Webp uses image compressor based on the VP8 codec that Google open-sourced in May 2010. They used the techniques from VP8 video intra frame coding to push the envelope in still image coding. A very lightweight container based on RIFF is also used. While this container format contributes a minimal overhead of only 20 bytes per image, it is extensible to allow authors to save meta-data they would like to store.
for Linux as precompiled binary and for Windows/Cygwin.
The size limit is of only 16383×16383? This seems very limited given 25+MP cameras these days—and increasing. WebP uses the color spaces supported by the VP8 bitstream.
For those too eager to use WebP in there websites there is a bad news that this ain't supported yet by any of the browsers, but Google is soon gonna roll out its support for Google Chrome 9.


text:
Poughkeepsie Journal - Lee Van Cleef Was an Iconic presence
Larry Robinson, Special to Poughkeepsie Journal
Published Oct. 17, 2018
Veteran villain Lee Van Cleef was reportedly preparing to retire when he got a call from director Sergio Leone, offering him a plum role in "For a Few Dollars More," the second of Leone's trio of Man with No Name Westerns, starring Clint Eastwood.
The movies were international blockbusters, and while Eastwood made a triumphant return to Hollywood, Van Cleef stayed in Europe, becoming the most readily recognizable Americano in the Spaghetti Western genre, along with Charles Bronson ("Il Brutto"!) and Jack Palance.
Many of the films Van Cleef made were low budget throwaways, like the truly terrible "The Grand Duel," with a plot that couldn't be unraveled by Agatha Christie. He did make a few good ones, like "The Big Gundown," with Walter Barnes, and the 1967 "Death Rides a Horse," an intense revenge oater directed in a no-nonsense manner by Giulio Petroni. He was no Leone, but he did have an eye for parched landscape and staging of gun duels.
I first saw Van Cleef as one of the Miller gang in "High Noon." In 1957 he got knifed by Kirk Douglas in "Gunfight at the O.K. Corral" and was later manhandled by the Duke himself, in "The Man Who Shot Liberty Valance." Van Cleef also made gangster movies, like Phil Karlson's excellent "Kansas City Confidential."
It's said that Van Cleef gave three directives to all his directors, even John Ford: He would not menace a child, kill an animal or murder a woman, no matter how evil his character. Except for his rough treatment of a dance hall hostess in Leone's "The Good, the Bad and the Ugly," he pretty much stuck fast to his code of bad guy conduct.
In "Death Rides a Horse," Van Cleef is Ryan, an aging outlaw released from a brutal desert prison. He was left for posse bait by his very own gang, and now wants to say an unfriendly hello to those who betrayed him, and then escaped.
The film begins with a shocking massacre in a small ranch house, which Petroni lit only by flashes of gunfire and lightning, during a ferocious storm. The gang wants a payroll, though Ryan never draws his gun and, instead, runs outside to mind the horses.
A sole survivor of the slaughter is Bill (a laconic John Phillip Law) who grows into an expert with weaponry and a quick-draw whiz. Bill wants the same outlaws Ryan seeks, but also wants Ryan, as he can recognize him by a tattoo, and believes him one of the murderers. It's a stewpot of nitro, and director Petroni knows when and where to set it off.
While the rousing climax is a steal from "The Magnificent Seven," it's a terrific large-scale action sequence, with Ryan and Bill acting as very wary allies. I won't spoil the ending, but it's hardly a surprise. Petroni wisely confronts the clichés in the genre without blinking.
Van Cleef always played "his age" so Ryan is a pipe-sucking father figure, dispensing gunfighter advice to the reckless Bill. With anything Van Cleef did there was always a "tension" created by his past villainous roles. We wonder — is he a "good/bad guy" or a "bad guy"? Van Cleef, by 1969, was an iconic presence, for sure!
I first saw "Death Rides a Horse" in a perfect setting: a fully packed Times Square "grindhouse" with a loud and quite happy male audience. Petroni knew he wasn't making a classic, but his movie is trim, taut and enjoyable.
Too bad Leone and Van Cleef never worked together again; with or without the Man with No Name.
https://www.poughkeepsiejournal.com/story/entertainment/2018/10/17/lee-van-cleef-iconic-presence-spaghetti-western-genre/1663603002/
Posted by aaron@theBad.net at Saturday, June 27, 2020 2 comments
"Days of Wrath" VHS Cover Artwork
Before streaming, blu-ray, and DVD, most LVC films were only available on home video cassette tapes, usually VHS (but also Betamax). Many of us discovered these films for the first time in these formats (usually cropped and edited).
Often times due to rights issues, these films were given new titles (some similar to the original, some not). A future series of blog posts will dive into a gallery of these releases by film, but first a look at some original artwork from 1987.
Here is a look at the Imperial Entertainment Days of Wrath VHS cover and it's creation by Corey Wolfe
http://www.videosanctum.com/video-era-art/days-of-wrath-1967-imperial-entertainment-corp-original-artwork-by-corey-wolfe
VHS Cover
Final Art
Labels: Day of Anger, VHS
The Master - "Juggernaut" Episode Photos
Courtesy of the Getty Images, below are some photos from the episode 7 of the LVC 1984 NBC series; The Master. Spot the infamous LVC stunt double!
Labels: press photos, The Master
RIP: Dan Van Husen
Three time LVC co-star Dan Van Husen passed away in May at age 75. Dan co-starred in El Condor, Captain Apache, and Bad Man's River.
Dan van Husen was born in Gummersbach. He was first discovered by Italian producers while working as a club disc jockey in Spain and began working increasingly seriously as an actor in the late 60's. He has appeared in twenty Italo Westerns in six or seven years and before branching out to diverse roles and genres. In the years 1968-1974 he participated in more than 24 Italo Westerns, amongst others directed by Sergio Corbucci, Sergio Martino, Enzo G. Castellari etc. In 1977 Dan was also involved in the play Courage at the Schauspielhaus Bochum, Germany, directed by Jérôme Savary.
Van Husen is credited for numerous further film appearances such as Fellini Casanova, by Federico Fellini, in Salon Kitty by Tinto Brass and Nosferatu the Vampyre directed by Werner Herzog, amongst others.
Dan has also worked in German TV series such as The Old Fox, Derrick, Alarm für Cobra 11 - Die Autobahnpolizei and many more. He has often been cast as a rogue as in the television disaster film Tsunami or in the '80s cult film Ritchy Guitar of Michael Laux, and in the film Cold and Dark directed by Andrew Goth.
In 2001 he worked on Band of Brothers, a Steven Spielberg production, Perfect Strangers (BBC TV series) directed by Stephen Poliakoff and in Enemy at the Gates directed by Jean-Jacques Annaud, as well as Hart's War directed by Gregory Hoblit in 2002.
In 2006, he acted in the German television film Karol Woityla directed by Gero von Boehm and in 2007 in Gellert, a motion picture film under the direction of Ayassi with Ken Duken and the German TV crime series SOKO Wismar.
In February/March 2008 he worked on Oorlogswinter (Winter in Wartime) a Dutch movie based on the hit novel by the same name, written by Jan Terlouw and directed (and written) by Martin Koolhoven. In June and July 2010 worked in southern California in the American Western film Scarlet Worm, the role of the antagonist Heinrich Kley, directed by Michael Fredianelli.
In 2011, he worked in the American film production Tom Sawyer and Huckleberry Finn, directed by Jo Kastner, and got invited to the Spaghetti Western Film Festival in Los Angeles on 19 March of that year. He attended the Almería Western Film Festival from 8 to 11 September 2011, and received a lifetime achievement award in the western film genre. He then got invited to the Lund International Fantastic Film Festival in Sweden, from 15 to 24 September 2011. He attended the Cinefest 2011, VIII. Internationales Festival des deutschen Film-Erbes Hamburg from 12 to 20 November 2011.
Labels: Bad Man's River, Captain Apache, co-stars, El Condor, obituaries
Poughkeepsie Journal - Lee Van Cleef Was an Iconic...

