text:
from django.shortcuts import render_to_response, get_object_or_404, get_list_or_404
from django.http import HttpResponseRedirect

from respite import Views
from respite.decorators import rest_login_required

from app_users.models import UserProfile
from app_projects.models import Project
from app_projects.models_nn import Votes, Collaborations

import collections
from operator import itemgetter

#=========================================================================
# HintViews
#=========================================================================
class HintViews(Views):
    """
    View that manage access to the Hints service

    :supported_formats: html, json
    :template_path: path to html files
    """
    supported_formats = ['html', 'json']
    template_path     = 'app_hints/'

    @rest_login_required
    def hints_projects(self, request):
        """
        Find interesting projects:
            1. create an ordered list of most frequent categories - both from his projects (owned/collaborated) and from his votes - for the user
                - extract the categories among the projects (both owned or in which he collaborate)
                - extract the categories among his votes (those he voted)
                - count the frequencies of each category (duplicates will increase the counter)
                - create an ordered list
            2. for each category keep only those projects not connected with the user (not owned, not collaborated, not already voted)
            3. select most voted projects of each category

        :Decorators: ``rest_login_required``
        :Rest Types: ``GET``
        :URL: ``^(?:$|index.(html|json)$)``
        """
        # Retrieve current user
        username = str(request.user)
        u = get_object_or_404(UserProfile, user__username__iexact=username)
        u_dict = u.wrapper()

        # Calculate an ordered list of most frequent categories (both from his projects and from his votes)
        # most_frequent: [(u'IT', 3), (u'PI', 1), (u'DS', 1)]
        max_num_category = 5
        most_frequent    = self.__most_frequent_categories(u, max_num_category)

        # For each category keep only those projects not connected with the user
        not_connected = map( (lambda category: self.__not_connected_in_category(category, u)), most_frequent )

        # Select most voted projects of each category
        # most_voted:
        #   [[{'num_votes': 1, 'p': <Project>}, {'num_votes': 0, 'p': <Project>}],
        #    [],
        #    [{'num_votes': 0, 'p': <Project>}]]
        max_pj = 10
        most_voted = map( (lambda projects: self.__most_voted(projects, max_pj)), not_connected )

        # Flatten the list and filter out num_votes
        # selected_projects:
        #   [{'num_votes': 1, 'p': <Project>},
        #    {'num_votes': 0, 'p': <Project>},
        #    {'num_votes': 0, 'p': <Project>}]
        # selected_projects:
        #   [<Project>, <Project>, <Project>]
        selected_projects = [item['p'] for sublist in most_voted for item in sublist]

        # Render the page
        return self._render(
            request = request,
            template = 'hints',
            context = {
                'u': u_dict,
                'itself': True,
                'project_list': selected_projects,
            },
            status = 200
        )

    #=========================================================================
    # MOST FREQUENT
    #=========================================================================
    def __most_frequent_categories(self, u, max_num_category):
        """
        Returns an ordered list of categories with the corresponding projects involved
        (owned or voted)
        """
        # Extract the categories among the projects (both owned or in which he collaborate)
        from_projects = []
        from_projects.extend( u.get_projects_own() )
        from_projects.extend( u.get_projects_collaborate() )

        # Extract the categories among his votes (those he voted)
        from_votes = u.get_projects_voted()

        # Group the categories coming from the 2 sets
        all_categories = from_projects + from_votes

        # Count the frequencies of each category (duplicates will increase the counter)
        most_frequent = self.__group_and_count(all_categories, max_num_category)

        # Return an ordered list: [(u'IT', 3), (u'PI', 1), (u'DS', 1)]
        return most_frequent

    def __group_and_count(self, projects_set, limit):
        # Group by category
        categories = [x.category for x in projects_set]
        categories = collections.Counter(categories)    # Counter({u'IT': 2, u'PI': 1, u'DS': 1})

        # Select the n most common categories
        most_frequent = categories.most_common(limit)   # [(u'IT', 2)] with n=1

        return most_frequent

    #=========================================================================
    # FILTER PROJECT NOT CONNECTED WITH THE USER
    #=========================================================================
    def __not_connected_in_category(select, category, u):
        """
        For each category select projects that are not connected with the user u
        (no owner, no collaborator, no voted)
        """
        category_id = category[0]  # category = (u'IT', 2)

        # Gather all projects belonging to the category
        projects_set = Project.objects.filter(category=category_id)

        # Filter
        no_vote = []
        collaborations = Collaborations.objects.filter(userprofile=u)
        votes = Votes.objects.filter(user=u)

        for pj in projects_set:
            # Exclude the ones owned by the user
            if pj.owner != u:
                # Exclude the ones in which the user collaborate and the ones already voted by the user
                if collaborations.filter(project=pj).count() == 0 and votes.filter(project=pj).count() == 0:
                    no_vote.append(pj)

        return no_vote

    #=========================================================================
    # MOST VOTED
    #=========================================================================
    def __most_voted(self, projects_set, limit=10):
        """
        Returns the LIMIT most voted project in the category
        """
        # Get corresponding votes
        # [{'p': <Project>, 'num_votes': 0}, {'p': <Project>, 'num_votes': 1}]
        projects_votes = [{'p':x, 'num_votes':x.get_votes()} for x in projects_set]

        # Order by votes
        most_voted = sorted(projects_votes, key=itemgetter('num_votes'))
        most_voted.reverse()

        # Returns the n most voted
        return most_voted[:limit]

redpajama_set_name: RedPajamaGithub


Vacation Rental Homes, Condos, Cabins, Villas & Beach Houses in Quintana Roo from top rental companies and trusted homeowners.
As the youngest state in Mexico, Quintana Roo is its most popular vacation destination and one of the biggest tourist destinations in the world. Tucked away in the southeastern corner of Mexico and facing the Caribbean Sea, there are endless water front vacation spots from the famous Cancún towards the northern tip of the Yucatan Peninsula to the Capital of Quintana Roo, Chetumal, near the southern end of the state facing the beautiful Corozal Bay.
Whether you're interested in exploring the nightlife or relaxing with the family, vacation rentals are a good way to maximize the value for your money. There are many options for vacation rentals: vacation rental by owner, condo rentals, and house rentals. Some house rentals and condo rentals have swimming pools and hot tubs, and you can choose the size and number of rooms. The best thing about vacation rentals is that they feel like home because they are.
For those interested in outdoor adventures, you can take a ferry to Cozumel Island from Playa Del Carmen and snorkel or scuba dive at the Palancar Coral Reefs. If you haven't had enough of that warm tropical water, try parasailing, kayaking, or fishing.
If you prefer dry land activities such as golfing, there's a myriad of golf courses to choose from with vacation rentals near any golf course you choose.
Once you've worked up an appetite, your options for food are endless and you can find great food on any budget. Whether it's quick authentic Mexican food you're looking for or a four star restaurant, you're sure to find the perfect place not too far from the vacation rentals.
Between the playing and the dining, pass your time at some of Quintana Roo's many shopping areas such as La Isla Shopping Village in Cancún where you can find deals on luxury brands. If you need entertainment, your many options include music, museums, and even a pirate show.
Whether you're traveling with kids or just adults, stay in vacation rentals. You'll find that it makes the best home away from home while you explore the youngest and perhaps, most vibrant state in Mexico.


