.Counter == nil {
		glog.Errorf("counter field missing")
		return 0.0
	}
	return metricpb.Counter.GetValue()
}

// Gauge is a wrapper around a Prometheus Gauge or GaugeVec object.
type Gauge struct {
	labelNames []string
	single     prometheus.Gauge
	vec        *prometheus.GaugeVec
}

// Inc adds 1 to a gauge.
func (m *Gauge) Inc(labelVals ...string) {
	labels, err := labelsFor(m.labelNames, labelVals)
	if err != nil {
		glog.Error(err.Error())
		return
	}
	if m.vec != nil {
		m.vec.With(labels).Inc()
	} else {
		m.single.Inc()
	}
}

// Dec subtracts 1 from a gauge.
func (m *Gauge) Dec(labelVals ...string) {
	labels, err := labelsFor(m.labelNames, labelVals)
	if err != nil {
		glog.Error(err.Error())
		return
	}
	if m.vec != nil {
		m.vec.With(labels).Dec()
	} else {
		m.single.Dec()
	}
}

// Add adds given value to a gauge.
func (m *Gauge) Add(val float64, labelVals ...string) {
	labels, err := labelsFor(m.labelNames, labelVals)
	if err != nil {
		glog.Error(err.Error())
		return
	}
	if m.vec != nil {
		m.vec.With(labels).Add(val)
	} else {
		m.single.Add(val)
	}
}

// Set sets the value of a gauge.
func (m *Gauge) Set(val float64, labelVals ...string) {
	labels, err := labelsFor(m.labelNames, labelVals)
	if err != nil {
		glog.Error(err.Error())
		return
	}
	if m.vec != nil {
		m.vec.With(labels).Set(val)
	} else {
		m.single.Set(val)
	}
}

// Value returns the current amount of a gauge.
func (m *Gauge) Value(labelVals ...string) float64 {
	labels, err := labelsFor(m.labelNames, labelVals)
	if err != nil {
		glog.Error(err.Error())
		return 0.0
	}
	var metric prometheus.Metric
	if m.vec != nil {
		metric = m.vec.With(labels)
	} else {
		metric = m.single
	}
	var metricpb dto.Metric
	if err := metric.Write(&metricpb); err != nil {
		glog.Errorf("failed to Write metric: %v", err)
		return 0.0
	}
	if metricpb.Gauge == nil {
		glog.Errorf("gauge field missing")
		return 0.0
	}
	return metricpb.Gauge.GetValue()
}

// Histogram is a wrapper around a Prometheus Histogram or HistogramVec object.
type Histogram struct {
	labelNames []string
	single     prometheus.Histogram
	vec        *prometheus.HistogramVec
}

// Observe adds a single observation to the histogram.
func (m *Histogram) Observe(val float64, labelVals ...string) {
	labels, err := labelsFor(m.labelNames, labelVals)
	if err != nil {
		glog.Error(err.Error())
		return
	}
	if m.vec != nil {
		m.vec.With(labels).Observe(val)
	} else {
		m.single.Observe(val)
	}
}

// Info returns the count and sum of observations for the histogram.
func (m *Histogram) Info(labelVals ...string) (uint64, float64) {
	labels, err := labelsFor(m.labelNames, labelVals)
	if err != nil {
		glog.Error(err.Error())
		return 0, 0.0
	}
	var metric prometheus.Metric
	if m.vec != nil {
		metric = m.vec.MetricVec.With(labels).(prometheus.Metric)
	} else {
		metric = m.single
	}
	var metricpb dto.Metric
	if err := metric.Write(&metricpb); err != nil {
		glog.Errorf("failed to Write metric: %v", err)
		return 0, 0.0
	}
	histVal := metricpb.GetHistogram()
	if histVal == nil {
		glog.Errorf("histogram field missing")
		return 0, 0.0
	}
	return histVal.GetSampleCount(), histVal.GetSampleSum()
}

func labelsFor(names, values []string) (prometheus.Labels, error) {
	if len(names) != len(values) {
		return nil, fmt.Errorf("got %d (%v) values for %d labels (%v)", len(values), values, len(names), names)
	}
	if len(names) == 0 {
		return nil, nil
	}
	labels := make(prometheus.Labels)
	for i, name := range names {
		labels[name] = values[i]
	}
	return labels, nil
}