redpajama_set_name: RedPajamaCommonCrawl


text:
Works by David Shoemaker
( view other items matching `David Shoemaker`, view all matches )
See also See also:
David Shoemaker
More results on PhilPapers
Personal Identity.David Shoemaker & Kevin P. Tobia - forthcoming - In Oxford Handbook of Moral Psychology. Oxford:details
Our aim in this entry is to articulate the state of the art in the moral psychology of personal identity. We begin by discussing the major philosophical theories of personal identity, including their shortcomings. We then turn to recent psychological work on personal identity and the self, investigations that often illuminate our person-related normative concerns. We conclude by discussing the implications of this psychological work for some contemporary philosophical theories and suggesting fruitful areas for future work on personal identity.
Response-Dependent Responsibility; or, A Funny Thing Happened on the Way to Blame.David Shoemaker - 2017 - Philosophical Review 126 (4):481-527.details
This essay attempts to provide and defend what may be the first actual argument in support of P. F. Strawson's merely stated vision of a response-dependent theory of moral responsibility. It does so by way of an extended analogy with the funny. In part 1, it makes the easier and less controversial case for response-dependence about the funny. In part 2, it shows the tight analogy between anger and amusement in developing the harder and more controversial case for response-dependence about (...) a kind of blameworthiness. It then defends the view from three serious skeptical challenges. (shrink)
The Stony Metaphysical Heart of Animalism.David Shoemaker - 2016 - In Stephan Blatti & Paul Snowdon (eds.), Animalism. Oxford University Press. pp. 303-328.details
Animalism—the view that the identity across time of individuals like us consists in the persistence of our animal organisms—does poorly at accounting for our identity-related practical concerns. The reason is straightforward: whereas our practical concerns seem to track the identity of psychological creatures—persons—animalism focuses on the identity of human organisms who are not essentially persons. This lack of fit between our practical concerns and animalism has been taken to reduce animalism's plausibility (relative to psychological criteria of identity). In this paper, (...) I survey the three leading replies to this challenge, finding them either implausible or incomplete. I will then attempt to construct the only viable response, one that begins by admitting that our practical concerns actually do not consist in a monolithic set; rather, there are distinctly different types of practical concerns, and while some are clearly grounded on psychological relations, some are actually grounded on others, including animalistic and humanistic relations; furthermore, their actual connection to identity is tenuous at best. What these concerns are, how they divide up, and what they are grounded on in each instance—these are the issues it is my second aim in this paper to take up. (shrink)
Responsibility Without Identity.David Shoemaker - 2012 - The Harvard Review of Philosophy 18 (1):109-132.details
Many people believe that for someone to now be responsible for some past action, the agent of that action and the responsible agent now must be one and the same person. In other words, many people that moral responsibility presupposes numerical personal identity. In this paper, I show why this platitude is false. I then suggest an account of what actual metaphysical relationship moral responsibility presupposes instead.
Personal Identity and Moral Psychology.David Shoemaker & Kevin P. Tobia - forthcoming - In John M. Doris & Manuel Vargas (eds.), Oxford Handbook of Moral Psychology. Oxford: Oxford University Press.details
Good Selves, True Selves: Moral Ignorance, Responsibility, And The Presumption Of Goodness.David Faraci & David Shoemaker - 2019 - Philosophy and Phenomenological Research 98 (3):606-622.details
According to the Good True Self (GTS) theory, if an action is deemed good, its psychological source is typically viewed as more reflective of its agent's true self, of who the agent really is 'deep down inside'; if the action is deemed bad, its psychological source is typically viewed as more external to its agent's true self. In previous work, we discovered a related asymmetry in judgments of blame- and praiseworthiness with respect to the mitigating effect of moral ignorance via (...) childhood deprivation. Inspired by work motivating the GTS theory, we ran a new study to discover whether our asymmetry likewise reflected judgments about the true self. It did. However, it is unclear whether our results fit with the 'good' part of the GTS theory: some of our and others' results suggest that, in certain contexts, wrong actions are taken to be more expressive of agents' true selves than right ones. In this paper, we propose that our and others' data can be explained by the hypothesis that we are inclined to judge as the GTS theory predicts when there is a readily available external explanation for an agent's action. In short, we give people the benefit of the doubt. (shrink)
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Westworld Fans Should Check Out Netflix Western Godless
by Margaret Maurer
While you're waiting for the next season of Westworld to come back next spring, Godless might be the perfect thing to distract yourself... depending on what you enjoy about Westworld, that is. Godless is not as subversive or groundbreaking as Westworld, but it is a bloody (truly bloody) good time.
The new Netflix limited series has impressive talent in front of and behind the camera, including producer Steven Soderbergh and writer-director Scott Frank, who wrote the recent X-Men spin-off Logan. Godless' seven episodes have a combined run-time of over seven hours, and is currently streaming on Netflix. In comparison to some other shows, Godless is much less of a time investment for the viewer. It's true that at times, Godless feels like an incredibly lengthy film, but ultimately, it feels like a television series that's over too soon.
Related: Watch the Trailer for Godless
Unlike Westworld, which blends elements of the Western genre with science fiction, Godless is a pure and unadulterated Western. Additionally, while fans of Westworld felt the floor drop out from under them each week with a new and surprising twist, Godless has a relatively straightforward concept. Much of the show builds towards the eventual showdown of the final episode, and reveals or shocks are few and far between. If robots, multiple timelines, or world-shattering Nolan-style twists are what drew you to Westworld, you may be dissatisfied with Godless and its linear narrative that is interspersed with some clearly delineated flashback sequences.
The landscape alone might be a reason to watch Godless. Westworld was filmed in California and Utah, while Godless was shot in New Mexico, outside of Santa Fe. While the atmosphere is different, the results are the same: the scenery and cinematography are masterful. The show's length allows for extended sequences. As a result, camera lingers: on faces, on silhouettes, on horses, on the landscape. The show can be beautiful, but the camera is equally unflinching in violent sequences.
But the cast of Godless is easily the strongest part of the show. Jeff Daniels (The Newsroom) is both unrecognizable and exceptional as the big, bad bandit Frank Griffin, who is certifiably terrifying. Frank is a man who is bound by his own code of honor; however, the particulars of that code are often indecipherable to the viewer, giving Griffin an uneasy and unpredictable air. Frank's repeated catchphrase in the face of certain doom - "This ain't my death." - gets somewhat tired, but Daniels gives a strong performance in spite of this nervous compulsion. Frank's foil, Roy Goode, is played by Jack O'Connell (Money Monster), who gives a subtle and surprisingly tender performance. While the show has a strong ensemble cast, as Godless unfolds, the story centers on Roy and his fight to be free from Frank's clutches.
However, the true star performances of the show are Merritt Wever (Nurse Jackie) and Michelle Dockery (Downton Abbey). Wever plays Mary Agnes McNue, the de facto mayor of La Belle who is trying to lead and defend her town from all intruders and threats. Mary Agnes is tough, smart, and scrappy, and in the unluckily event of a second season of Godless, should be the protagonist. While the other women of La Belle are desperately trying to find a way to return their lives to normalcy, Mary Agnes is thriving in her newfound freedom. Meanwhile, Dockery, in stark contrast to her Downton character Lady Mary Crawley, plays Alice Fletcher, a sharpshooting widow who lives outside of La Belle. Alice is difficult to pin down as she takes on a number of Western tropes only to discard them. Without spoiling too much, before the end of the show, both Mary Agnes and Alice have a chance to show off their marksmanship, and Wever and Dockery have an opportunity to show off their range as actors.
Godless distinguishes itself from other Westerns by centering on La Belle, a town whose occupants are almost entirely women after a tragic mining accident killed all of the menfolk in one fell swoop. Two years after the accident, a runaway bandit comes to town, seeking refuge as he attempts to hide from his former mentor and boss. It seems that like Westworld, Godless wants to center unheard stories, and in particular women's stories. Unfortunately for Godless, it is less successful than Westworld in this endeavor.
This is because Godless isn't groundbreaking so much as entertaining. The show's promotional material emphasized its dynamic female characters, which are few and far between in traditional Westerns. As the second trailer warned: "Welcome to No Man's Land," playfully subverting the term to refer to the women of La Belle. However, while Godless features some women who break the mold, the story begins, is propelled by, and ends with men. In fact, most of the major events in the series could occur without any of the female characters. While La Belle becomes a setting for the action, most of the women characters are secondary or background. Male characters dominate both the action and the spoken lines, and the final episode of Godless wraps up the stories of the male protagonists, but ultimately, leaves the women's stories and fates largely unresolved.
Additionally, while Godless features some interesting and even complex characters of color, it also sometimes resorts to stereotypes, especially around Native Americans. For example, episode four features an especially cringe-worthy dream-sequence-memory with faceless Native Americans in buffalo headdresses violently attempting to rape a white woman. While Westworld is hardly better when it comes to stereotypical portrayals of Native Americans, the "theme park" frame narrative at least allows the show to claim that the tropes are part of the park's design.
When compared directly with Westworld, Godless falls short. Perhaps this is unsurprising, since Westworld is innovative and genre-bending in a way that few shows are. However, many fans of Westworld will still enjoy Godless, because like Westworld, Godless boasts an excellent cast, intelligent writing, a beautiful setting, and strong visual storytelling. Despite promotional claims and headlines, Godless doesn't reinvent the Western genre - it's just a good old-fashioned cowboy story.
Next: Godless Review
Westworld (2016 - ) release date:
Tags: westworld, godless