Learn English with hip-hop and rap.
Don't miss a lesson! Subscribe right now to learn English with hip-hop!
Stephen Mayeux is the founder of ESLhiphop.com. He teaches private English lessons on Skype. He's also a worldwide ambassador of peace, love, and hip-hop for Gallery Languages.


You should first determine whether, for income tax purposes, you are a nonresident alien or a resident alien (read further on page 4 of the publication or Google "substantial presence test" as there are exceptions for individuals traveling from Mexico).
A nonresident alien usually is subject to U.S. income tax only on U.S. source income. Under limited circumstances, certain foreign source income is subject to U.S. tax. See Foreign Income in chapter 4. The general rules for determining U.S. source income that apply to most nonresident aliens are shown in Table 2-1 (on page 13).
U.S. citizens and residents. Income that is not effectively connected is taxed at a flat 30% (or lower treaty) rate.
A taxpayer identification number must be furnished on returns, statements, and other tax-related documents. If you do not have and are not eligible to get an social security number, you must apply for an individual taxpayer identification number (ITIN). An employer identification number (EIN) is required if you are engaged in a trade or business as a sole proprietor and have employees or a qualified retirement plan.
You must furnish a taxpayer identification number if you are: 1) an alien who has income effectively connected with the conduct of a U.S. trade or business at any time during the year, 2) an alien who has a U.S. office or place of business at any time during the year, 3) a nonresident alien spouse treated as a resident, or 4) any other alien who files a tax return, an amended return, or a refund claim (but not information returns).
Have more questions? Feel free to visit LawTrades.
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Her debut 12-inch vinyl EP, 'Never Going Home', is out now on Marathon Artists/Canvasback and collates a brilliant snap-shot of her DIY creations to date. Those that have followed her meteoric ascendance through the hazy blogosphere so far will recognize the title track "Never Going Home" and "It's Not Real", both of which were first premiered in demo-form via her Soundcloud and with trail-blazing champions like Gorilla Versus Bear, Stereogum and The Line of Best Fit, have clocked up over a million listens between them, making her something of internet sensation before she was even signed. The EP also contains three previously unreleased new gems.
Meticulously clad head-to-toe in a seemingly endless supply of dress-up thrift-store costumes, a glance at any of Hazel's social networks reveals a vivid portal into her timeless world, where sun-bleached snaps bely a million possible stories. She's an artist for whom the visuals and music go hand-in-hand. If you like your indie lo-fi and dreamy, it's certainly a good time to be lurking around the Bay Area. Hazel finds herself something of a scene queen amidst the burgeoning jangling happenings around the San Francisco perimeter, which count the likes of her producer Jackson Philips (aka Day Wave) amongst it ranks, as well as kindred spirits like Craft Spells and Hot Flash Heat Wave, to name but a few. Despite the fun being had locally, Hazel describes her music as, "Transportive. It makes you feel like you͛re in a different place". A very literal example is the title track, which charters the bittersweet abandon of her runaway journey from her native Australia to her new adopted home in an near-cinematic narrative.
She's drawn comparisons to everyone from Alvvays and Pains Of Being Pure At Heart to touring partners Ride, while her soaring, hypnotic, vocal arrangements have been likened to everyone from Grimes to Diiv. Having extensively toured the west coast, plans are afoot to take her acclaimed live show further afield, with both a national US tour and full European run on the cards to support her official debut release.