redpajama_set_name: RedPajamaGithub


text:
3 Things That Will Make This Christmas More Expensive
Here's what you need to know to avoid spending more than you must on the 2021 holiday season.
Donna Freedman • August 31, 2021 • Advertising Disclosure
tommaso79 / Shutterstock.com
After more than a year of pandemic-related money woes, you might think holiday shopping will be slow this year.
If 2020 spending is any indication, you'd be wrong.
Consumers shelled out a whopping $789 billion in November and December 2020, according to the National Retail Federation. That was an increase of 8.3% over the previous year's holiday spending — and more than double the average increase during the previous five years.
While the NRF has yet to release its 2021 holiday spending forecast, the industry group has predicted that overall sales will grow between 10.5% and 13.5% in 2021.
The NRF cited issues such as worker shortages and an "overheating" economy as potential wild cards, but noted that, overall, consumers are "demonstrating their ability and willingness to spend."
Good thing, because the 2021 holidays are likely to be really spendy.
Here's a look at some major reasons the holidays could cost you more this year — and some tips for getting around it.
1. Supply-chain strains
Avigator Fortuner / Shutterstock.com
The ongoing microchip shortage is still affecting the supply and price of many giftable items. But you stand to see product shortages and higher prices this holiday shopping season for a few other reasons, too.
The Suez Canal incident: While it was back in March that a shipping vessel got stuck in Egypt's Suez Canal for six days, Money.com reports a continuing ripple effect of delays and increased shipping costs.
A spike in global shipping costs: The Wall Street Journal reports that daily ocean-freight rates from China to the U.S. West Coast rose 66% between January and the end of June 2021, and more than 400% since January 2020.
High demand: Giant retailers like Amazon and Walmart are fighting for shipping container space, the WSJ notes. These stores and others are looking to restock fully after pandemic-related shortages of certain items. This pent-up demand has caused bottlenecks at ports and higher prices on commodities and manufactured goods.
Factory closures: The Asian shipping news website Splash247.com reported COVID-19-related factory shutdowns in China, Thailand and Vietnam in early August. About one-third of garment and textile factories in Vietnam were shuttered — and since that country is one of the world's major clothing manufacturers, this could have a serious impact on Nike and other companies, the site notes.
What does all this mean for shoppers? Higher prices and tighter supplies for items like clothing, electronics, vehicles and toys.
About that last one: Fortune notes that most toys are made in China and that brands such as Mattel, Hasbro, Little Tikes and LOL Surprise are likely to raise prices — or have already raised them — to offset the supply-chain disruption.
2. General inflation
PERO studio / Shutterstock.com
Do some items look more expensive than usual? That's because they are.
Major manufacturers have already raised prices on household staples such as toilet paper, diapers and pet food. And recently the CEOs of some major companies like McCormick & Co. and Conagra announced that your food budget is going to take a hit.
Blame inflation: In both June and July, overall inflation increased 5.4% year over year based on the federal Consumer Price Index — the highest 12-month increase since 2008. This trend may continue, or inflation could outright ignite, making times even tougher for consumers.
3. Postal price hikes — and slower shipping
Sundry Photography / Shutterstock.com
That annual "if it fits, it ships" holiday package might get more expensive soon. The U.S. Postal Service has announced plans for a temporary price hike for the time period of Oct. 3 through Dec. 25.
If approved by the Postal Regulatory Commission, the federal agency that oversees the Postal Service, the price hikes would average 2.3% for Priority Mail Express and 5.3% for Priority Mail.
Additionally, the Postal Service recently announced that as of Oct. 1 it will take one to two days longer to deliver some first-class mail.
What this means for shoppers
Zivica Kerkez / Shutterstock.com
The early bird catches the worm — or at least gets a fighting chance at avoiding higher holiday costs. That is to say: Start. Planning. Now.
Since supplies are already limited in some areas, you might have to look longer to get everything on your list. Sure, maybe those LOL Surprise dolls will miraculously be in stock in the third week of December. Don't count on it. And even if they are, chances are they'll cost more.
Defray higher costs with money-saving tactics such as shopping through a cash-back site like Rakuten, finding hidden savings by using a browser extension like Honey and paying with a rewards credit card.
Learn more savvy spending tips from articles like "8 Easy Ways to Cut the Cost of Holiday Shopping" and "12 Ways You Can Get Gift Cards for Free."
This might be the year when you wind up giving a lot of gift cards. Some people may still think these aren't great gifts, but many recipients just love getting that buying power. Bonus: You can send e-gift cards and not worry about one going astray in the mail.
Don't rule out alternative gift sources, either. A consignment store, thrift shop, Buy Nothing Facebook group or neighborhood garage sale might have the perfect present for some of the folks on your list.
Finally: Try to ship your gift packages before Oct. 3. Those extra shipping charges probably won't break the bank, but why spend more than you must?
9 Things You'll Never See at Costco Again
Never Buy These 10 Things on Amazon
9 Ways Anyone Can Save Even More at Walmart


text:
Львівський державний університет фізичної культури
 Львівське державне училище фізичної культури

redpajama_set_name: RedPajamaWikipedia


text:
La Venerable y Fervorosa Hermandad del Santísimo Sacramento, y Cofradía de Nazarenos de Nuestro Señor Jesucristo en su Sagrada Lanzada y María Santísima de la Caridad, conocida como la Hermandad de la Sagrada Lanzada, es una cofradía de Granada, que reside en la iglesia de los Dolores (Barrio del Zaidín), fundada el 21 de octubre de 1984. Procesiona el Martes Santo.

Historia
La hermandad se fundó el 20 de noviembre de 1983, aprobándose los estatutos por el entonces arzobispo de Granada, José Méndez Asensio el 25 de mayo de 1985 y se erigió desde sus inicios en la parroquia de Nuestra Señora de los Dolores del Zaidín.

Su primera estación de penitencia la realizó el lunes santo de 1985 partiendo desde la Catedral de Granada, y así fue hasta el año 1993, para pasar a la Iglesia del Sagrario de donde inició su salida entre 1994 y 1997. Fue ya en 1998, cuando pudo salir desde su Parroquia de Nuestra Señora de los Dolores, gracias a la instalación de una carpa en la placeta de la misma, hasta el año 2018, mientras se estudiaban diversos proyectos de capilla de salida, para la cual se adquirió un solar en la calle Venezuela.

Al pasar la Semana Santa del 2018, la hermandad acomete uno de los proyectos más importantes de su historia, ya que pondría fin a 40 años de dificultades para poder realizar estación de penitencia: la ejecución de la venida a llamar "Puerta hacia la Gloria", aunando todos los esfuerzos tras la autorización eclesiástica, con un proyecto del arquitecto Luis Ignacio Fernández-Aragón Sánchez, concluido a finales de ese mismo año. En el mes de noviembre, los titulares realizaron su regreso desde la iglesia del Corpus Christi, del Zaidín, siendo acompañados por gran parte de las hermandades granadinas, para finalmente el día 1 de diciembre de 2018 fuese bendecida por el arzobispo de Granada, Javier Martínez Fernández.

Imágenes titulares

Santísimo Sacramento
Tras la aprobación por parte de los hermanos, la corporación solicitó ser de carácter sacramental, motivo por el cual rinde culto al Santísimo Sacramento y es incorporado al título.

Nuestro Señor Jesucristo en su Sagrada Lanzada

Descripción
Se trata de una obra que representa a Cristo Crucificado, de tres clavos y grandes dimensiones, realizado por el escultor granadino Antonio Barbero Gor en el año 1984. La cruz de esta imagen es de estilo arbórea con remates dorados de orfebrería (talleres de orfebrería de Rafael Moreno) en estilo barroco.