text:
Smith, Sam (1922-1995)
By Mary T. Henry
HistoryLink.org Essay 63
Sam Smith was the first black person to be elected to the Seattle City Council and the second black State Legislator from King County. He has been credited with helping to bridge the political and cultural gap between the white and black communities.
Sam Smith served in the Legislature for five terms beginning with his election from the 37th district in 1958. One of his first acts in Olympia was to introduce a bill to ban discrimination based on race or religion in the rental or sale of homes. Although the bill failed, he continued to introduce it.
In 1967, he won election to the Seattle City Council and served on it until 1991, when Sherry Harris, another black politician, defeated him. During those years, he also ran unsuccessfully four times for the office of mayor.
As chairman of the Council's Utilities Committee, he prevented or reduced increases in power, water, and garbage rates, knowing that low-income residents couldn't afford them. He pressed for the hiring of black firefighters and police officers. In 1968, he sponsored an open housing measure and the Council passed it unanimously.
A man of urbane charm and a friendly nature, he answered his office phone with the greeting, "Hello, this is Sam," and solved the problems of his constituents in a timely manner. No problem was too small for him to tackle. He considered himself a good neighbor to everyone in Seattle and often drove through the city, stopping to visit constituents in person.
Born on July 23, 1922, in Gibsland, in northwestern Louisiana, Sam Smith was the youngest of eight children. His father was a Baptist minister who also maintained a farm. It is said that the young Sam enjoyed education so much that he repeated the seventh grade three times because that was the highest grade for black children to attain.
He left home at 15 to attend high school, later serving in World War II and rising to the rank of warrant officer. In 1942, the Army brought him to Seattle and he decided to stay.
He continued his education, earning a degree in social science from Seattle University in 1951, and a degree in economics from the University of Washington in 1952. He worked at The Boeing Company until politics became his career in 1958. Black politicians have said he inspired and encouraged them to seek various political offices.
Sam Smith died on November 16, 1995, after suffering during the last years of his life with diabetes resulting in the amputation of both legs. In September 1998, on the basis of nominations by citizens, the Black Heritage Society, and the Seattle Urban League, Seattle's Parks and Recreation Department named a park on the lid over the Interstate-90 tunnel in Smith's honor.
Sam Smith, Seattle, ca. 1975
Photo by George Somoff, Courtesy The Black Heritage Society Collection (2001.22.2.01)
"Sam Smith, 'Everyone's Neighbor,' Dies -- Former Seattle Councilman Was 73," The Seattle Times, November 17, 1995, p. A-1; "Passing of a Legend: Sam Smith Dies at 73," Seattle Post-Intelligencer, November 17, 1995, p. A-1.
Biographies Black Americans Government & Politics


text:
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→ DUI fatalities each year
DUI fatalities each year
On Behalf of William Marcus Wilkerson, Attorney at Law | Jan 17, 2023 | Criminal Defense |
Drivers suffering from intoxication could lose control of a vehicle and hit another car or a pedestrian. The driver may travel at an unsafe speed, causing substantial impact when colliding. A driver might be so disoriented that they do not stop at the impact point, further increasing any inflicted injury's severity. Such behaviors may factor into the high number of drunk driving deaths in Texas.
Fatal drunk driving statistics
Driving under the influence contributes to a substantial number of annual accident fatalities. According to the National Highway Traffic Safety Administration (NHTSA), roughly one-third of all fatal accidents result from drunk driving. Individual statistics might vary from state to state, but drunk driving remains dangerous on all roads throughout the United States.
The NHTSA notes a decline in fatal drunk driving accidents over the past several years. Regardless, many people will face arrest for driving under the influence. The arrest could result in the defendant facing many charges.
Anyone involved in a fatal DUI incident could look at a lengthy prison sentence for manslaughter. They could be other charges the person faces, and compelling evidence might make a guilty verdict challenging to avoid. Plea bargaining could be in the defendant's best interests.
If the police pull a drunk driver over before an accident, the person might deal with only the DUI offense. The offense is still severe, and someone with previous convictions could look at heavy fines and jail time. Still, the defendant has an opportunity to defend themselves.
The police only sometimes follow proper procedures when conducting a DUI stop. A lack of probable cause or failure to calibrate a breathalyzer correctly might hurt the prosecution's case. A defendant could point out any violations or improprieties in court.
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text:
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	"dojo/dom-construct", // domConstruct.place
	"dojo/dom-geometry", // isBodyLtr
	"dojo/dom-style", // domStyle.set, domStyle.get
	"dojo/has",
	"dojo/_base/lang", // mixin(), hitch(), etc.
	"./CustomElement",
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	"dojo/has!dojo-bidi?./Bidi"
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			// When Widget extends Invalidating some/all of this code should probably be moved to refreshRendering()

			if (this.baseClass) {
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			//		https://bugs.webkit.org/show_bug.cgi?id=49739
			//		https://bugs.webkit.org/show_bug.cgi?id=75297
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			}

			if (!this._attached) {
				this.attachedCallback();
			}

			this._started = true;
			this.getChildren().forEach(function (obj) {
				if (!obj._started && !obj._destroyed && typeof obj.startup == "function") {
					obj.startup();
					obj._started = true;
				}
			});
		},

		//////////// DESTROY FUNCTIONS ////////////////////////////////
		destroy: function () {
			// summary:
			//		Destroy this widget and its descendants.

			if (this.bgIframe) {
				this.bgIframe.destroy();
				delete this.bgIframe;
			}
		},

		getChildren: function () {
			// summary:
			//		Returns all direct children of this widget, i.e. all widgets or DOM node underneath
			//		this.containerNode whose parent is this widget.  Note that it does not return all
			//		descendants, but rather just direct children.
			//
			//		The result intentionally excludes internally created widgets (a.k.a. supporting widgets)
			//		outside of this.containerNode.

			// use Array.prototype.slice to transform the live HTMLCollection into an Array
			return this.containerNode ? Array.prototype.slice.call(this.containerNode.children) : []; // []
		},

		getParent: function () {
			// summary:
			//		Returns the parent widget of this widget.

			return this.getEnclosingWidget(this.parentNode);
		},

		isLeftToRight: function () {
			// summary:
			//		Return this widget's explicit or implicit orientation (true for LTR, false for RTL)
			// tags:
			//		protected
			return this.dir ? (this.dir === "ltr") : domGeometry.isBodyLtr(this.ownerDocument); //Boolean
		},

		isFocusable: function () {
			// summary:
			//		Return true if this widget can currently be focused
			//		and false if not
			return this.focus && (domStyle.get(this, "display") !== "none");
		},

		placeAt: function (/* String|DomNode|Widget */ reference, /* String|Int? */ position) {
			// summary:
			//		Place this widget somewhere in the DOM based
			//		on standard domConstruct.place() conventions.
			// description:
			//		A convenience function provided in all _Widgets, providing a simple
			//		shorthand mechanism to put an existing (or newly created) Widget
			//		somewhere in the dom, and allow chaining.
			// reference:
			//		Widget, DOMNode, or id of widget or DOMNode
			// position:
			//		If reference is a widget (or id of widget), and that widget has an ".addChild" method,
			//		it will be called passing this widget instance into that method, supplying the optional
			//		position index passed.  In this case position (if specified) should be an integer.
			//
			//		If reference is a DOMNode (or id matching a DOMNode but not a widget),
			//		the position argument can be a numeric index or a string
			//		"first", "last", "before", or "after", same as dojo/dom-construct::place().
			// returns: delite/Widget
			//		Provides a useful return of the newly created delite/Widget instance so you
			//		can "chain" this function by instantiating, placing, then saving the return value
			//		to a variable.
			// example:
			//	|	// create a Button with no srcNodeRef, and place it in the body:
			//	|	var button = new Button({ label:"click" }).placeAt(document.body);
			//	|	// now, 'button' is still the widget reference to the newly created button
			//	|	button.on("click", function (e) { console.log('click'); }));
			// example:
			//	|	// create a button out of a node with id="src" and append it to id="wrapper":
			//	|	var button = new Button({},"src").placeAt("wrapper");
			// example:
			//	|	// place a new button as the first element of some div
			//	|	var button = new Button({ label:"click" }).placeAt("wrapper","first");
			// example:
			//	|	// create a contentpane and add it to a TabContainer
			//	|	var tc = document.getElementById("myTabs");
			//	|	new ContentPane({ href:"foo.html", title:"Wow!" }).placeAt(tc)

			reference = dom.byId(reference);

			if (reference && reference.addChild && (!position || typeof position === "number")) {
				// Use addChild() if available because it skips over text nodes and comments.
				reference.addChild(this, position);
			} else {
				// "reference" is a plain DOMNode, or we can't use refWidget.addChild().   Use domConstruct.place() and
				// target refWidget.containerNode for nested placement (position==number, "first", "last", "only"), and
				// refWidget otherwise ("after"/"before"/"replace").
				var ref = reference ?
					(reference.containerNode && !/after|before|replace/.test(position || "") ?
						reference.containerNode : reference) : dom.byId(reference, this.ownerDocument);
				domConstruct.place(this, ref, position);

				// Start this iff it has a parent widget that's already started.
				// TODO: for 2.0 maybe it should also start the widget when this.getParent() returns null??
				if (!this._started && (this.getParent() || {})._started) {
					this.startup();
				}
			}
			return this;
		},

		getEnclosingWidget: function (/*DOMNode*/ node) {
			// summary:
			//		Returns the widget whose DOM tree contains the specified DOMNode, or null if
			//		the node is not contained within the DOM tree of any widget
			do {
				if (node.nodeType === 1 && node.buildRendering) {
					return node;
				}
			} while ((node = node.parentNode));
			return null;
		},

		// Focus related methods.  Used by focus.js.
		onFocus: function () {
			// summary:
			//		Called when the widget becomes "active" because
			//		it or a widget inside of it either has focus, or has recently
			//		been clicked.
			// tags:
			//		callback
		},

		onBlur: function () {
			// summary:
			//		Called when the widget stops being "active" because
			//		focus moved to something outside of it, or the user
			//		clicked somewhere outside of it, or the widget was
			//		hidden.
			// tags:
			//		callback
		},