text:
In efforts to address, present, and preserve works in the net art canon, Net Art Anthology emerged as an online exhibition created by Rhizome, a non-profit organization started by pioneer net artist Mark Tribe to memorialize digital art and media. This project aims to retell the history of net art from the 1980s to the 2010s from its perspectives showing the shifts in technological advancements. In addition to Net Art Anthology followed the collaboration with The New Museum, "The Art Happens Here: Net Art's Archival Poetics", which presented a live exhibition reflecting on the process of narrating archives and histories of online artistic practice.
Chapter 1: 1984-1998 Chapter 2: 1999-2004 Chapter 3: 2005-2010 Chapter 4: 2011-2016 Chapter 5: Reprise
The nature of poetics presented on-screen in the history of net culture acts as a performative work that speaks to and/or challenges the social process, material infrastructure, and lived experience happening in and around the world at the time. Net Art Anthology's selected works detail the progressive messages that have emerged from net art culture and subsequently created networks of people that went on to disseminate and critique these messages.
Forward-thinking in approach, this project has made the preservation of these digital artworks accessible to individuals in their own respective ages of obsolescence and technological decay. As technology and the construction of digital platforms rapidly propel forward, Net Art Anthology acts as a library showcasing the pioneering history of web usage as an artistic medium. It exists for those to reference, reflect on, and critique.
Olia Lialina My Boyfriend Came Back From the War (1996)
Starting in 1996 at the height of the net.art movement, which was formed as a parody of avant-garde digital movements, Olia Lialina's work held a strong presence in the scene of countercultural net artworks. Featured in the first chapter of the Anthology, 'MY BOYFRIEND CAME BACK FROM THE WAR', embarks a new cinematic narrative using the components that make up the web. The work brought motifs inspired by cinematic production such as intertitles, stop-motion imagery, and close-up portraits into the interactive format of hypertext narrative. The interactive elements of the work open themselves up to a multilinear user experience, as the navigation items lead to smaller frames that eventually make up the montage of a woman and a soldier who finds out she has had an affair.
"Separate frames are joined together by HTML code and the browser itself are experienced in both space and in time, as a spatial and temporal montage."
(Manovich, 2017)
After expressing the heavy influence of cinema in this work, Lialina coined the term 'net.language' - a phrase in response to net.art that embodied the ideologies behind film-making, using its formal aspects to reflect on how the internet could be experienced. When considering blurring the parallels between film and net art, Lialina thought heavily about camera and post-production techniques: pacing, angles, framing, delayed motion. Net.language also facilitated a space for collective memorialization or the internet's approach to autobiography and retelling stories from the past. According to Lialina, the internet connects an individual user experience to an even broader connection of social history and discourse. This work became a hallmark of the early 90s web, not only in narrative quality but in its visual aesthetics. The bitmapped, pixelated style of this work set a foundation for the early internet aesthetics of the 90s, placing a huge emphasis on fragmented bits of visual information—a style of design we still associate with this era today.
Corpos Informáticos Telepresence 2 (2002)
In the early ages of the web arose research projects that prompted questions about the interactions between the human body and the internet technologies that were still being beta tested. Corpos Informáticos 2002 research study, 'Telepresence 2', conducted experiments into the relationship between the body and communication networks. The experiments emerged a term they coined 'telepresence' in which they argued that, "the [internet communication] network offered its users not an escape from reality, but a new possibility of meeting and communicating with others." This widely became known as a progressive outlook of the internet that predicted the all-too-familiar nature of web platforms we now know as social media, and how people could/would present themselves in a digital space. Completely unscripted and open to interpretation, the experiment compiled hundreds of people's "performances" across the worldwide network using a low-resolution webcam. This experiment encouraged its participants to share a sensory experience in order to blur the lines between self, other, and environment, questioning how our physical bodies are constantly being re-dimensioned by new technologies to create new consciences.
"Images of bodies (spectral) also makes us aware of our own - printed, broadcast, distored, corrected images… one that becomes object of desire, desire of being, desire of becoming, and yet desire of manipulating, of possessing."
(de Medeiros, 2002)
They argued that computer networks were leading to greater developments in the human body that was more concerned with expansions of consciousness, not the transformation of literal flesh. The essence of this project was to illustrate the utopian space of the early web as they witnessed its coming-of-age - that humans were to build relationships with the web that was more than just co-existence, but that became part of an individual and collective cognitive evolution.
Manetas & Ueda Neen (2000-2004)
Among the early net anthology arose an important study done around the art movement 'Neen', founded by Miltos Manetas and Mai Ueda in the early 2000s. The group of people–self-proclaimed "Neensters"–conducted experiments around single-serving websites in early Flash developments. This project was in response to "art, culture, and life at a time when everything began to be distilled through screens." Their aim was to play with the preexisting structures and gray areas surrounding commercial art and the up-and-coming commercial internet, using their background in painting and other analog mediums to create new approaches to web design.
"Our visual landscape is a fresh one - because of the digital revolution, there is a need to create a special environment for the arts - a utopia. A new word could define this environment"
(Manetas, 2002)
The creators of Neen describe these single-serving sites as a miraculous feat of digital nature, playing with the space that floated between contemporary and digital art. Neen pioneered the way to a progressive web in their successful efforts to combine animation, 3D elements, and performance within the power of a browser. This movement went on to inspire web artists in the later years as the increased interest in a browser's artistic potential rose.
Rafaël Rozendaal into time . com + other net artworks (2012)
In 2010, Rafaël Rozendaal created a series of interconnected works using single-serving websites as his artistic medium. Avant-garde, ambitious, and high-vibrational in its time, Rozendaal challenged the browser space as it was transformed into a figurative space, making room for abstrusity presented on the web.
"These works often prompted users to perform tasks that were stripped of their usual meaning or function. Thus, they framed interaction as a gesture or experience in its own right, rather than simply a means to an end."
(As told by Rhizome)
His work, 'Into Time' acts as an interactive piece that uses randomized, pulsing gradients that divide the screen with each click (most similarly in interaction to Olia Lialina's early work as mentioned previously). Rozendaal's approach to interactive artworks acted as means to gamify the user experience, which forms a unique output with each cumulative action.
"Browser-based artwork complicates the idea of an artwork as a unique object to be viewed in a specific time and place, and the value it derives from this condition."
His body of single-serving sites asks questions about art that can be disseminated and passed through time: there is no completed state of the work, no distinct narrative, and a piece that can only form in response to a user's gestures. This work, as well as a lot of single-serving sites and internet artworks after this time, exist to be ubiquitous, adaptable to one's environment, and technological conditions.
Some concluding thoughts
Whether literal or abstract, the messages made from internet art have emerged in social movements reaching an international scale. Some of the later works shown in Chapter 5 'The Reprise' of Net Art Anthology from the mid-2000s to 2018 were made in response to and critique of political phenomenons.
Devin Kenny's 'Untitled/Clefa' was a 2013 performance artwork that circulated memes that re-enacted images of anti-black violence as means of critiquing why news media should not publicize and circulate imagery of black death.
UBERMORGEN's 2006 project, 'Vote-Auction' was an online auction platform created during the 2000 US presidential election that claimed to allow Americans to sell their vote online in order to "bring capitalism and democracy closer together". This mocked the language of governmental institutions and the inconsistencies between political discourse and political practice.
Though these works were a zeitgeist of their time, the relevance of the issues they were responding to still remains and the form of this critique is ubiquitous.
Ode to Net Art
These prominent works have led to, as well as acted as a catalyst for those making web-based art in the lived present and speculative futures, using the tools in their technological environments for self-expression, to reflect on cultural issues, and/or to break societal standards that perpetuate materiality and inaccessibility. Early net art websites have unlocked new anthropology on the potential of the web, and while we innovate upon digital systems in their narrative contexts, the archival of these exhibits remain essential to making radical developments in internet art. As ephemeral as the web seems to be, Net Art Anthology makes the preservation of these works last in their own permanent values and contributions to the web we know today.

redpajama_set_name: RedPajamaCommonCrawl


The final music video from Christina Grimmie, the slain 22-year-old Voice alum who was murdered outside her Orlando concert on June 10, has been released.
Billboard premiered the emotionally-charged video for "Without Him" on September 1, drawing to end the "Ballad of Jessica Blue," a "musical narrative" the singer followed across the release of the series of four music videos from her Side A visual EP, which also includes "Snow White," "Anybody's You" and "Deception."
In the video for the sweeping pop anthem, Grimmie-as-Jessica comes to terms with her feelings for the man she's been in love with. Finding the courage within herself, she also rises above her self-doubt and takes to the stage for a triumphant performance in front of a passionate crowd of concertgoers.
"This life ain't meant to be lived without him," she sings, hauntingly, on the track, which operates as a sort of coda to her career. Lyrically, it's also a fitting send-off for an artist whose fans very likely feel similarly about losing the beloved artist.
Overall, the clip is both a sad reminder of an immense talent taken too soon, as well as a celebration of Grimmie's brief but poignant musical legacy.


The Keystone 30-pint dehumidifier removes up to 30 pints of moisture from the air per day in a room up to 1500 square feet. Features include electronic controls with LED display a 24-hour timer a transparent water level indicator and a full bucket alert with automatic shutoff. Continuous draining option is available using a low-level drain and a standard garden hose (garden hose not included). It also has a removable easy-cleaning dust filter with a clean-filter alert. The auto-restart saves your settings during a power outage and the rolling casters make the unit easy to move to another location.