Fue bendecida el 16 de febrero de 1985 en la iglesia de los Dolores del barrio del Zaidín, presentándose en su paso junto al soldado Longinos, instantes después de retirar la Lanzad del costado, siendo también obra del mismo autor. Se trata, junto a la imagen del Cristo de la Redención, de una de las primeras imágenes que se autorizaron a procesionar por la nueva Comisión de Arte y Ornato de la Real Federación de Hermandades y Cofradías de Semana Santa de Granada.

La ubicación de la imagen durante todo el año es el altar mayor de la propia sede canónica, siendo así desde la propia bendición de la talla.

Pasaje bíblico
El misterio representa la Lanzada de Cristo. La cual sucede después de la muerte de Jesús, en ella, el soldado Longinos introduce su lanza, y al retirarla, del costado sale "sangre y agua". San Juan Evangelista narra en su evangelio (19:33-34) el momento en que se quiere corroborar la muerte de Cristo, siendo este el único que recoge el momento, que no aparece en los evangelios sinópticos:

Pero al llegar a Jesús, como le vieron ya muerto, no le quebraron las piernas, sino que uno de los soldados le atravesó el costado con una lanza y al instante salió sangre y agua.

San Juan, 19:33-34.

Del mismo modo, en la Biblia, se puede leer: "(Vi agua fluyendo del lado derecho del templo, aleluya, y todos aquellos a quienes llegaba el agua eran salvados y dirán, aleluya, aleluya. Es una paráfrasis de Ezequies XLVII. El templo del himno es el propio Cristo. Él mismo habla de su cuerpo en esos términos" (Jn, XIX, 43).

Restauraciones
A principios de 2013, la imagen se sometió a un proceso de restauración a cargo de Inés Osuna y María José Ortega, la cual se llevó a cabo en el interior del propio templo, consistiendo en actuar, principalmente, sobre la policromía de la talla, así como la limpieza y eliminación de grietas.

Cultos
La hermandad celebra cultos a sus sagrados titulares el tercer sábado de cada mes, sin embargo, la imagen recibe un culto específico en Cuaresma, con un Quinario en su honor, y cerrando con la Función Principal de Instituto a la Sagrada Imagen.

María Santísima de la Caridad

Descripción
Imagen dolorosa de candelero, realizada por el escultor granadino Miguel Zúñiga Navarro. Fue bendecida en febrero de 1986.

En los años ochenta del siglo XIX, esta talla recibe una nueva advocación, y será la de Nuestra Señora de Amor Hermoso, por lo cual se le realiza función el primer domingo de junio por la mañana y su salida procesional en esa misma jornada pero por la tarde. En la siguiente década de los noventa de la misma centuria, se le dedican en esa misma época del año los cultos a la Preciosísima Sangre junto a un crucificado que recibe igualmente la advocación del Amor Hermoso.

Por ende, se pierde en el tiempo esta advocación hasta que se vuelve a rescatar en el 1983 (recogido en los estatutos del 20 de noviembre) por la recién fundada hermandad de la Lanzada de Granada, la cual rescata esta advocación mariana tan importante en localidades como la cercana Loja.

Hay opiniones que expresan que la hermandad pudo encargar al escultor granadino Antonio Barbero Gor la realización de una imagen dolorosa para el misterio del calvario que se representa, a los pies del crucificado, pero nunca llegó a materializarse, debido principalmente a la escasez de medios económicos del momento.

Pasos procesionales
-Paso de Misterio:

El paso de misterio es diseño del artista cordobés Antonio Serrano Ávila , quién realizó la canastilla ,y el dorado en su primera fase  por Cristóbal Cubero. El respiradero y dorado se llevaron a cabo por el granadino Cecilio Reyes. El martillo, que representa Longinos a caballo, fue una obra del orfebre Ramón León, donado por  el cuerpo de costaleros. Rematan las esquinas cuatro ángeles evangelistas.

-Paso de Palio:

Del trabajo desempeñado por la hermandad durante sus años de existencia, dan cuenta las numerosas reliquias de santos que están relacionados con la caridad, que han sido donadas por distintas instituciones a esta dolorosa granadina.

Antiguamente disponía de un palio de color negro, pero en el año 2012 se estimó cambiar a rojo, color de la caridad, bajo el diseño del granadino Álvaro Abril Vela. El nuevo diseño, aprobado por el cabildo de hermanos el 7 de julio del año 2011, dota al conjunto de un programa hagiográfico en base a la Caridad, conformado en un estilo neobarroco, que intercala el terciopelo con malla calada.

Reliquias
La hermandad cuenta con varias reliquias de santos de la caridad, que se disponen en el paso de palio, tales como:

Fray Leopoldo de Alpandeire.
San Juan de Dios.
 Santa Ángela de la cruz.
 Santa Clara.
 San Esteban.

Acompañamiento musical
El paso de misterio es acompañado por la Banda de cornetas y tambores de Nuestro Padre Jesús Despojado de sus Vestiduras de Granada y el palio por la Banda de música San Sebastián de Padul.

Composiciones musicales
La hermandad cuenta con varias composiciones musicales:

Cristo de la Lanzada

 A mi cristo de la lanzada (Jesus Miguel López)  A.M.
 Añoranza  (Herrera) A.M.
Cristo de la Lanzada.  (Aniceto Giner Arranz) B.M.
El sentir de mi Alma  (Alberto Benavente Ruiz, 2015) A.M.
Mi Cristo de la Lanzada A.M.
Y Longinos lloró  (Víctor Ojea Aguilera, 2013) A.M.
Consumatum Est

 La Sangre de Dios.