		_onFocus: function () {
			// summary:
			//		This is where widgets do processing for when they are active,
			//		such as changing CSS classes.  See onFocus() for more details.
			// tags:
			//		protected
			this.onFocus();
		},

		_onBlur: function () {
			// summary:
			//		This is where widgets do processing for when they stop being active,
			//		such as changing CSS classes.  See onBlur() for more details.
			// tags:
			//		protected
			this.onBlur();
		}
	});

	if (has("dojo-bidi")) {
		Widget = dcl(Widget, Bidi);
	}

	// Setup automatic chaining for lifecycle methods, except for buildRendering().
	// destroy() is chained in Destroyable.js.
	dcl.chainAfter(Widget, "preCreate");
	dcl.chainAfter(Widget, "postCreate");
	dcl.chainAfter(Widget, "startup");

	return Widget;
});

redpajama_set_name: RedPajamaGithub


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We were featured in The Feast's blog for our new bottled coffee, Pure Black!
La Colombe Torrefaction quietly launched their first cold-brewed coffee, Pure Black, last week in Philly, and it's become something of an overnight sensation with the coffee set all across the country.
All of that research has paid off, as the swing-top bottled brew is the hottest new product in coffee since the Chemex. He's getting hundreds of calls every day, some coming from as far as San Francisco requesting the intense coffee concentrate.
As of now, every step is done by hand—including the bottling—and they're moving 100 cases per day. That is soon to change as Carmichael has purchased a beer bottling line from a Kingfisher plant in India that will increase production many times over. A bottle of Pure Black costs $4.50, and comes in a refillable bottle that can be returned to the roaster for a discount on your next purchase of the cold brew.
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text:
Q: I have an issue while drawing the lines over an image using pair of coordinates using opencv python I have a set of coordinates from an image. Using those coordinates I wanted to plot the lines over an image. While trying I ended up with an error. Please help me with this issue. Below is the code.
[((line[0, 0], line[0, 1]), (line[1, 0], line[1, 1])) for line in lines[:nlines]]

print(lines[:lines])

for i in lines:
    x1,y1,x2,y2=i[0]
    cv2.line(image,(x1,y1),(x2,y2),(255,0,0),2)

cv2.imshow("Image",image)
cv2.waitKey(0)

Error:
x1,y1,x2,y2=line[0]

ValueError: not enough values to unpack (expected 4, got 2)

Points Output:
[[[1150  327]
  [1166  316]]

 [[1146  475]
  [1158  467]]

 [[ 903  322]
  [ 911  320]]

 ...

 [[ 364  403]
  [ 374  402]]

 [[ 644  570]
  [ 649  569]]

 [[ 249  645]
  [ 255  644]]]

A: The issue is that each line is defined by two points.
From your printing, you can see the data arrangement.
Example:
a = [[[1150  327]
      [1166  316]]

     [[1146  475]
      [1158  467]]]

The data arrangement above is: two arrays, containing two arrays containing two numerical values.
The hierarchy is an array built of arrays of arrays (or list built of list of lists).
Very confusing structure...
As you can see there is an hierarchy of two "groups":

*

*a[0] equals [[1150  327] [1166  316]]

*a[1] equals [[1146  475] [1158  467]]
Separating into sub-groups:

*

*a[0] equals [[1150  327] [1166  316]]

*

*a[0][0] equals [1150  327]

*a[0][1] equals [1166  316]

*a[1] equals [[1146  475] [1158  467]]

*

*a[1][0] equals [1150  327]

*a[1][1] equals [1158  467]
Getting the numeric value: a[0][0][0] equals 1150.

x1, y1, x2, y2=line[0] gives you an error because line[0] is built from two arrays/lists:
You are trying to get 4 values, white there are only 2, so you are getting an error.
Example:
line[0] equals [[1150  327] [1166  316]]
You can think about is as two points p0 and p1, and use the syntax:
p0, p1 = line[0]

Python allows a "weird" syntax - getting the values in two tuples:
(x1, y1), (x2, y2) = line[0]

Here is a sample code sample that iterates an NumPy array of lines, and draw the lines:
import cv2
import numpy as np

# Array of lines:
lines = np.array([[[1150, 327], [1166, 316]],
                  [[1146, 475], [1158, 467]],
                  [[ 903, 322], [ 911, 320]],
                  [[ 364, 403], [ 374, 402]],
                  [[ 644, 570], [ 649, 569]],
                  [[ 249, 645], [ 255, 644]]])

# Create black image (resolution 1200x1000)
image = np.zeros((1200, 1000, 3), np.uint8)

# Iterate lines:
for line in lines:
    (x1, y1), (x2, y2) = line
    cv2.line(image, (x1,y1), (x2,y2), (255,0,0), 2)

cv2.imshow("Image", image)
cv2.waitKey(0)

Note:
I took the "Points Output" from your post, and built a NumPy array.
It could be that in your case you have to iterate lines[0] (it hard to tell from your post).