text:
Tom Parker's widow on 'really special' touching tribute with his ashes
Isabella Parker June 27, 2022
The widow of Tom Parker says she is to have his ashes made into special pieces of jewellery for his children and his mum. Tom, from Bolton and a singer The Wanted, died in March aged 33 after battling an inoperable brain tumour.
As well as his devoted wife Kelsey he leaves behind two-year-old daughter Aurelia and 20-month-old son Bodhi.
Kelsey, 32, now says she is making arrangements to have his ashes incorporated into special one-off jewellery pieces for his children, and Tom's mum Noreen, so that they can always have a piece of him close to their heart.
READ MORE: 'It destroyed my brother – I'm not going to let it destroy me': Sister's plea after tragedy of beloved 22-year-old
"It will be something really special the kids can have and it will be given to them at a certain time, but I don't know when yet," she told OK!
Kelsey also opened up on how she was dealing with her grief, saying that "there are times where I stand there and think, 'Oh my God, is this actually my life? Has this happened to me? I can't believe this has happened to me!"
Kelsey with Tom and their children
(Image: Tom Parker/Instagram)
However, she said she was having to do her best to stay strong for their children as the family come to terms with their tragic loss.
"They have lost their dad so they need me to be as strong as possible for them at the moment," she said.
"I think people are like, 'Wow, I can't believe she is actually dealing with it,' but I don't really have any other choice but to deal with it."
She added that she also has to be careful about the language she uses. Kelsey said it was 'confusing' to say he's "gone to sleep", and that their daughter believes her daddy's "in heaven" but said sometimes she asks if he is coming back and that they have to 'remind her he's gone.'
Kelsey says she is having to stay strong for two-year-old Auerelia (right) and Bodhi (left), who is 20 months
(Image: Kelsey Parker/Instagram)
Kelsey hosted Aurelia's first birthday without her dad over the weekend in another heartbreaking milestone. Aurelia will turn three on Thursday and her mum organised a themed party for the special occasion.
The birthday girl was visited by a selection of Disney princesses – including Elsa, Cinderella and Rapunzel – as the toddler enjoyed her special day the Mirror reports.
The party was attended by some famous faces, with EastEnders star Louisa Lytton taking her young daughter Aura Olivia. The Irish singer-songwriter nominated Ruth Anne also went along to wish Aurelia many happy returns of the day.
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McDonald's slash popular menu item to 99p for one day only – but only for certain customers
ITV Love Island viewers are gushing over member of Ekin-Su's family
ITV Corrie legend Tracie Bennett shocks fans as she reveals painful injury and asks their advice
Gemma Owen finally mentions her dad on ITV Love Island as she's asked to do impression of footballing star
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text:
Q: Pickling error while using pool.map in multiprocessing I have a function which is as follows:
def func1(date1,date2):
 #calculations

if __name__=='__main__':
    pool = Pool(processes=4)
    dates = [[dt.datetime(2016,6,17),dt.datetime(2016,6,23)],[dt.datetime(2016,6,24),dt.datetime(2016,6,30)],[dt.datetime(2016,7,1),dt.datetime(2016,7,7)],[dt.datetime(2016,7,8),dt.datetime(2016,7,14)]]
    result=pool.map(lambda x: func1(x),dates)

I see below error:
    File "Location_Factors_C.py", line 204, in <module>
    result=pool.map(lambda x: func1(x),dates)
  File "/usr/lib/python2.7/multiprocessing/pool.py", line 251, in map
    return self.map_async(func, iterable, chunksize).get()
  File "/usr/lib/python2.7/multiprocessing/pool.py", line 558, in get
    raise self._value
cPickle.PicklingError: Can't pickle <type 'function'>: attribute lookup __builtin__.function failed

A: looks like you need an asterisk
result=pool.map(lambda x: func1(x),dates)

should be:
result=pool.map(lambda x: func1(*x),dates)

You have func1() needing 2 arguments and you are only passing a single list in.

A: Changed my function to accept a list of dates :
def func1(datelist):
   date1 = datelist[0]
   date2 = datelist[1]

if __name__=='__main__':
    pool = Pool(processes=4)
    dates = [[dt.datetime(2016,6,17),dt.datetime(2016,6,23)],[dt.datetime(2016,6,24),dt.datetime(2016,6,30)],[dt.datetime(2016,7,1),dt.datetime(2016,7,7)],[dt.datetime(2016,7,8),dt.datetime(2016,7,14)]]
    result=pool.map(func1,dates)

redpajama_set_name: RedPajamaStackExchange


It would be great to be able to clone tasks, jobs, and stages within a pipeline or between pipelines.
This should be in Go, not Mingle. My bad.
No worries. I had forwarded it to their team, but thanks for following up!
thanks, you are the second person requesting something similar and we've taken a note about it.


text:
Nat Puff (born June 18, 1996), better known by her stage name Left at London (sometimes stylized as /@/), is an American singer-songwriter, producer, comedian, and internet personality from Seattle, Washington. She originally gained fame by posting short comedy sketches on Vine as well as parodies of musicians Frank Ocean, Tyler, the Creator, and Mitski. Since then she has garnered fame as an indie pop musician with several EPs including the Transgender Street Legend trilogy and the song "Revolution Lover". Her debut studio album, T.I.A.P.F.Y.H. was released on June 4, 2021 and her second studio album You Are Not Alone Enough is expected to be released.

Career

2014-2019: Career beginnings, Vine, Demo EPs,The Purple Heart, and  Transgender Street Legend Vol. 1
Puff first began writing songs in fifth grade. The Left at London project originally started as a band, though after the project fell apart Puff kept the previous group's monicker as her stage name, as she was uncomfortable using her legal name. The name Left at London comes from an experience where Puff misread the sign of a local bar called "The Loft at Tandem". She began posting short videos on Vine in 2014. In 2014 and 2015 while still in high school, Puff released three demo EPs, Youth Group Computer, 2 Rowdy 4 Dennys / Give Peace a Break, and Will Write Songs 4 Money, all receiving very limited releases. The EPs were later re-released on Bandcamp on February 5, 2021.

Puff released her first widely released extended play, The Purple Heart on June 18, 2018. That same year Transgender Street Legend, Vol. 1 was released. The later EP featured her breakout single "Revolution Lover" which went on to receive a music video and be featured in an episode of Welcome to Night Vale. In that year, she started gaining online attention thanks to the success of her viral Twitter video titled "How to Make a Frank Ocean Song". In 2019, additional parodies of Tyler, the Creator and Mitski further popularized Left at London, including recognition from both artists.

2019-present: Transgender Street Legend, Vols. 2 and 3, T.I.A.P.F.Y.H., You Are Not Alone Enough, and upcoming third studio album
In December 2019, Puff released the Dylan Brady-produced "6 Feet", the first single from Transgender Street Legend, Vol. 2. The same month she released "Santa's Homophobic", a comedic Christmas song featuring Dominique "SonicFox" McLean and SungWon Cho. "Blacknwhite (Radio Edit)" was released On January 14, 2020, as the lead single to her second studio album (at the time announced as her debut) You Are Not Alone Enough, an album themed around her mental health.

On March 17, 2020, Puff released You Wouldn't Download a Car, a mixtape of her own remixes of various popular songs. On July 20, 2020, she released the two song EP Jenny Durkan, Resign in Disgrace. The EP's title refers to Jenny Durkan, then mayor of Seattle, who [Puff] holds responsible for condoning police violence and causing "the citizens of a historically gay neighborhood to be gassed on the first day of Pride Month." The songs on the EP were also inspired by the establishment of the Capitol Hill Autonomous Zone and the murders of Charleena Lyles and Summer Taylor. The first track "Do You See Us?" appears on Transgender Street Legend, Vol. 2. On July 24, she released the four-track covers EP This One's For the Milfs, featuring covers of songs by Janelle Monae, Billie Eilish, Ginuwine, and Kanye West. A day later Tales From Transgender Street, an album of Left at London covers by other artists, was released and promoted through a virtual concert of the same name. Transgender Street Legend, Vol. 2 was released on September 25, 2020.