María Santísima de la Caridad

 Bajo tu palio Caridad   (Esther López) A.M.
Caridad. (Rogelio Gil García, 1980) B.M.
Entres suspiros de Caridad  CC. Y TT.
Lloras por nosotros Caridad  (Francisco Víctor González García, 1995) A.M.
Mi Caridad  (Francisco David Álvarez Barroso, 2003) A.M.
Caridad Zaidinera (Juan Antonio Barros Jódar, 2006) B.M.
Virgen de la Caridad (Aniceto Giner Arranz) B.M.
Costaleras de la Caridad (Aniceto Giner Arranz) B.M.
 Caridad, Reina del Zaidín
 Costaleras de la Caridad (Jaime Moreno Martínez, 2019) B.M.
 Por la Caridad (Víctor M. Ferrer Castillo, 2019) B.M.

Obra social

La hermandad tiene entre sus principios la ayuda a los más necesitados, siendo por ello que dispone de un economato solidario y presta asistencia a diferentes colectivos religiosos.

Del mismo modo, organiza la "Cabalgata del Zaidín", para llevar a los niños del barrio la ilusión de los Magos de Oriente cada 5 de enero por la mañana.

Enseres destacados
Entre su patrimonio, destacan:

Cruz de guía, obra de taracea que abre el cortejo nazareno, obra de Mariscal y remates de orfebrería Angulo de Lucena (1985).
Faroles de guía, los cuales reproducen la basílica de la Virgen de las Angustias, patrona de Granada, de orfebrería de Ramón León (2003).
Simpecado, obra bordada con hilo de oro a la técnica de realce sobre soporte azul, realizado por las camareras (2003).
Senatus bordado por Genoveva Rodríguez, con vara de orfebrería de Ramón León (2005).
Guion corporativo bordado y diseño de Álvaro Abril Vela, con vara y apliques de orfebrería de Ramón León (2022).

Hermandades e instituciones vinculadas
La hermandad tiene nombramientos y vinculaciones tales como:

Hermanos mayores honorarios

 Guardia Civil de tráfico de Granada.
 Asociación de Mujeres empresarias de Granada.
 Caja Rural de Granada.
Cope Granada.
Asociación de Voluntarios de Protección Civil de Granada.

Hermandades madrinas de bendición

 Hermandad de Santa María de la Alhambra (Granada).
 Hermandad del Silencio (Granada).

Padrinos de Bendición

 Hermandad del Santísimo Cristo del Trabajo (Granada).
Hermandad del Resucitado y la Alegría (Granada).

Hermandades vinculadas

Hermandad de la Lanzada de Jerez de la Frontera.
Hermandad de Jesús de la Pasión y María Santísima de la Estrella (Granada).

Reconocimientos
La hermandad ha recibido una serie de reconocimientos tales como:

Domingo Sánchez Mesa, al mejor discurrir por el centro (2017).
Premio Antonio Sánchez Osuna, a las costaleras de la Caridad (2018).
Nazareno del año, otorgado por Radio Granada-Cadena Ser y el Corte Inglés, por la apertura de la Puerta Hacia la Gloria (2019).
Premio Eduardo Espinosa Cuadros (2019).
Donación del bastón de edil del Ayuntamiento de Granada a María Santísima de la Caridad, por el concejal D. Rafael Caracuel (2019).

Cartelería
La hermandad edita anualmente su cartel de Martes Santo, a lo que hay que añadir que en 2019 fue protagonista del Cartel Oficial de la Semana Santa de Granada, a su paso por la calle Poeta Manuel de Góngora, con Sierra Nevada de fondo.

Curiosidades
Como curiosidad, en la Semana Santa de 2018, el calvario que sujeta la cruz en el paso procesional se dañó, obligando a suspenderse el regreso de la hermandad en la Santa iglesia Catedral Metropolitana de Granada, ante la imposibilidad de solventar tal problema. Ese hubiese sido el último año que regresaría a la carpa instalada en la placeta de su parroquia, pues el siguiente año estrenó la ansiada "Puerta hacia la Gloria".

Salidas extraordinarias
La imagen ha estado por las calles de Granada en las siguientes salidas de carácter extraordinario:

·        Passio Granatensis (2009), con motivo de la Conmemoración del Centenario de la procesión del Santo Entierro Antológico, iniciado en 1909, junto a la mayor parte de imágenes de Cristo de la Semana Santa de Granada.

·        XXV Aniversario de la fundación de la hermandad (3 de octubre de 2009), en la cual, se trasladó hasta la parroquia de María Auxiliadora (Salesianos), para celebrar la Eucaristía.