redpajama_set_name: RedPajamaStackExchange


text:
Yngwie Malmsteen: a career faster than the speed of light
By Nick Hasted (Classic Rock) 08 May 2019
He's the Swedish speed demon whose six-string theatrics enthral and infuriate in equal measure. Now, Yngwie Malmsteen has made… wait for it… a blues album
"I've been in joints like this before," Yngwie Malmsteen says as he settles into his cell. The posh Soho hotel where rock's premier neo-classical speed demon greets Classic Rock is, it turns out, a former courthouse once visited unwillingly by Oscar Wilde, Mick Jagger, Keith Richards and John Lennon; a painting of the latter on the wall looms over the guitarist's shoulder.
Even Wilde might have thought twice about Malmsteen's entrance into the place's now chic lobby. With his crow's-nest hair, long leather jacket, leather trousers and black shirt open to the waist, he looks like Gene Simmons crossed with Elvis. Metal bracelets jangle when he raises his hand and peers over mirror shades to make a point.
Tall, with the comfortable build of the King circa 1973, he also recalls Presley in a southern softness to his accent, its Swedishness now burnt out by 30 years living in Miami.
The charges levelled against the cell's temporary new occupant are minor but long-standing: he has riled his detractors by the blizzards of notes which have blown through his records since he arrived in the US in 1982, and sent bandmates spare by dictating every sound they make. 'So what?' he'll shrug. 'Ever heard of Beethoven?' He'll similarly contend he's no mere shredder (despite helping to popularise guitar playing as an Olympic speed trial), instead launching the playing of his instrument into new realms of classical range and technique.
A TV glimpse of Jimi Hendrix burning his guitar at Monterey was one formative influence on Malmsteen the Stockholm child prodigy. Niccolò Paganini, the nineteenth century violinist whose fiery flights led to Robert Johnson-like rumours of supping with Satan, mattered more.
Malmsteen's 1998 album Concerto Suite For Electric Guitar And Orchestra is his self-declared pinnacle. And the DVD of its live debut with the New Japan Philharmonic shows him in his element: a florid frock-coated soloist in a concert hall, eyes squeezed shut, fingers flying up and down the frets as dozens of musicians faithfully play his mutant magnum opus.
The fervent Deep Purple fan was both developing Jon Lord's concept for their Concerto For Group And Orchestra and merging his classical upbringing with his metal maturity. Although it's sometimes absurd, and Beethoven needn't roll over, his serious joy in work he totally believes in is a pleasure to watch.
Malmsteen's new album, Blue Lightning, is by contrast a blues album (suggested by his label, Mascot), with new songs alongside covers both highly familiar (Smoke On The Water, Purple Haze, Paint It Black) and left-field (Eric Clapton's Forever Man).
What makes this more surprising is his characteristically blunt opinion on the blues a decade back. "My whole approach to guitar playing," he told journalist Steven Rosen in 2008, "was to remove myself from that incest of the blues mentality… I don't want to have anything to do with blues, which is the most limited, the most pathetic kind of music… It's like staying in first gear in a Ferrari. I don't want to do a whole blues album."
"Yeah, it's a great thing that you brought that up," he raps back. "I know that I used to be quite outspoken in a lot of different ways, and sometimes I take it back. But this time I want to explain what I meant." And so he does, at length and at breathless speed much like his playing.
As he traces his unusually difficult relationship with the blues, he also tells the origin story of Yngwie Malmsteen the respectable Swede who gave it all up to play lightning-fast rock'n'roll as if it was a symphony.
"I grew up in a classically trained family – opera singers and pianists and violinists," he says of his childhood. Aged five he was learning piano, flute, trumpet, drums and "classical rudimentary whatever", until that glimpse of Jimi flamboyantly destroying his flaming guitar on a news item the day of his death (September 18, 1970) made seven-year-old Yngwie pull an acoustic guitar he'd been gifted from the wall. "Nobody taught me, I played what sounded like a bluesy thing. "
Then I heard Deep Purple's Fireball when I was eight. That was an extension of the blues again, because Deep Purple, let's not be mistaken, was a blues band. And I was so fanatical about my guitar-playing that I would play fifteen hours a day when I was seven. I mean, I could play anything – 'diddle-e-diddle-ee-diddle-ee' [imitating his infantschool shredding]."
I used to be quite outspoken in a lot of different ways, and sometimes I take it back
The point of Malmsteen's story today is that he was playing the five-note pentatonic scale that all blues is built from. "Then I heard Genesis's Selling England By The Pound, and that freaked me out. And I also heard [its non-pentatonic, inverted notes] in my mother's Bach and Vivaldi records. Then I saw Paganini's 24 Caprice No. 5 on TV, and it stirred me. But have you heard of a ten-year-old kid who wants to play classical things on the electric guitar? No. So why would I do that? Because I like the challenge. And I had some weird idea that it was what I was meant to do."
As for his old dismissal of the genre he's just made an album in, he only half takes it back.
"What I meant was that I revolted against the pentatonic box, which every guitar player you can name is in – Hendrix, Keith Richards, Michael Schenker, Van Halen. And Blue Lightning isn't all pentatonic. So I stand by that.
"I think it was a harsh statement," he adds of his blues diatribe. "But I'd like to point out that I admire Buddy Guy, I admire BB King. A lot of blues players, I love them. AC/DC's Angus Young is a blues player, and he's a fucking good one, because he really means everything he does. ZZ Top's Billy Gibbons – come on! I love these guys! I really love them! I just have to say that's not where I'm going."
Unlike those hard-line bluesmen and rockers, though, Malmsteen's roots are European, and classical. So did blues seem kind of dumb? "
'Dumb' is the wrong word. Because I hear BB King play one note, and that one note has more meaning than fucking… I don't even know how to explain it. I get chills just thinking about it. I don't want to call that dumb. For instance, when I play on stage every night I play Albinoni's Adagio In G. That's a classical piece. But I play it with a feeling of blues. So is blues an expression, or is it the pentatonic scale? I think it's an expression. So I don't think 'dumb' is a good word. 'Limited' is."
If Malmsteen's feelings about blues seem to be the most tortured of any major guitarist, wait until you hear him on his homeland. To many, Sweden is an enviable egalitarian utopia, symbolised by ABBA's sunny optimism. The nation's most revered rock instrumentalist begs to differ
"Growing up in Sweden in the seventies was a very bare thing," he says. "There was no external input at all; there was only one TV station, there was only one music radio station, there was a record store, a music store, and your friends at school. No one knew what was going on. I liked Deep Purple, but no one told me what Rainbow was. You had to have a lot of internal imagination. And no one was telling me what to do and what not to do. Or maybe they did and I wasn't listening properly."
The Cold War with Sweden's near neighbour Russia required his dad – an irregular presence since divorcing when Yngwie was a baby – to become, his son discovered later, a "007", spying on the Soviets. Young Yngwie, meanwhile exaggerated his natural intransigence to be declared unfit for national service, claiming he'd turn the army's guns on himself. No, it wasn't the threat of World War III which made Yngwie mad. It was how fucking fair everything was. 'I'm a genius, he seethed – get me out of here.'
"I was very un-Swedish then, and I'm un-Swedish now," he explains. "I didn't fit in at all with the mentality that no one's better than anyone else. If everyone's the same, there would be no art."
Art class was one battleground.
"My uncle was an illustrator, and when I was younger I was very talented at drawing," he says. "But the teacher would go: [adopting a Muppets Swedish chef accent] 'Let Lars and Anders do the drawing, because everybody is the same.' And their drawing was like a stick man, and mine was really fucking out-there, Salvador Dali shit. There's this word in Swedish that doesn't exist in any other language – lagom – that means 'not too much, not too little'. My mentality is more is 'More!' And I've always been like that."
Adolescent Yngwie drove his motorbike into school, got into fights for telling classmates they were idiots, and favoured playing guitar over attending at all. And yet his long-suffering school was a model of supportive sympathy.
"I was treated really well," he concedes, "because they would let me have a key for the woodwork studio so I could go in there and file out frets and shit on my guitar. They were really nice, actually. And I did have straight As in everything, although I didn't even go."
Spells with a luthier and a classical conservatoire saw him to the end of compulsory education. What a nightmare it all sounds.
Landing in the USA in 1982 to realise his rock dreams, 18-year-old Malmsteen found his promised land.
"It was California, so there's no classical music, and they don't read [music]," he says. "But it was more upbeat. I felt much more like I belonged. I later learned that they'd say in schools: 'You could grow up to be president of the United States.' In Sweden we were basically told: 'Stay in your place, and shut the fuck up.'"
Unsurprisingly, Donald Trump is Malmsteen's kind of President. The economic achievements he reels off might benefit from fact-checking, but putting America first makes "perfect sense", the guitarist believes. The president also does exactly what he wants, paying little attention to pesky rules or even his own party. This would surely be President Malmsteen's approach?
"Ha ha, yeah…" he muses of being the main man in the White House. "The thing is that Congress has almost equal power, and if I were to get to a position like that I would have to work with that. But that's why I probably wouldn't do that sort of thing. Actually, I can't," he remembers, "because I wasn't born there."
I was so fanatical about my guitar playing that I would play fifteen hours a day, when I was seven
Along with Swedish society, school and democratic checks, Malmsteen also doesn't dig being in bands where anyone but him has a say. Although he was backed by a regular line-up of his band Rising Force during the 80s, as time went on drummers would find their kit tuned, and every beat weighed and planned by their boss in the studio, as if the musicians were just notes on a score. Lead singers such as former Rainbow frontman Joe Lynn Turner were let go one by one. Now, on Blue Lightning Malmsteen sings and plays everything himself.
"Some bands wouldn't really function without each other, like Led Zeppelin, and that's awesome," he considers. "I was never like that. Even as a student I was thought of as an egomaniac. Which even if I might be, that's not why I work that way. I do so because I have no confusion about what I want."
He views other musicians not as bandmates but employees, paid to play his music, and regrets his early weakness in letting singers write their lyrics. "Other guitar-players that hire singers, like Schenker and Blackmore, just let them sing whatever the hell they want," he reflects. "But then it's not my full message. And that's very important to me."
And yet so much great music has been created from the mysterious sparks and magic of musicians being together in a room. Has Malmsteen really never got anything from collaboration?
"The weirdest thing is that I have to really sit here and think about that," he says.
There have been pleasant times with his peers, like his three tours since 2016 with Steve Vai's guitar supergroup Generation Axe, which also features Zakk Wylde, Extreme's Nuno Bettencourt and Animals As Leaders' Tosin Abasi. "We hang out on the bus," he says, "and it's a really great feeling." Participating in Vai's arrangement of Bohemian Rhapsody last year as part of this "guitar orchestra" was "an interesting test of discipline".
Malmsteen finally can think of just one musician who told him something he didn't know: Cozy Powell, one of his "heroes of all time", who he "drew maps" to make his own drummers sound like, played on his 1997 album Facing The Animal. "Cozy told me: 'You have to have two ballads on the album.' And the only time I've ever listened to anybody was Cozy."
It makes you wonder how he managed when he was first invited to America after demos for Swedish CBS found their way on to Californian college radio, leading to him joining Ron Keel's metal band Steeler for their self-titled 1983 debut. Malmsteen then switched to British singer Graham Bonnet's band Alcatrazz, shortly after Bonnet had been ousted from the Michael Schenker Group. Even straight off the plane aged 18 and in a strange land, Malmsteen confesses he couldn't hide his frustration in these other people's bands.
"Steeler was Ron Keel's band, a hundred per cent," he explains. "And it was my ticket to the United States. I figured I can make an album, and he let me play whatever the fuck I want."
Malmsteen's live debut with Steeler, on March 3, 1983 attracted 30 people to LA's Country Club. A week later, word of mouth brought many more to their gig at the Troubadour. Soon, 'Yngwie Is God' graffiti spread.
"I remember we played some shithole in Long Beach, and Phil Mogg came, and he said: 'Hey, I'm putting together UFO again.'"
Malmsteen was offered the guitarist spot with both UFO and Bonnet on the same day.
"So I called Graham from Phil's house and said: 'Okay, I'll join your band. Couple of things. Get a new drummer…' And this thing which was supposed to be Graham Bonnet's thing became my thing. It started a lot of frustration with the other guys. It was supposed to be me as part of a band, but it ended up not being that."
Alcatrazz's success in Japan led to Malmsteen signing a solo deal there. "So my Rising Force record was recorded one year after I came to America." It hit the US Top 60, and his compromising days were done.
Asked if he ever doubts himself, he pauses, as if flummoxed by the thought. "I debate with myself: 'Would this be the right thing, or not?' But I'd say most of the time I'm pretty clear."
At the height of his American success, in June 1987 he ploughed his Jaguar into a tree. "I had a brain haemorrhage, and it fucked up some of the nerve endings, which resulted in my right hand not being able to move properly," he told Rock Scene soon afterwards. Around the same time, his mother died. When he woke from his coma, physically shattered and unable to play, surely even he paused to doubt?
"When I first came out of the coma I was all drugged up, so I didn't think about anything. I was kind of laughing. But there were times, of course. The worst part was my mother passing. And on top of that I was ripped off with all my money, and my house. But I think that's a test. It was definitely the darkest time. And I often think back to that when something doesn't go my way – if I can fucking go through that, I can go through anything. That was maybe the worst ever."
So was his only reaction at that desperate time to plough on?
"Absolutely. Hanging it up never entered my mind. It was, okay, fucking crunch time. How I was going to do it was a different thing. Basically the way I looked at it is I'm not dead. So obviously there were some doubts. But I'm pretty determined. When it comes to something that's an obstacle, I just crash right through it. Because failure's unacceptable."
After his hand had healed, he practised even more. His biggest US hit, Odyssey, followed in 1988.
He is clearly not like other people. And as he explains his indomitable nature, and lists all the privileges and support his highly artistic family and loathed Swedish system gave him in his formative years, I'm reminded of interviewing another rock star for Classic Rock. Kid Rock, too, was a likeable guy, who was raised, I discovered when I visited Romeo, Michigan, in an idyllic village. Like Malmsteen, he was a rebel in paradise, seemingly impatient with less fortunate souls who couldn't help but fail.
Malmsteen does, though, readily acknowledge where he's living these days. "Miami doesn't seem like a paradise, it is!" he exclaims. "As soon as I get home I just go play tennis, and take the [convertible] top down in January, no problem."
He's also self-aware enough to concede that there were some advantages to isolated, winter-dark Sweden. "One time I was telling my son Antonio how much I love Miami. And he goes: 'Yeah, but if you grew up here you probably wouldn't end up where you are.' He's probably right. Because I would be on the beach, not working in a cold studio. So in the end it was useful."
Europe, other Swedish rockers who made it out in the 80s, are these days revered in their home town of Upplands Väsby. As with so many things, though, Malmsteen's relationship to his roots is less simple.
"Umm… I don't really get back there very often." He pauses. "It doesn't feel like home. I've been away thirty-seven years. I suppose they have put a 'legendary' status on me there, for some reason. But I don't really think twice about that stuff."
He slips into something he is comfortable with: being a shameless, happy, classic rock star. "I drive round in my Ferrari with my top down and baseball cap on and no shirt, and I don't try to look like nothing," he says. "And they know who I am anyway. It doesn't matter the fuck if it's Sweden or America. Before, if I went round the States, it would be: [hick voice] 'Hey, are you in Bon Jovi?' Now it's: 'Hey, you're Yngwie Malmsteen.'