On September 29, 2020, Puff announced that she was working on new music part of a new duo called WOW OK. The band released their first track, a remix of "(FOREVER!!!!!!!!!)" by Glass Beach on March 5, 2021. Their debut single, "Holy Moment", was released on April 16, 2021.

On March 26, 2021, Puff announced that she would spend the next two months working on her debut album, T.I.A.P.F.Y.H.,  as part of an artist residency with the City of Shoreline Public Art Program. The release of You Are Not Alone Enough, the album previously announced as her debut, was pushed back. t.i.a.p.f.y.h. was released on June 3, 2021.

In January 2022 Puff shared on Twitter that she aims to finish You Are Not Alone Enough in April 2022 with a "mid-late fall release date" In March 2022 Puff confirmed that Transgender Street Legend, Vol. 3 had been finished and entering the mastering stage. She stated that the EP would be soul and Contemporary R&B inspired. On her Patreon she shared a song from the EP called "My Old Ways" on February 11, 2022. On May 18, 2022 she announced that Transgender Street Legend, Vol. 3 would be released on June 24, 2022, with the lead single "Make You Proud" coming on June 17, 2022.

Puff is already working on her third studio album, already having a conceptual tracklist finalized consisting of 15 tracks.

Personal life
Puff is a lesbian and a non-binary trans woman who uses she/her pronouns. Throughout her life she has struggled with ADHD, PTSD, borderline personality disorder, autism spectrum disorder, and OSDD-1b. She has frequently voiced support of plural systems. She says that her autism is what allows her to be so good at impressions, saying "I'm used to mimicking others in order to seem neurotypical and I've gotten really adept at observing things like speech patterns".

Discography

Albums
Studio albums

Mixtape

Extended plays

Singles
As lead artist

As featured artist

Other appearances
 Vera Much — "Mortifying Ordeal of Being Known" (2020)
 Phixel — "Childish" (2021)
 Knock Monsterr - "In My Walls" (2022)

Songwriting and production credits
 "Dumb Bitch Juice" — Alice Longyu Gao (2019)
 "Pushing Boulders" — Yesterday's Analog Earth Band (2019)
 "How Long?" — Gerard David Millman (2019)
 "Dumb Fast!" — Kaiya Crawford (2020)
 "Where Did I Go?" — Yung Skrrt (2020)
 "Mortifying Idea of Being Known" — Vera Much (2020)
 "Semiautomatic (demo)" — William Crooks (2020)
 "Tired" — Kaiya Crawford (2020)
 "How Do I?" — Kaiya Crawford (2020)
 "From Such a Distance" – Marbits (2021)

As part of WOW OK
Singles
"Holy Moment" (2021)

Remixes
"(FOREVER!!!!!!!!!)" — Glass Beach (2021)

References

1996 births
Living people
American indie pop musicians
Musicians from Seattle
Non-binary musicians
Transgender women musicians
LGBT people from Washington (state)
American LGBT singers
American lesbian musicians
People on the autism spectrum
Transgender non-binary people
Lesbian comedians
People with post-traumatic stress disorder
People with borderline personality disorder
People with dissociative disorder
Vine (service) celebrities
Record producers from Washington (state)
LGBT record producers
Patreon creators
Bedroom pop musicians
Transgender comedians
Non-binary comedians
20th-century LGBT people
21st-century LGBT people
Transgender singers
American LGBT comedians

redpajama_set_name: RedPajamaWikipedia


Organization Visualization Platform provides a set of methods encapsulated by the following visualization components: Enterprise Explorer Visualization, EPCAD Simulation Visualization, and ERMSIM Simulation Visualization. The Enterprise Explorer Visualization methods provide systematic visualization of the organization as a system, or social system such as business organization, companies, enterprises, and governmental agencies/entities. It provides the capacity to visualize and interactively explore the organization as system, its structure or form. ERMSIM Simulation Visualization methods provide the capacity to visualize and explore the changes in organization capacity development caused by pursuing a given strategic intent, set of strategic options, and strategic choices; as well as the potential strategic risks and rewards. EPCAD Simulation Visualization methods provide systematic visualization of operations performance of the organization as system in creating and delivering value to customers. It supports interactive visualization enabling users to explore the system throughput for a given configuration of resources and actors, as well as utilization and load of those resources.
Enterprise Explorer ™is the registered trade-marked name for the organization as system interactive visualization methods offered by Interactive Design Labs. The visualization methods provide an interactive visualization environment that enables users to explore and examine the architecture of a business organization including its form and functions, and the accountability and responsibility of the organizational social systems, and the organization's value proposition.The visualization methods allow users to explore and examine the manifestation of the current organizational strategy and strategy alignment to inform execution decisions. Users can explore and examine an organization's functional structure, reporting structures within each functional areas and departments/teams, organizational internal and "transactional" environments, value propositions (i.e., products and services) as well as organizational direction in terms of its goals and objectives.
This tool supports a visualization of the organization/enterprise as a system. It enables users to interactively visualize the organization by exploring and examining the organization's viewpoint models including hierarchical system decomposition view, social systems network view and organizational structures (form) view, value propositions view, environments view including stakeholders, customers, regulators, suppliers, competitors, community, etc.
The EPCAD Organization Production and Service Delivery Visualization Methods are based on visualization of Process Analytics Simulation Output Visualization Methods. The visualization methods enable interactive visualization of the results/outputs of an organization's service operations and production systems simulation to determine the effective capacity for specified set of products/services to satisfy customer demand, the capacity utilization in terms of process capacity utilization/load as well as resource utilization and loads.
Resource utilization and load factors charts - (Labor utilization efficiency and load factors charts, Equipment utilization efficiency and load factors charts, WIP Inventory Store utilization and load factors charts).
The visualization improves users' insight and understanding of the dynamic behavior of the organization in producing value and potential bottlenecks that constrain effective capacity. This visualization is especially useful when you need to address the "unknowns" in your business and make informed decisions on the impact of changes in demand, quality and safety standards policies, and workforce staffing levels.
Organization's Target Future State/Situation Visualization.
The End State and Effects chart visualization expresses the predicted/forecasted effects of a strategy/strategic option on influencing the behavior of actors in the environments such as stakeholders, and customers, suppliers, and competitors/adversaries. The visualization also includes the predictive analysis of the risks associated with the likelihood of not achieving the desired outcomes and effects from the strategy execution.


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Q: Not able to access Windows Push Notifications Live Services website? Am working on windows push notifications using free Live Services website. But from past 10 days Am not able to access the site and it showing that "This site was temporary and no longer in use".I want to know is the site for free users working? or anyone facing the same problem and Is there any free sites like Live services for Windows 8 Push Notifications?please help me.
Thank you.