Paso por Carrera Oficial

Cofradías de Semana Santa de Granada


Jurassic World sequel enlists 'Gravity' Production Designer Andy Nicholson!
Meet Andy Nicholson, the Production Designer for the upcoming Jurassic World sequel. Andy was the Art Director on films such as Sleepy Hollow, Charlie and the Chocolate Factory, The Bourne Ultimatum, The Golden Compass, and Captain America: The First Avenger.
His role as a Production Designer has included films such as Gravity, Divergent, and Assassin's Creed. Andy was nominated for an Academy Award for his work on Alfonso Cuarón's Gravity.
Production Designers are a key creative leader of the art team, working with the films Director and Producers to craft the look of the film. According to his website, Andy is 'actively seeking to assimilate digital technology with traditional work-flows and techniques'. His bio goes on to say he is 'Always on the lookout for staff with new skills' and '[he is] an advocate of immersive design and closely follows the opportunities and developments within the industry'.
Andy Nicholson may be a newcomer to the Jurassic team, but certainly not to the industry. Production Design on previous Jurassic films was handled by Rick Carter (Jurassic Park, The Lost World) and Ed Verreaux (Jurassic Park 3, Jurassic World). This will be the first time Andy and Juan Antonio Bayona have worked together; Bayona has previously worked with Eugenio Caballero (The Impossible, A Monster Calls) and Josep Rosell (The Orphanage).
Personally, I love the movie 'Gravity' – it blends practical and CG effects in stunning ways, and I cannot wait to see what Andy brings to the table with Jurassic. Be sure to check out Nicholson's website for more samples of his work from his portfolio spanning numerous films.
Be sure to sound off in the comments below, and if you haven't already be sure to follow us on Twitter, like our Facebook page, and join our forums! As always, stay tuned for more of everything Jurassic.
I have no eye for such technicalities. So, what's left for me is trust the confidence of the ones who make these decisions and the opinion of those who understand, such as yours, Chris. For one thing, I know I watched Gravity and liked the look of it. I was convinced those people were in space. And it makes me glad to read that this professional is worried about blending special effects with traditional techniques. Hopefully, our dinos will look natural and "there". However, I still miss animatronics. It may sound crazy but, most of the times, dinos like Rexy seemed much more organic and real when I could see their robotic movements in Jurassic Park and The Lost World. It's a pity they will never use them anymore.
I definitely agree – something felt a little off with the Tyrannosaurus in Jurassic World. Her slow, meaningful and heavy movements were part of her character, and something I have come to associate with the animal in the films.
There was an added sense of fluidity in Jurassic World that didn't quite mesh with what I expected, and coupled with the design changes it fell a bit flat for me. Going forward, I would love to see animatronics and CG blended together on innovative and appropriate ways – at the very least, we need some practical Tyrannosaur and Velociraptor heads.
I always thought there was something about the purely CGI dinos in the sequels but I could never put my finger on what was "wrong". As I said, I missed seeing the robotic movements of the T-rex we saw in the first two films, but I somehow sensed that was a poor explanation. Now that you mentioned about the practical Tyrannosaur head a light switched in my mind, Chris. I guess that's it. At least a head, an eye, just like the one we saw taking a peek into the Explorer where Lex and Tim were. The T-rex in JW was just so "entirely there in the screen", so fluid in its movements, we never had a chance to see it really interact with the people: they did not inhabit the same space. It's so clear to see that! Even in the horrendous JPIII (my opinion), I felt glad to be able to tell the moments when the spino was really there attacking the plane from those when there was simply nothing there in front of the actors. That's what I miss: knowing that the animal is there, even if it's just a head, an eye, a jaw. So, yes, they should at least make a T-rex head again.
For sure! When used right, animatronics are a fantastic effect – just like CG. I'm a firm believe that if you can do something practically in camera, then you should do it, and the effect will be better for it.
However, I do want to note.. the way the rex and spino animatronics were filmed in JP3 screamed 'robots' to me. I tend to prefer the CG of those two animals in that movie, with a few exceptions.
I think it also comes down to cinematography, and using it to your advantage to create the most believable showcase when using practical or CG VFX.
Just to round up my comments: my criticism doesn't mean I don't like JW. I venture to say it's my favorite sequel of the three. TLW is a close second, followed by JPIII at a very long distance (and that's just because I have to acknowledge and rate it, in my mind).


How environmental pollution contributes to poor pregnancy outcome is poorly understood. The first trimester of pregnancy is a particularly vulnerable time period for the developing fetus and a mother's exposure to air pollution may alter the way that the placenta is established and how it functions throughout the rest of pregnancy. This project aims to expand and develop new MRI technologies to assess real-time placental structure and function as pregnancy develops from the first to the third trimester so that early detection, prevention strategies, and early treatment of placental dysfunction as a result of pollution exposures may be developed.


If you would like to donate to the work of the IFYS Ltd please use the contacts below.
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There are various ways that you can donate to the IFYS Ltd. Here are some suggestions.
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So that we can issue a tax deductible receipt, please contact IFYS Ltd and advise them of your name, address and reference number for the donation so that a receipt can be posted to you.
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If you wish to donate something other than money, such as property, goods, services, time or expertise, please contact IFYS on (07) 5438 3000.


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OFFICIAL NEWS & UPDATES
current news & content from deana carter
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About Deana Carter
25th Anniversary Edition of the Groundbreaking 5X Platinum Debut Album
Did I Shave My Legs for This?
How many years has it been since you had your first taste of love? And how many years have you spent cherishing that love? It's funny how those memories, they last.
For Deana Carter, who brought that very special kind of love to life in her debut single "Strawberry Wine," it's been 25 years. And now, she's celebrating her 5X Platinum debut album from 1996 — Did I Shave My Legs for This? — with an anniversary reissue of remastered songs, plus two new tracks which Carter produced herself that feature country music's brightest stars from several eras.
But before you can even think about that new release, you have to throw yourself back to the original one in the 90s, when women were all over the top of the charts, and newcomer Carter was able to waltz right in and reach No. 1 with "Strawberry Wine." Her very first single off of her very first album went on to be named the Country Music Association's Single of the Year and Song of the Year in 1997, as well as nominated for a GRAMMY and an Academy of Country Music award.
Read Full Biography
UPCOMING TOUR DATES
Recent Updates:
NOSTALGIC NIGHT FOR NASHVILLE NATIVE DEANA CARTER HEADLINING THE RYMAN
Deana Carter headlines Ryman Auditorium (Nashville, Tenn.) – Nov. 18, 2021 Photo Credit: Curtis Hilbun High Resolution Photos HERE NASHVILLE, Tenn. […]
Deana Carter Celebrates 'Strawberry Wine' Anniversary, Encourages People to 'Never
Deana Carter Celebrates 'Strawberry Wine' Anniversary, Encourages People to 'Never Quit' in Brutal Music Business – courtesy of People https://people.com/country/deana-carter-celebrates-strawberry-wine-anniversary/#deanacarter […]
Deana Carter reflects on 25 years of 'Strawberry Wine' before
https://wjla.com/good-morning-washington/deana-carter-reflects-on-25-years-of-strawberry-wine-before-cma-awards
CMA Awards 50/50: "Iconic Moments"
Remember when I leapt into Ricky Skaggs's arms after winning Single of the Year in 1997 for Strawberry Wine? I'm […]
Deana Carter will be presenting at the #CMAawards
This Wednesday, Deana Carter will be presenting at the #CMAawards LIVE at 8/7c on ABC. It's Country Music's Biggest Night! […]
Off The Record Live: Deana Carter Talks 25th Anniversary of
Off The Record Live: Deana Carter Talks 25th Anniversary of 'Did I Shave My Legs For This?' Over Some Strawberry […]
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A report released by Ben Levin provides advice and recommendations to Nova Scotia on how to build an innovative, effective, and sustainable school system that will improve student achievements and outcomes.
Mr. Levin is a professor and Canada research chair on educational leadership at the Ontario Institute for Studies in Education, and a former deputy minister of education in Ontario and Manitoba. He has expertise in large-scale education reform and the role of government policy in education.
In keeping with the recommendations of Mr. Levin, government will begin a consultation to gather feedback on the report from all partners.
Students walk down a hallway in a high school. Ben Levin's report provides advice and recommendations to Nova Scotia on how to build an innovative, effective and sustainable school system that will improve student achievements and outcomes.
Students chat in a hall of a high school. Ben Levin's report identifies five key areas of focus for the Department of Education.
Ben Levin discusses his report as Education Minister Ramona Jennex listens. Mr. Levin has expertise in large-scale education reform and the role of government policy in education.
Education Minister Ramona Jennex listens as Ben Levin talks about his report. Ms. Jennex says the report mixes innovation with practical, strategic and sound advice.
Hon. Ramona Jennex, Minister of Education starts the announcement then Dr. Ben Levin speaks.
Education Minister Ramona Jennex says the report is practical and strategic.
Ms. Jennex says education has many challenges but at the same time, many strengths.
Mr. Levin says public education is good in the province but institutions have to adjust to changing circumstances.
He encourages educators to look at ways to allow students to pursue passions.