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Orlando Police Officer Fired After Arresting Two Six-Year-Olds
Marie Cyprien September 27, 2019 493
(Image: NowThisNews,com)
The list of ordinary things black people can't do in public without someone getting the police involved has just gotten longer. Apparently even a temper tantrum from a 6-year-old can be seen as cause for an arrest by an Orlando police officer.
According to BET News, Dennis Turner, a school resource officer, arrested two small children at a charter school in Orlando, Florida, on two separate occasions. During the arrest, he charged one of the children with misdemeanor battery.
Turner was in violation of the department's policy, which requires an officer to receive approval from the watch commander before arresting anyone under the age of 12. He has since been arrested and according to the Orlando Police department, Turner has now been fired.
One of the children, Kaia Rolle, is a first-grader at Lucious and Emma Nixon Elementary Charter School. The other child is a 6-year-old boy whose name has not been released, at the same school.
According to NBC News, a staff member at the school attempted to grab Rolle's wrists to calm her down when she began kicking someone. She was then handcuffed and charged with battery.
Rolle's grandmother, Meralyn Kirkland, recalls that day when she received a call from the school that Kaia was arrested and taken to the juvenile detention center. "I said, 'What do you mean, she was arrested?' she said. "They said there was an incident and she kicked somebody and she's being charged and she's on her way."
Rolle, whose grandmother attributes her behavioral issues to sleep apnea, was almost processed at the detention center before a supervisor heard of her arrest and allowed her to return to school.
In a statement on Twitter, Orlando Police Chief Orlando Rolón announced that there was no choice but for him to fire Turner. He also apologized to the families and noted the steps he's taking to ensure there isn't another incident like this. According to State Attorney Aramis Ayala, her office will not pursue charges against the children and their records will be wiped clean.
black studentspolice misconduct
Black Women in Tech: Dell's Only Black Woman Senior Vice President
Aretha Franklin Biopic Starring Jennifer Hudson Starts Filming in Georgia
Marie Cyprien


This city is the capital of India itself. The typical landscape of the capital is indeed very dense and has its own attraction where the hustle and bustle of vehicles takes place every day. This situation is at the same time a characteristic of this country, especially in New Delhi which is the capital of India. What makes it interesting is that heavy traffic accompanied by horns that are mutually interconnected seems not to be a sign of traffic jams, but the flow of traffic that runs precisely smoothly even though it is a bit irregular. With a population of more than 10 million people, New Delhi remains a charming city for you to stop by with its unique culture and historical heritage. Although the traffic is not organized neatly in various modern countries such as Germany, America, Britain and other countries, but in terms of transportation, it seems that New Delhi is not outdated.
Gate India is the first tourist spot that can be visited if you come to New Delhi in India. Indian Gate is one of the monuments in India. The location of this national monument is right in the center of New Delhi, India which is the capital of India itself, precisely at the western end of Rajhpat and connected to the Rashtrapati Bhavan or Indian Presidential Palace which is only 2 km east of the Gate of India. This national monument was originally known as the All India War Remembrance Gate, where the monument was designed by Sir Edwin Lutyens. This national monument was intentionally built to commemorate as many as 90,000 Indian-British soldiers who died on the battlefield. As we know that in World War I, India was occupied by the British Empire and also the third Anglo-Afghan war.
The monument is made of red brick with a combination of granite stone. After India achieved its independence, India Gate became the tomb site of the Indian army and was known as The Flame of The Immortal Soldier. One more thing that can be enjoyed at this national monument is its beautiful and beautiful garden with a little decoration resembling a pond. In addition, the Rajhpat road which is the road from India Gate is an important road in India that is used as a place for parades on Republic Day which is commemorated every January 26th.
Qutub Minar is the second tourist spot that can be visited when you come to New Delhi, India. Qutub Minar is the highest brick tower in India. This tower is a legacy from Qutb-ud-din Aibak, namely the first Muslim ruler in Delhi. Qutub Minar itself was built in 1193 and recorded as a World Heritage Site by UNESCO with qutub minar, we can find historical heritage.
Qutub Minar is often visited by visitors who are curious about this historical heritage, with some beauty in it so many people want to visit this place.
Red Fort is the third tourist place that can be visited when you come to New Delhi, India. Red Fort or Red Fort is also one of the historical buildings in New Delhi, India, which was built in 1638 by the Mughal emperor Sultan Shah Jahan. The fort was built as a residence of the royal family and is also one of the UNESCO World Heritage Sites. Even so, this red fort was a silent witness to the end of the Mughal Dynasty in India. Even though the Mughal Dynasty had been in power for three centuries. This fort is called the Red Fort because it has a giant wall with bermaterialkan red sandstone that covers the eight sides. The wall extends from the end of Shah Janabad city with an overall length of 2.5 km and a height that varies between 16 to 33 meters. This red fortress is also a symbol of the architectural brilliance and power of the Mughal Dynasty. This building shows the results of high-level works of art inherited from the Mughal sultanate.
This work of art, which is a blend of synthesis from Persian, European and Indian art, is expected to amaze you when you visit New Delhi, India. The architectural style which is a combination of the three works of art by Mughal royal artists at the time was made into a unique new architectural style, rich in form, expression and color. This style of fusion is known as Shah Jahani's style. The tour to the fort seems to be more complete with two main gates, namely Lahore Gate and Delhi Gate. As soon as visitors enter the Lahore Gate, which is the main gate, Mina Bzaar, known as Chatta Chowk, is a small, all-round market. Then there is also the Naubat Khana, the music room which has four floors.


Discover the arts and events through interviews with Bill Snyder 9am – 1pm weekdays on WSKG Classical (WSQX), where he takes listeners behind the scenes with local performers to discuss their upcoming productions. Looking for classical music listings? They're here.
'Grounded' by George Brant is the next play at the Kitchen Theatre.
Know Theatre presents David Harrower's drama 'Blackbird'. Director Tim Gleason joins us to talk about this highlight of the Edinburgh Fringe Festival that quickly made it to Broadway and then to film, and the emotional impact of recreating such an intense drama.
The Cantata Singers present 'The World Beloved: A Bluegrass Mass' in Watkins Glen.
The Orchestra of the Southern Finger Lakes presents the Elmira Trombone Choir in a special performance at the Rockwell Museum.
Ithaca Ballet presents a ballet version of Shakespeare's 'A Midsummer Night's Dream' with music by Felix Mendelssohn.
Binghamton University's Opera Ensemble is presenting Henry Purcell's opera 'Dido and Aeneas'.
Fab Arts presents John Patrick Shanley's play 'Outside Mullingar' at the Cider Mill Stage.
The Summer Savoyards present Oscar Wilde's comedy 'The Importance of Being Earnest' in the Annex of the Bundy Museum in Binghamton.