A: No, that site is no longer in operation. In order to work with push notifications, you must now have a Windows Store developer account. You'll then be able to register your application and get the necessary SID and client secret to implement push notifications.


text:
Posted on February 14, 2017 by Times Gazette
McClain thwarts Lynchburg-Clay
Tigers defend home court in cross-county rivalry
By David Wright - dwright@civitasmedia.com
Lynchburg-Clay's Eric McLaughlin tries a tall block over Mat Barton at McClain High School Tuesday night.
The McClain Tigers came back from behind in the first quarter, snagged the lead and put up a defensive wall that kept the visiting Lynchburg-Clay Mustangs to nominal gains for the rest of the game, blowing the Mustangs away with a final score of 67-47 in a cross-county rivalry matchup.
Mat Barton led the Tigers with a career high 26 points, and Eric McLaughlin led scoring for the Mustangs with 26 points as well.
The Tigers were 8 for 12 from the freethrow line for 67 percent, while the Mustangs converted 10 out of 14 for 71 percent from the line.
Lynchburg's Eric McLaughlin took no prisoners in the first quarter, shooting two threes in the first two and a half minutes of the game and leading scoring for both teams in the period. The Mustangs made an offensive surge in the first half of the quarter, leading by as many as 5 points. Mat Barton brought the score to a tie at 2:10 with a long three that put 9-9 on the scoreboard. McLaughlin took the lead back for Lynchburg at 9-11 with a quick 2-point shot at the one-minute mark, but a freethrow from Jacob Starkey and a blazing fast 2-pointer from Dalton Mischal in the last three seconds took the McClain boys into the lead at 12-11 for the first quarter. The Tigers kept the lead for the rest of the game.
The second quarter saw McClain put up a strong defense while Mischal and Barton pushed through the Mustangs with several shots. By the half, the Mustangs had improved their lead to 7 points at 29-22. Barton led scoring for both teams in the period, making two 3-point shots and a 2-pointer.
Things continued to go downhill for the Mustangs in the third quarter. The Tigers only allowed their visitors 7 points in the period (all by McLaughlin) while scoring 17 for themselves, improving their lead by 10 points. By the buzzer, the scoreboard favored McClain at 46-29. Barton led scoring for both teams with 9 points in the quarter.
The Tigers secured the win in the fourth quarter with a 21-point gain against Lynchburg's 18 points. Jacob Starkey and McLaughlin led their teams in scoring with 10 points apiece. In the end, the Mustangs just couldn't come back. McClain ran away with a 20-point victory at 67-47.
"It's amazing how when you talk defensively, that carries over," said McClain head coach Jesse Mitchell. "Tonight, we talked and we rebounded… I thought Mat handled the ball well and made some good decisions. He's doing a good job at being a leader vocally, and that goes a long way. He's been really talking to Dalton and helping him, so Dalton made some plays and slowed down a little bit. Good for him."
"We didn't guard well," said Lynchburg-Clay head coach Matt Carson. "I thought there were times when we didn't really execute what we wanted to defensively. We played hard in spurts, we just need to make better decisions at times… Credit to [McClain], they came out and defended their home court."
McClain — 12 17 17 21 — 67
Lynchburg-Clay — 11 11 7 18 — 47
MHS: Duncan 1/2-1; O'Connor 1-2/2-4; Starkey 10-1/2-21; Barton 4(4)-6/6-26; Mischal 5(1)-0/2-13; Rickman 1-2
Totals: 21(5)-10/14-67
LCHS: McLaughlin 2(6)-4/6-26; Hilt (3)-9; Croy 1/2-1; Lindsay (1)-3; Lampkin (1)-3/4-6; Stroop 1-2
Totals: 3(11)-8/12-47
http://aimmedianetwork.com/wp-content/uploads/sites/33/2017/02/web1_cropDSC_0300.jpgLynchburg-Clay's Eric McLaughlin tries a tall block over Mat Barton at McClain High School Tuesday night.
http://aimmedianetwork.com/wp-content/uploads/sites/33/2017/02/web1_cropDSC_0288.jpg
dwright@civitasmedia.com
Hi! A visitor to our site felt the following article might be of interest to you: McClain thwarts Lynchburg-Clay. Here is a link to that story: http://www.timesgazette.com/sports/13178/mcclain-thwarts-lynchburg-clay


text:
class gary_rand{
  public:
    static inline int rand_16()
     {
      return rand()>>16;
     }
};

using namespace std;

extern Button button;
extern Score score;
extern ShipYard shipYard;

class PlayingField;
class Stage
 {friend class Button;
  friend class ShipYard;
  friend class PlayingField;

  public:

    Stage();
    ~Stage();

    inline Stage& DrawScore();
    inline Stage& DrawShipYard();
    inline Stage& DrawPlayingField();
    inline Stage& Refresh();

    Display* display;
    Window window;

    Pixmap icon;

    int shipYardWidth,
        shipYardHeight,
        autoRepeatState;

    int buttonX,
        buttonY;

    XFontStruct* buttonInfo,
               * errorInfo;

    static XColor windowBg,
                  shipYardBg,
                  buttonFg,
                  buttonBg;

  private:

    XFontStruct* titleInfo,
               * hiScoreInfo,
               * scoreInfo;

    GC titleGC,
       hiScoreGC,
       scoreGC,
       defaultGC;

    int windowWidth,
        windowHeight,
        titleX,
        titleY,
        hiScoreUserX,
        hiScoreUserY,
        hiScoreX,
        hiScoreY,
        scoreX,
        scoreY,
        shipYardX,
        shipYardY,
        playAreaX,
        playAreaY;

    struct sigaction action;

    static void terminate(int i);
 };

extern Stage stage;

#include"playingField.H"
#include"../objects/ships/shipGroup.H"
extern PlayingField playingField;

XColor Stage::windowBg={0,
                        46260,//180
                        46260,//180
                        46260,//180
                        DoRed|DoGreen|DoBlue},
       Stage::shipYardBg={0,
                          28527,//111
                          28527,//111
                          28527,//111
                          DoRed|DoGreen|DoBlue},
       Stage::buttonFg={0,
                        0,//0
                        0,//0
                        0,//0
                        DoRed|DoGreen|DoBlue},
       Stage::buttonBg={0,
                        46260,//180
                        46260,//180
                        46260,//180
                        DoRed|DoGreen|DoBlue};