Analysis of Reliability Data Using JMP®: Life Distribution or Recurrence Analysis?
In analyzing reliability data from repairable systems, engineers often will use the JMP Life Distribution platform to model the times between failures. However, such an analysis, which neglects the time order of the observations, can lead to incorrect conclusions. The Recurrence Analysis platform in JMP provides techniques for correctly modeling reliability data from repairable systems. This talk will include examples of improper application of the life distribution approach to reliability data and the discovery analysis resulting when the appropriate recurrence analysis methodology is applied. The talk will also highlight the limitations of mean time between failure (MTBF) as a reliability summary statistic and illustrate how MTBF values reported in the literature can be artificially inflated.


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This tennis-playing litigator nearly turned pro before university
Lidiya Yermakova first played the sport as a toddler growing up in Ukraine
As a teenager, Lidiya Yermakova faced a life-defining choice: leverage years of intensive training as a tennis player and take a crack at going pro, or leave it all behind and go to university in the hopes of getting into law school.
"It was a big decision," she says. Yermakova had been playing since she was a toddler growing up in the Ukrainian city of Kryvyi Rih. (Both her dad and her older brother were also serious tennis players.) "But ultimately, I really wanted to be in court." And here she is now, an Osgoode Hall alum nearly two years into her health-law practice at Lerners LLP.
Though she chose a career in law, Yermakova has not let go of tennis. "After my undergrad, I took a break," she says. "I probably didn't play at all for four months. But I missed the competition." So she picked it up again during law school, even getting named a York University all-star. And she still plays about once a week. "I have a lot of competitive drive. And that's the same reason I like litigation: it takes hours of prep to be able to stand up and feel good about the argument you're making. It takes a lot of work, but the days I get to do that are the greatest."
Lidiya Yermakova
Lerners LLP
This story is from our Spring 2016 issue.
Photography by Daniel Ehrenworth. Hair and makeup by Shelbie Vermette.


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Razer scrubs N95 claims from website for its Zephyr masks
Gaming accessory maker Razer scrubbed all references to 'N95 Grade Filter' from the web page for its CES concept-turned-actual-product Zephyr masks.
The sudden change took place over the weekend following a PCMag report highlighting issues with the company's claims. In short, the report details that using an "N95 Grade Filter" in a mask doesn't make it an N95 mask.
It also outlines how in the U.S., the Centre for Disease Control's (CDC) National Institute for Occupational Safety and Health (NIOSH) certifies that N95 respirators "used in an occupational setting meet the minimum construction, performance, and respiratory protection standards." NIOSH also maintains a website listing approved N95 respirators -- Razer's Zephyr masks aren't on that list.
It's worth noting that Health Canada similarly keeps a list of authorized medical devices for uses related to COVID-19 but the list does not include Razer's masks -- something I pointed out in coverage of the company's new Zephyr Pro.
Along with removing the N95 Grade Filter claims, Razer expanded its fine print, going from:
"Razer Zephyr is not a medical device, respirator, surgical mask or personal protective equipment (PPE) and is not meant to be used medical or clinical settings."
"The Razer Zephyr and Zephyr Pro are not certified N95 masks, medical devices, respirators, surgical masks, or personal protective equipment (PPE) and are not meant to be used in medical or clinical settings."
Further, Razer's fine print noted that the company "adopted standards" set by NIOSH, but that it hadn't been certified by the agency.
The core problem is that Razer walks a fine line with its Zephyr mask by promoting it as a protective device while also skirting around the claim with legal and medical terminology the average person may not understand. For example, it might not be immediately clear to people visiting Razer's website what the difference is between NIOSH certification and simply adopting the agency's standards.
Razer did not immediately respond to PCMag's request for comment, but did provide a statement after publication noting that it was in the process of removing all N95 Grade Filter references from marketing material to "avoid any confusion." The company also said it would reach out to existing customers to "clarify" what the Zephyr masks can and can't do. The company also posted the following tweet:
https://twitter.com/Razer/status/1479845819511496704?s=20
However, Razer didn't publicly announce the removal of 'N95 Grade Filter' references from its website.
Finally, it's worth noting that Razer's original Zephyr mask website still lists the air filters as "FDA-registered," which seems to be a reference to the fact that Razer filed the Zephyr with the FDA and that's all.
Ultimately, the main takeaway here is that if you're looking for a mask to protect yourself from COVID and the ongoing omicron surge, you might want to skip the Razer mask. Sure, it looks cool and has RGB lighting, but until regulatory certification arrives, it's not clear to what degree the Zephyr masks actually protect people.
Source: PCMag


Started this week with some gentle and summery colors.
My Monday choice was maxi dress, vest in floral print, sandals with embellishment and small shopper with dog print. From accessories I had a belt with bow buckle and a couple of bracelets, as well as sunglasses. The look was finished by flowing hair and natural-look make-up.