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Q: Looping for json object not working in javascript I am having json values in an object called dataResponse. What I want is, I want to loop the object and fill values to the control. SO for looping I tried like this below
for (var i = 0; i < dataResponse.Table.length; i++) {
                if (dataResponse.Table[i] != "" || dataResponse.Table[i] != null) {
                    $("#spnLinkId").text(dataResponse.Table[i].LINK_ID);
                    $("#spnSpanLength").text(dataResponse.Table[i].NE_SPAN_LENGTH);
                    $("#txtFiberActlength").val(dataResponse.Table[i].HOTO_ACTUAL_LENGTH);
                    $("#txtLITActlength").val(dataResponse.Table[i].LIT_ACTUAL_LENGTH);

                    var hotoOfferedDate = new Date(dataResponse.Table[i].HOTO_OFFERED_DATE);
                    var FinalHotoOfferedDate = hotoOfferedDate.getDate() + '/' + (hotoOfferedDate.getMonth() + 1) + '/' + hotoOfferedDate.getFullYear();
                    $("#spnHotoOfferDt").text(FinalHotoOfferedDate);
                    $('#spnApprRejRemarks').text(dataResponse.Table[i].APPROV_REJECT_REMARK);

                }
                if (dataResponse.Table[i].ISABDMISSING != "" || dataResponse.Table[i].ISABDMISSING != null) {
                    if (dataResponse.Table[i].ISABDMISSING == 1) {
                        $("#FEmissingAsBuiltYes").prop("checked", true);
                    }
                    else {
                        $("#FEmissingAsBuiltNo").prop("checked", true);
                    }
                }
            }

But I have 4 tables in an object. So for other tables it is not working as expected.
Below is my screenshot for your reference.

Also see

And my response code is below
var dataResponse = JSON.parse(response);
Please suggest how to loop
JSON DATA

A: You can use this coding format to iterate over all tables,
for (var key in response)
{
   console.log(key); //key will give Table, Table1 etc.
   for(var i = 0; i < response[key].length; i++)
     {
        var data = response[key][i]; // data will give object in table based on key
        if (data.ISABDMISSING != null)
           {
              if (data.ISABDMISSING == 1)
                 {
                     console.log(data.ISABDMISSING);
                 }
           }
      }
}


text:
FEED Spring 2022 Web
OFF THE CHARTS The comprehensive AdConsole platform from Bidstack displays real-time insights and data on in-game advertising performance
Open-world games with cityscapes can deliver billboards, branded vehicles, buildings and other surfaces for virtual ads. 'Native' placements that don't disrupt the gaming experience are the key. "Successful brands within in-game environments are those that don't elbow their way to the fore, but respect the importance of in-game interactions that are appropriate to the context," says Niklas Bakos, founder and CSO of in-game platform Adverty, on the IAB UK website. "Research tells us that unobtrusive formats are often more effective than disruptive ones, and ads that reach out of the gameplay have a unique opportunity to enhance human connection, and even fuel creativity." Indeed, the market for such native advertising is worth an estimated $25bn, according to in-game advertising platform Anzu. BIDDING TO WIN Technology company Bidstack offers a bespoke service for brands to place ads across a variety of games. According to Yasin Dabhelia, Bidstack's
head of automation and demand partnerships, "Our tech is built around programmatic delivery of advertising into the gaming environment. We support any sort of game, whether that be mobile, PC console, VR or AR. The ad looks and fits within the context of the game – and we're not interrupting the gameplay." Bidstack was founded in 2015 by CEO James Draper, who came from an out-of-home advertising background and wanted to place it in a virtual space. "At the time, no one really saw gaming as a serious media channel," says Dabhelia. "Advertising within gaming was always thought of as being intrusive, like rewarded video, where you can't move forward until you react or watch the ads. In the past two to three years, we've started to see games such as Fortnite, and the metaverse, really grow with all these new opportunities. And
feedmagazine.tv


text:
Reader Review: 30th Anniversary 'Gold 4' Y-Wing Fighter (TRU Exclusive) By Whitewolf
Bespin refugee - August 29, 2007
Long ago, in a galaxy far, far away...
...when a computer's processing power was measured in kilobytes instead of the current terabyte juggernaughts, there was a game released by a young computer software company known for titles like "Sam & Max Hit the Road" and "Day of the Tentacle." That company's name was LucasArts. The game's title: X-Wing. It was the first (and some contend still the best) Star Wars flight simulator ever made. I remember playing that game for hours at a stretch and my favorite starfighter was the slow but tough Y-Wing. I had a sadistic streak where I would first disable a TIE with the ion cannons and then pick off individual ship's systems with the laser cannons...all the while, the enemy pilot unable to protect himself from the inevitable...MWUAHAHAHAHAH!!
...ahem...I digress.
Over the years, the Y-Wing has seen release at least 3 times. The first time was 1983, then again in 2003 (ironically also as a TRU exclusive, sporting a horrid red and silver paint app), and now as a 30th Anniversary TRU exclusive. The newest incarnation of the Rebel Alliance's workhorse is a solid mix of old and new. The basic spaceframe of the ship is a simple reuse of the same '83 mold, along with the engine pylons and exhaust vector plates at the rear of each engine. But several changes have been made to the newer versions of the Y-Wing, such as the original droid socket being filled in and replaced with a fixed droid head (in this case, an R5 unit) and the obvious lack of electronics. When the 2003 version was released, many collectors noticed that Hasbro had replaced the original long nose cannons with ones that were little more than stubs...presumably for safety reasons. But this glaring change along with the strange paint job turned many off and the ship was largely passed over by more than a few collectors. This time around, Hasbro went back to the drawing board and decided that there was nothing wrong with the original. If it ain't broken, don't try to fix it, right? The new nose cannons are not only restored, but are now larger than the originals and more movie-accurate. Now lets just see how many kids can poke their eyes out with them. The cockpit hasn't changed whatsoever in either version of this starfighter...although the current decals are quite eye-catching even if they aren't accurate to the movie.
The paint app is extremely nice on this Y-Wing. The signature dirt and grime of nearly all Rebel ships is there, giving it a much more realistic appearance than previous versions of the ship. Small details like carbon scoring around the laser cannons, and simulated engine glow also round out the whole "new and improved" look.
The Y-Wing is relatively the same length as the TRU Exclusive Dagobah X-Wing, given the extra length of the nose cannons.
The figures that come with the Y-Wing are:
*Lieutenant Lepira
*R5-A2
These two figures are definitely a case of love and hate. I love one of them and hate the other...
R5-A2 is one awesome droid! I've reviewed a couple of R5 units in the past, so I won't go into any of the sculpt/mold stuff. But the paint app is very nice, if not a bit odd. The astromech is a white droid with bright yellow and blood red detailing. There are no noticable paint defects that I can see and the weathering done to the droid matches the ship in which it co-pilots. Any astromech collectors out there will definitely want this droid added to their collections...
Lt. Lepira on the other hand is just another rehash of the Dutch Vander/X-Wing Biggs figure with a different head sculpt. I have a few issues with this figure...first and foremost the fact that he is posed in such a way that he does not fit into the cockpit very well. The other problem I have is his height also being a factor in his cramped-cockpit situation. The last and possibly biggest issue I have is the head itself. Since when did one of the T-Birds from Grease ever fly a Y-Wing?? The dude's hair is literally done in a 1950's pompador in the front and a ducktail in the back! What was his ship's nickname...Greased Lightning? C'mon Hasbro...anything but this! He just looks goofy as hell...
Lastly, the Gold 4 Y-Wing comes with one single accessory:
*Rebel Pilot Helmet
The helmet is the same one that comes with VTSC X-Wing Luke and TAC X-Wing Biggs, and suffers from the same "brand-spanking-new" syndrome that VTSC Luke's did. At first, I thought it was a simple repack, but upon closer inspection I saw a few slight variations around the Rebellion symbol that differentiate it from others. But from 5 feet away, you most likely wouldn't notice them.
Overall, I love the ship, love the droid...hate the pilot. Two out of three ain't bad, as the saying goes...
If you already have a fleet of these things clogging your collection shelves...this may not be for you, but if you don't have a Y-Wing yet, or just want to upgrade to the more movie-accurate styling...then grab one from your local TRU or TRU.com. Aside from Lepira, you won't be disappointed...
I give the TRU Exclusive Gold 4 Y-Wing 4 Death Stars.
More Reviews News
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S.H. Figuarts Star Wars: TLJ LuikeSkywalker (Battle Of Crait) Video Review And images
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Keep REMINDING them your business exists Simply by periodically following-up with each customer as well as client to establish how most are doing, you might alert them how to any newly released offers or possibly new products and services you will get. Ways to both borrow or perhaps raise the particular form of fund make sure you carry on to hold your enterprise passing would be a little something protected far too. Examine and also investigate your own company Just as with other company it will be critical towards read the financial institution, and turn positive it really is a thing widely used with regard to people. The key to developing an Network marketing business is acquiring a major pool area for prospective customers you are creating a marriage along with over time. There were several reviews done towards the reason exactly why persons select to fix an Network marketing business and the very overpowering the vast majority enroll in on account about the affected person which will introduced all of them as opposed to the organization or perhaps product. Apart from busying your own self within searching out the preferred sales opportunities, you also need several various other a few continue on to continue to keep your current NETWORK MARKETING business working.
Make your list from all of the tasks occur to be performing for those company. That it is evident the fact that poorly mastered cash move will be able to destroy a business together with you may will need the exact guide technique to monitor your finance. Additional Features for Renters With therefore many alternatives out certainly, there within professional construction, the idea can end up being challenging to get a small business to definitively settle on any blog. The majority of the organizations in the event you program which may deal with group meetings, information and facts and also files spreading with the world wide web. There are frequently profitable small business people today who would like to assist new businesses to get started and in addition they might possibly be a new source intended for startup loans or they can have typically the ability to help deliver references or referrals to people who can.
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text:
From GIS to Remote Sensing
Semi-Automatic Classification Plugin Tutorials YouTube About Donate
Semi-Automatic Classification Plugin for QGIS
The Semi-Automatic Classification Plugin (SCP) is a free open source plugin for QGIS that allows for the supervised classification of remote sensing images, providing tools for the download, the preprocessing and postprocessing of images.
The overall objective of SCP is to provide a set of intertwined tools for raster processing in order to make an automatic workflow and ease the land cover classification, which could be performed also by people whose main field is not remote sensing.
Search and download is available for ASTER, GOES, Landsat, MODIS, Sentinel-1, Sentinel-2, and Sentinel-3 images. Several algorithms are available for the land cover classification. This plugin requires the installation of GDAL, OGR, Numpy, SciPy, and Matplotlib. Some tools require also the installation of SNAP (ESA Sentinel Application Platform).
Congedo Luca (2020). Semi-Automatic Classification Plugin Documentation. DOI: http://dx.doi.org/10.13140/RG.2.2.25480.65286/1
Download and installation User manual Screenshots Tutorials Semi-Automatic OS Donate to this project
Semi-Automatic Classification Plugin is free software: you can redistribute it and/or modify it under the terms of the GNU General Public License as published by the Free Software Foundation, version 3 of the License.
Semi-Automatic Classification Plugin is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.
See the GNU General Public License for more details. You should have received a copy of the GNU General Public License along with Semi-Automatic Classification Plugin. If not, see http://www.gnu.org/licenses/.
Except where otherwise noted, content on this site is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License
© Luca Congedo From GIS to Remote Sensing - Privacy policy - About - RSS Feed