inline Stage::Stage()
 {cout<<"XAsteroids is a Unix version of the original Atari Asteroids video game.  It features color, arbitrarily shaped drawables with interior decor, hidden line elimination, accurate collision detection, and dynamically selectable options including gravitation.  Game initialization requires a minute or two so please be patient.  If XAsteroids abnormally terminates the keyboard may no longer auto-repeat.  Auto-repeat can be reactivated by executing AutoRepeatOn."<<endl<<endl;
  if (!(display=XOpenDisplay(NULL)))
   {cout<<"Could not open display."<<endl;
    exit(1);
   }
  titleInfo=XLoadQueryFont(display,"white_shadow-48");
  buttonInfo=XLoadQueryFont(display,"-schumacher-clean-bold-r-normal--10-100-75-75-c-60-iso8859-1");
  hiScoreInfo=XLoadQueryFont(display,"-ibm-ergonomic-bold-r-normal--20-140-100-100-c-120-iso8859-9");
  scoreInfo=XLoadQueryFont(display,"-urw-courier-bold-r-normal--40-300-100-100-m-240-iso8859-9");
  errorInfo=XLoadQueryFont(display,"-adobe-helvetica-bold-r-normal--14-100-100-100-p-82-iso8859-1");
  if (!titleInfo||!buttonInfo||!hiScoreInfo||!scoreInfo||!errorInfo)
   {cout<<"Could not find font white_shadow-48, -schumacher-clean-bold-r-normal--10-100-75-75-c-60-iso8859-1, -ibm-ergonomic-bold-r-normal--20-140-100-100-c-120-iso8859-9, -urw-courier-bold-r-normal--40-300-100-100-m-240-iso8859-9, and/or -adobe-helvetica-bold-r-normal--14-100-100-100-p-82-iso8859-1.  Please run XAstSetup and retry XAsteroids."<<endl;
    exit(1);
   }
  int titleWidth=XTextWidth(titleInfo,"Asteroids",strlen("Asteroids"))
                 +2*titleInfo->max_bounds.width,
      hiScoreWidth=10*hiScoreInfo->max_bounds.width,
      scoreWidth=10*scoreInfo->max_bounds.width,
      headerWidth=titleWidth+2*(hiScoreWidth>scoreWidth
                                ? hiScoreWidth
                                : scoreWidth),
      headerHeight;
  windowWidth=(headerWidth>PlayingField::playArea.Width()
               ? headerWidth
               : PlayingField::playArea.Width())+30;
  headerHeight=2*(hiScoreInfo->max_bounds.ascent+hiScoreInfo->max_bounds.descent)+4;
  if (titleInfo->max_bounds.ascent+titleInfo->max_bounds.descent>headerHeight)
    headerHeight=titleInfo->max_bounds.ascent+titleInfo->max_bounds.descent;
  if (scoreInfo->max_bounds.ascent+scoreInfo->max_bounds.descent>headerHeight)
    headerHeight=scoreInfo->max_bounds.ascent+scoreInfo->max_bounds.descent;
  windowHeight=headerHeight+2*shipGroup.maxIconHeight+PlayingField::playArea.Height()+60;
  int temp=(windowWidth-titleWidth)/2;
  titleX=temp+titleInfo->max_bounds.width-titleInfo->max_bounds.lbearing;
  titleY=titleInfo->max_bounds.ascent+15;
  buttonX=buttonY=2;
  hiScoreUserX=(temp-hiScoreWidth)/2-hiScoreInfo->max_bounds.lbearing;
  hiScoreUserY=hiScoreInfo->max_bounds.ascent+15;
  hiScoreX=hiScoreUserX;
  hiScoreY=hiScoreUserY+hiScoreInfo->max_bounds.ascent+hiScoreInfo->max_bounds.descent+4;
  scoreX=titleX+titleWidth
         -titleInfo->max_bounds.width+titleInfo->max_bounds.lbearing
         +(temp-scoreWidth)/2-scoreInfo->max_bounds.lbearing;
  scoreY=scoreInfo->max_bounds.ascent+15;
  shipYardX=15;
  shipYardY=headerHeight+25;
  shipYardWidth=windowWidth-30;
  shipYardHeight=2*shipGroup.maxIconHeight+10;
  playAreaX=(windowWidth-PlayingField::playArea.Width())/2;
  playAreaY=headerHeight+shipYardHeight+35;
  int screen=DefaultScreen(display),
      background=XAllocColor(display,DefaultColormap(display,screen),&windowBg)
                ? windowBg.pixel
                : WhitePixel(display,screen);
  window=XCreateSimpleWindow(display,DefaultRootWindow(display),
                             (DisplayWidth(display,screen)-windowWidth)/2,
                             (DisplayHeight(display,screen)-windowHeight)/2,
                             windowWidth,windowHeight,
                             5, WhitePixel(display,screen),
                             background);
  icon=XCreateBitmapFromData(display,window,
                              (const char * const)starDestroyerIcon_bits,
                             starDestroyerIcon_width,starDestroyerIcon_height);
  titleGC=XCreateGC(display,window,NULL,0);
  XSetGraphicsExposures(display,titleGC,FALSE);
  XSetFont(display,titleGC,titleInfo->fid);
  XSetForeground(display,titleGC,BlackPixel(display,screen));
  XSetBackground(display,titleGC,background);
  hiScoreGC=XCreateGC(display,window,NULL,0);
  XSetGraphicsExposures(display,hiScoreGC,FALSE);
  XSetFont(display,hiScoreGC,hiScoreInfo->fid);
  XSetForeground(display,hiScoreGC,BlackPixel(display,screen));
  XSetBackground(display,hiScoreGC,background);
  scoreGC=XCreateGC(display,window,NULL,0);
  XSetGraphicsExposures(display,scoreGC,FALSE);
  XSetFont(display,scoreGC,scoreInfo->fid);
  XSetForeground(display,scoreGC,BlackPixel(display,screen));
  XSetBackground(display,scoreGC,background);
  defaultGC=XCreateGC(display,window,NULL,0);
  XSetGraphicsExposures(display,defaultGC,FALSE);
  XKeyboardState KBState;
  XGetKeyboardControl(display,&KBState);
  autoRepeatState=KBState.global_auto_repeat;
  action.sa_handler=Stage::terminate;
  sigemptyset(&action.sa_mask);
  action.sa_flags=0;
  sigaction(SIGINT,&action,NULL);
  sigaction(SIGQUIT,&action,NULL);
  sigaction(SIGABRT,&action,NULL);
  sigaction(SIGTERM,&action,NULL);
  time_t t=time(NULL);
  srand(t);
 }

inline Stage::~Stage()
 {if (autoRepeatState==AutoRepeatModeOn)
    XAutoRepeatOn(display);
  XFreeGC(display,defaultGC);
  XFreeGC(display,scoreGC);
  XFreeGC(display,hiScoreGC);
  XFreeGC(display,titleGC);
  XFreePixmap(display,icon);
  XDestroyWindow(display,window);
  XFreeFont(display,scoreInfo);
  XFreeFont(display,hiScoreInfo);
  XFreeFont(display,buttonInfo);
  XFreeFont(display,titleInfo);
  XCloseDisplay(display);
 }