For the third straight year, CMHC's total assets and liabilities have fallen; but its net income and total revenue have increased to five-year highs.
CMHC's net income rose to $2.6 billion in 2014 (up from $1.8 billion in 2013), while its total insurance in force fell $14 billion to $543 billion this past year.
The Crown Corporation has taken steps to minimize its influence on the economy and housing markets, which is evidenced by the shrinking number of assets, which totaled $248 billion in 2014 – down from $270 billion in 2013.
Total claims paid also fell for the fifth straight year to $419 million, which the corporation attributes to the strength of its underwriting.
Access the entire report here.
It's time to shut CMHC down. Taxpayers should not be on the hook for other peoples mortgages. Let the lenders/investors carry the credit risk on their books.
Yes, it is quite effective in keeping those out of the market that need in the most. I guess the master plan is to keep those with a dream of home ownership out and we will take care of them when they retire. I know many will say "well, if they can't afford it they shouldn't be buying". We need to remember the purpose of CMHC was to get those less fortunate into the market and let them build pride and savings for the future. Now it is being used as a vehicle to widen the gap between the less fortunate and those that have more than enough.
Homes are unfordable because interest rates are abnormally low. Normalizing rates would allow young savers to accumulate for a down payment and would reduce house prices and improve their affordability.
CMHC only serves as a conduit to transfer credit risk to the taxpayers.


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Q: Why use boost::optional when I can return a pointer If I have a find function that can sometimes fail to find the required thing, I tend to make that function return a pointer such that a nullptr indicates that the thing was not found.
E.g.
Student* SomeClass::findStudent(/** some criteria. */)

If the Student exists, it will return a pointer to the found Student object, otherwise it will return nullptr.
I've seen boost::optional advocated for this purpose as well. E.g. When to use boost::optional and when to use std::unique_ptr in cases when you want to implement a function that can return "nothing"?
My question is, isn't returning a pointer the best solution in this case. i.e. There is a possibility that the queried item will not be found, in which case returning nullptr is a perfect solution. What is the advantage of using something like boost::optional (or any other similar solution)?
Note that, in my example, findStudent will only ever return a pointer to an object that is owned by SomeClass.

A: optional<T&> was removed from the C++ standardization track because its use is questionable: it behaves nearly identically to a non-owning T* with slightly different (and confusingly different from optional<T> and T*) semantics.
optional<T&> is basically a non-owning T* wrapped up pretty, and somewhat strangely.

Now, optional<T> is a different beast.
I have used optional<Iterator> in my container-based find algorithms.  Instead of returning end(), I return the empty optional.  This lets users determine without a comparison if they have failed to find the item, and lets code like:
if(linear_search_for( vec, item))

work, while the same algorithm also lets you get at both the item and the location of the item in the container if you actually need it.
Pointers to elements doesn't give you the location information you might want except with contiguous containers.
So here, I've created a nullable iterator that has the advantages of iterators (generically working with different types of containers) and pointers (can be tested for the null state).
The next use is actually returning a value.  Suppose you have a function that calculates a rectangle.
Rect GetRect();

now, this is great.  But what if the question can be meaningless?  Well, one approach is to return an empty rect or other "flag" value.
Optional lets you communicate that it can return a rect, or nothing, and not use the empty rect for the "nothing" state.  It makes the return value nullable.
int GetValue();

is a better example.  An invalid value could use a flag state of the int -- say -1 -- but that forces every user of your function to look up and track the flag state, and not accidentally treat it as a normal state.
Instead, optional<int> GetValue() makes it clear that it can fail, and what the failure state it.  If it is populated, you know it is a real value, and not a flag value.
In both of these cases, returning a non-owning pointer is non-viable, because who owns the storage?  Returning an owning pointer is expensive, because pointless heap allocations are pointless.
Optionals are nullable value types.  When you want to manage resources locally, and you still want an empty state, they make it clear.

Another thing to look into is the expected type being proposed.  This is an optional, but when in the empty state contains a reason why it is empty.

A: optional<T&> may indeed be replaced by T* but T* has not clear semantic (ownership ?).
But optional<T> cannot be replaced by T*.
For example:
optional<Interval> ComputeOverlap(const Interval&, const Interval&);

If there is no overlap, no problem with T* (nullptr) or optional<T>.
But if there is an overlap, we need to create a new interval. We may return a smart_pointer in this case, or optional.

A: Lets consider you have a std::map<IndexType, ValueType> where you are trying to find something (Note: The same applies for other containers, this is just to have an example). You have these options:

*

*You return a ValueType&: The user can modify your map-content and does not need to think about memory-allocation/deallocation. But if you dont find anything in your map, you need to throw an exception or something similar.

*You return a ValueType*: The user can modify your map-content and you can return a nullptr if you dont find anything. But the user can call delete on that pointer and you must specify anyhow if he has to do so or not.

*You return a smart pointer to ValueType: The user does not have to worry about delete or not-delete and can modify your map-content depending on the type of smart-pointer. You can also return a nullptr. But this pretty much requires you to deal with smart_pointers in your map, which is overly complicated if ValueType would be e.g. just an int otherwise.

*You return a simple ValueType: The user can not modify your map-content and does not need to think about memory-allocation/deallocation. But if you dont find anything in your map, you need to return some special ValueType which tells the user you didn't find anything. In case your ValueType is e.g. int, which one would you return that makes clear "no int found".