Bull Tough Flooring is an award winning company that specializes in the installation, sanding and refinishing of solid hardwood floors and stairs.
Having happy customers is what motivates us to be continually building our reputation for superior standards, time efficiency and work ethic.
We have consistently delivered high quality hardwood floors and stairs to our Calgary customers for over 8 years.
Specializing in Calgary Hardwood Flooring solid hardwood floors gives us the advantage when it comes to being the most experienced and consistent team on the job. Not only do we have the technical skills required to complete any project, we offer the highest levels of customer service to ensure your experience with us is perfect.
Refinishing brings your old hardwood floors back to life.
Maintenance coats are an essential part of protecting your floor.
Installing a hardwood floor in your home will always be a good investment.
Ky and his team from Bull Tough Flooring were exceptional in performing a complete refinishing of our hardwood floor. There were many scratches from our dog's paws and minor damage here and there from dropping things and major water spills. Ky was very professional throughout the entire process from providing an initial estimate, scheduling the work and doing exactly what he said would be done, completing the job ahead of schedule and cleaning everything up. He made sure that we were totally satisfied with the work that was done. We would not hesitate to recommend Ky and his team to install or refinish any hardwood floor.
Fabulous company. Personalized and very personable service – a truly nice crew. Quick, extremely efficient yet paid attention to every detail. All questions were promptly answered. Super reliable. What more could we have asked for? Thank you Ky, Rachel and Brennan for a great job done! We love our new floors on the two levels and the steps (a big job)!!! Very happy to recommend your company to others.


text:
Q: Using fixed-width fonts with Growl I'd like to write a wrapper for growlnotify that growls output from cowsay.
$ cowsay 'this is cowsay'
 ________________
< this is cowsay >
 ----------------
        \   ^__^
         \  (oo)\_______
            (__)\       )\/\
                ||----w |
                ||     ||

I've hunted through all the available Growl themes & appearance options but can't work out how to change the font to fixed-width, so the ASCII-art output from cowsay isn't munged.
Could someone please tell me how to switch the font used by Growl?

A: Growl styles are essentially just CSS and HTML.

*

*First find your styles in ~/Library/Application
Support/Growl/Plugins.

*Choose the theme you want to make monospaced. Make a backup copy of it.

*Context-click on it and select "Show Package Contents"

*Navigate into Contents -> Resources

*Open the default.css file in your editor of choice.

*Update the font-family declaration in html, body rule set to
begin with the name of your preferred monospaced font, e.g. Ubuntu Mono.

*Save.

*Mooooooo!


Researchers are important in the scientific study of the criminal justice system but, without the practitioners (law enforcement officers, corrections officers, other professionals), the research piece will be lacking in the participation of those who actually work in the field. Our efforts, through the backing of the Illinois Law Enforcement Training and Standards Board (ILETSB) Executive Institute, help provide connections with law enforcement at the local, state, and federal levels, not only from Illinois but from other states. Creating the connection and reinforcing the importance of research through the ILETSB Executive Institute programs, the WIU Department of Psychology, and the WIU School of Law Enforcement and Justice Administration provides a unique relationship between practice and research.
If you are a researcher seeking out criminal justice organizations to assist with your study, please do not hesitate to contact us. If you are a criminal justice organization seeking to find a researcher to work with in your agency, please let us know. We will work to help you find the right fit of practice and research.


Right now, Miss Rockaway is participating in an art show at Exit Art in New York City. Please stop by if you have a moment.
Then in April Miss Rockaway will present an installation in the MassMoCA Museum in Massachusetts.
We're currently floating down the Mississippi River performing shows every few days in different towns along the river. Check out the blog page for up-to-date listings.
screenprinted by the Rockaway Crew! See the Amazing Slideshow!
Don't Forget to Dress Nautical: Pirates, Mermaids, Sailors, more!
this time all the way to New Orleans!
Rolling on the River, the art benefit on March 29 went really well! There are still a few gems for sale to benefit Miss Rockaway which you can view on flickr here. These include an incredible embossed speaker tree print by David Ellis of the Barnstormers and a collaborative print of Doze Green and David Ellis, as well as a few prints by the amazing Dennis McNett.
also, much to our chagrin the Swashbuckler's Ball party, which was scheduled for April 7, has to be rescheduled due to complications with the venue. Please check back for updates on the next event!
New York (March 26, 2007) – The Miss Rockaway Armada will host a benefit art exhibit in New York City on the evening of March 29, 2007 at 6pm. The group is calling on artists and art enthusiasts for their support to send this scrap-raft flotilla down the Mississippi River. Currently docked for the winter at a biker bar in Illinois, this group of artists, performers, dreamers and doers from all over the country will get back on the water in June. The group hopes to raise funds for much needed motors, fuel, nautical equipment and transportation. The auction will feature performances by members of the Armada and art from the river itself including a life-sized story booth decorated by David Ellis & Swoon.
The Armada project was conceived by street artist Swoon, and has been built and organized by a collective of 25 artists, performers and activists from New York, San Francisco, Seattle and Wisconsin. The collective floats down the Mississippi River on a 110 foot raft made of scrap materials. Last year they spent months gathering resources to build this floating home/art project, then floated from Minneapolis to Andalusia, Illinois; all the while stopping to meet people, share skills, perform, swap stories, and otherwise engage in cultural exchange. However, they have many miles to go before they reach New Orleans. The Armada is gearing up to tackle the Big Muddy again and are eager to see who and what they will encounter as they continue the impossible experience that characterizes Miss Rockaway.
The group is creating a mobile cultural center that embodies their search for creative and sustainable ways of living.
For information contact A'yen Tran at ayen@missrockaway.org. Ad Hoc Art is located at 49 Bogart St. in Bushwick, Brooklyn.
The Armada project was conceived by street artist Swoon, and is now being built and organized by a collective of 25 artists, performers and activists from New York, San Francisco and Seattle. The Armada enjoys support from the Holasek-Weir Projects, the Wooster Collective and the Barnstormers art collective, who will donate a larger-than-life sound system sculpture that will float down the river. Send Our Hopes Down the River is presented in collaboration with Emergency Arts and Conjunction Arts, two organizations dedicated to promoting art with a social conscience.
The event will feature a life-sized pontoon raft-stage, a skeptics' raffle, performances by members of the Miss Rockaway Armada crew, and some exciting surprises. Select items can be previewed on woostercollective.com preceding the benefit. Bidding ends promptly at 9pm.
The Miss Rockaway Armada includes members of the Toyshop Collective, Visual Resistance, The Amateurs, The Floating Neutrinos, The Infernal Noise Brigade, The Madagascar Institute and the Rude Mechanical Orchestra. This July they will converge in Minneapolis to construct a flotilla of rafts that will journey down the Mississippi River. The group is creating a mobile cultural center that embodies their search for creative and sustainable ways of living.
For information on this event and The Miss Rockaway Armada, contact A'yen Tran at ayen@missrockaway.org. The Holasek-Weir Projects is located at 547 W. 21st near 11th Ave. in Chelsea.