*You return a boost::optional, which is the closest you can get to a simple ValueType return by value with the additional option of "not returning a ValueType"

A: The advantage of an optional<Student&> return type here is that the semantics of usage are readily apparent to all users that are familiar with optional (and will become readily apparent once they familiarize themselves with it). Those semantics are:

*

*The caller does not own the Student and is not responsible for memory management. The caller simply gets a reference to an existing object.

*It is clear that this function can fail. You maybe get a value and you maybe get nothing. It is clear that the caller needs to check the result one way or the other.

optional<T> is self-documenting in a way that T* isn't. Moreover, it has other benefits in that it can work in cases where you want to return any kind of object type without the need for allocation. What if you needed to return an int or double or SomePOD?

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[S158] W.H. Whitmore, Payne and Gore Families, p. 16.
[S125] Robert Moody & Vincent, Verle Delano Sherman, Mayflower Families, p. 44.
[S102] Annie Haven Thwing, Inhabitants of the Town of Boston, 48299 (died young).
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[S83] NEHGR, Vol. 48 p. 182.
[S83] NEHGR, Vol. 48 p. 178.
[S83] NEHGR, Vol. 48 p. 181.
Elizabeth Mary Pearce married Joseph Amyes.


text:
ScienceInnovation
Jawbone launches two new $49 and $179 fitness trackers UP Move and UP3
Fitness trackers are a huge hit in markets at the moment. The latest to enter the wearable fitness trackers is the tech startup Jawbone with its two new devices, the $49 priced UP Move and a much higher priced $179 UP3. Both the products will be released this fall. The health monitoring wrist bands proposed by the company will enable fitness enthusiasts and health maniacs to strap the device to their wrist or an item of their clothing and get continuous updates from these.
Though Jawbone is not a new entrant to the wristband market, the new devices proposed by it are a huge improvement over what is was earlier selling. The UP3, for instance, will allow users to track heart rate, respiration, body temperature and room temperature. The new product also comes with biometric sensors.
The sensors used in these devices will come from BodyMedia, another startup acquired by Jawbone last year. BodyMedia produces health monitoring equipment and its products have been approved by the Food and Drug Administration (FDA).
"Next year, Jawbone plans to use over-the-air updates to give Up3 the ability to gather data on respiration and hydration. The eventual goal is to track more nebulous signals like stress and fatigue," reported TheWired.com.
With Yves Behar, the megastar designer, being the creative director of the new range of wearables, it goes without saying that the devices will have a huge aesthetic appeal, and could help Jawbone get a cutting edge over its rivals. Behar, along with his team is said to have tested lots of potential layouts of sensors and internal components before designing what we now see. He wanted the device to have an arrangement and proportions that would look good on slimmer wrists also and fit most people ergonomically.
Jawbone plans to roll out over the next few months bands in various colors, finishes, and textures, including a pattern resembling that of a quilted Chanel handbag. "A lot of other brands base their design language on one or two materials and colors," Béhar says. "We're basing ours on variety and tactility."
The Move will be available in the markets on November 5. The USP of this device will be the fact that it is priced a good $11 lower than its rival in the same segment by Fitbit which is priced at $50. The UP3 priced at $179 will hit the markets later this year.
Fitness trackersHealth wearablesJawboneJawbone MoveJawbone new wristbandsJawbone UP3Jawbone wristbands
Late stage drug for ovarian cancer by Amgen Inc fails to improve overall survival rate, reveals study
Google begins to roll-out Android 5.0 Lollipop updates for Nexus devices
New fitness-tracking patch analyzes sweat to monitor health
Fitbit to debut the Versa, a smartwatch to compete with Apple's
Jawbone announces UP Move, UP3 activity trackers – BetaNews | DAILY HOT NEWS TOP 10 Nov 5, 2014
[…] Coach …Mac RumorsJawbone Could Announce New Fitness Trackers This Week [Rumor]UbergizmoThe Westside Story -VentureBeat -Recombuall 91 news […]


text:
Sage Circle
Futura20: DecisionELLES Symposium
Women Leaders for the Future
Welcome to Futura20
The Futura20 seeks to gather 60 Anglophone and Francophone women leaders and influencers from law, medicine, the arts, business, science and technology and civil society for two bilingual, immersive, experiential workshops to:
Explore the challenges and opportunities facing Canada in the 21st century,
Leverage their networks and influence to design creative approaches and solutions, and
Arrive at concrete initiatives for the next decade to ensure women's voices and expectations are heard and implemented.
2020, a year of challenge and reflection, launches a new decade and, with it, the opportunity for fresh and courageous conversations as we look to the future. Our experience of the COVID-19 pandemic, the greatest public health crisis in a century, heightened our need to reflect and consider new approaches on how our country addresses key issues including but not limited to: equality of women; reconciliation with Indigenous Peoples; economic inequality; bilingualism, biculturalism and multiculturalism; regionalism; and a sustainable environment. Though great progress has been made since we became Persons in 1928 and we recognize and honour the tremendous work of our trailblazers, women continue to be underrepresented at the executive level of all societal segments, including the political, and their voices little or unheard.
Anglophone and Francophone women leaders with a proven track record of innovation from two fiercely independent jurisdictions, Alberta and Quebec, will meet to focus on what unites rather than divides us. Included will be women leaders of national organizations to share their vision and perspectives. The facilitated inaugural virtual session will be held on August 18. After participants have returned to their workplaces, communities and circles of influence for information sharing, gathering, and reflection, a second session will be held, when participants will share and prioritize initiatives, identify partners and outline concrete strategies. The planning committee, informed by the participants, will decide where and when the second session will be held.
A planning committee is curating the list of invited participants, designing the agenda for the sessions and sourcing national partners and the required financing. We are sourcing online expertise to host and assist in workshop design, systems and values mapping and recording of recommendations.
2020 Symposium Report
Women leaders for the future.
© Futura20, 2023