inline Stage& Stage::DrawScore()
 {char str[10];
  ostrstream strout(str,sizeof(str)/sizeof(char));
  if (score.CurrentScore()>=score.TopTenScore(0))
   {strout<<setw(sizeof(str)/sizeof(char))<<score.CurrentName();
    XDrawImageString(display,window,hiScoreGC,
                     hiScoreUserX,hiScoreUserY,str,sizeof(str)/sizeof(char));
    strout.seekp(0);
    strout<<setw(sizeof(str)/sizeof(char))<<score.CurrentScore();
    XDrawImageString(display,window,hiScoreGC,
                     hiScoreX,hiScoreY,str,sizeof(str)/sizeof(char));
   }
  else
    strout<<setw(sizeof(str)/sizeof(char))<<score.CurrentScore();
  XDrawImageString(display,window,scoreGC,
                   scoreX,scoreY,str,sizeof(str)/sizeof(char));
  return *this;
 }

inline Stage& Stage::DrawShipYard()
 {XCopyArea(display,
            shipYard.GetYard(),
            window,
            defaultGC,
            0,0,
            shipYardWidth,shipYardHeight,
            shipYardX,shipYardY);
  return *this;
 }

inline Stage& Stage::DrawPlayingField()
 {XCopyArea(display,
            playingField.pixmap,
            window,
            defaultGC,
	    PlayingField::playArea.NorthWestCorner().x,PlayingField::playArea.NorthWestCorner().y,
	    PlayingField::playArea.Width(),PlayingField::playArea.Height(),
            playAreaX,playAreaY);
  return *this;
 }

inline Stage& Stage::Refresh()
 {XDrawString(display,window,titleGC,
              titleX,titleY,"Asteroids",strlen("Asteroids"));
  char str[10];
  ostrstream strout(str,sizeof(str)/sizeof(char));
  strout<<setw(sizeof(str)/sizeof(char))<<score.TopTenName(0);
  XDrawImageString(display,window,hiScoreGC,
                   hiScoreUserX,hiScoreUserY,str,sizeof(str)/sizeof(char));
  strout.seekp(0);
  strout<<setw(sizeof(str)/sizeof(char))<<score.TopTenScore(0);
  XDrawImageString(display,window,hiScoreGC,
                   hiScoreX,hiScoreY,str,sizeof(str)/sizeof(char));
  button.DrawButton();
  DrawScore().DrawShipYard().DrawPlayingField();
  return *this;
 }

void Stage::terminate(int i)
 {if (stage.autoRepeatState==AutoRepeatModeOn)
    XAutoRepeatOn(stage.display);
  struct sigaction action;
  action.sa_handler=SIG_DFL;
  sigemptyset(&action.sa_mask);
  action.sa_flags=0;
  sigaction(i,&action,NULL);
  raise(i);
 }

#endif


Email Marketing – The Money is in The List!
Yes, I am sure that all of you have heard that The Money is in The List. I am here to tell you that this is very true. When you build a long list of quality email marketing buyers you can make tons of money just like the big marketers do.
If the Big Boys want to make money, they create a good product or find one that they can be an affiliate marketer for, then establish an Email Marketing Campaign and mail to their list.
Email Marketing sounds very simple and it really is. It does however take some consistent work to build yourself or your businesses credibility online. This can be done by building a blogging website, membership website, a forum website, or a combination of all of them. You Must Provide valuable content and products to your website visitors at all times. It is also good to be personable with your visitors by letting them know a bit about yourself.
How do your readers and clients perceive you? Your online persona is worth more than you realize. I've been building websites and had numerous websites with a wide variety of niches. Now that I know better, I greatly improved my presence online. This is how I did it…..
First choose an area of expertise or niche that you are passionate about. If you love something, you'll spend more time concerning everything you want to do online. For instance, if you like Internet Marketing find one area of it that you like and concentrate on the focus area. This is where I was going wrong….too many irons in the fire means that you are not providing as good of product as they need to be.
Narrow your target. For example, Email Marketing. Start writing about it in your blog, help people in various marketing forums, comment in marketing blogs. Get your avatar, name and helpfulness known far and wide. Write articles about email marketing and get published. Create simple yet helpful eBooks to give away everywhere and any way you can and make sure you get an email opt-in to build your list. Examples are: offering a book or books for an opt-in to your site; offer your book through Joint Venture Give-A-Way programs.
By the way JV Give-A-Way Tactics is the easiest way to build your list, so check it out for sure. Jerry offers some great bonus tools when you join too. All you need is one product and then list it in the Give A Way's.
The bottom line in anything on the internet is that the better known you are and the more you help people with your expertise the more you can grow your list and the more money you can make online. It just takes consistent time and effort.
The first tool that you need to capture names and emails of future buyers for your email marketing campaigns is an autoresponder. Many marketers make the mistake of not investing in this tool right away because of the cost or they think that they are not big enough. This is a big mistake. You need to capture your list from the very beginning because most autoresponder platforms will not let you import your existing list. So get the best autoresponder you can right from the start.
Email Marketing can not be done on any scale without and autoresponder. The best autoresponder on the internet is AWeber. Every marketer big and small that I know use AWeber. You can build an unlimited amount of lists, create opt-in boxes that can be in-line, light boxes or pop-ups with many formats to choose from. You can create Thank You emails, individual emails, series of emails, newsletters and broadcast emails, again with a bunch of cool templates to choose from.
Each email you send out will have a full complement of status, such as, how many emails were sent, how many emails were bounced for bad email addresses, how many people opened the email, how many clicked a link within the email, how many people purchased from the link.
While I have a much smaller list than the Big Boys, I still get in the game promoting products that are useful and worth spending the money on. Recently I've been promoting Easy Video Suite (EVS) created by Josh Bartlett. He created Easy Video Player and Easy video Player 2.0 also. These were really terrific products and almost all of the big boys use them. With the release of Easy Video Suite all the big boys were all on board promoting EVS.
Josh had sale numbers that were HUGE. The reason is that he has a big list and he has many affiliate marketers that mail their own lists. Besides that, each of the big marketers that emailed their clients have astronomical lists.
The point is that if you build a good client list that to make money all you do is email your list with a really good product for sale. You make even more money by making your own Affiliate Platform program and have people market your products for a small percentage of profit. This way you mail to your lists and they mail to there lists. The people from there lists are added to your list when they but the product. So every time you and your affiliate team sells a product, your list grows bigger and bigger. Plus these are people on your list that actually buy products. Learn more about Affiliate Marketing.


I'm In L.A. Know anyone that needs a sublet or even maybe even a roommate for several months?
Hey e'rybody! Hope you're well!!
Currently in LA for a bit of work and learnin'. Do you know anyone (or anyone that knows anyone) that needs a sublet or maybe even a roommate for several months? I'm clean; feed and walk myself; am potty trained; and rarely bark.
And AirBNB and/or hotels is great and all, but slowly bleeding me dry. Been checking CL, WestSide Rentals, and a few others, but do let me know if you know any other services or peoples (for month-to-month or sublet). Thanks a million!!


text:
Q: ¿Etiquetas especiales de ASPX o HTML? Estoy empezando diseñar sitios web con asp.net en c#, entonces desde el toolbox tengo los componentes gráficos como si estuviese diseñando una app de escritorio. Al arrastrar un boton, el código me muestra:
<asp:Button ID="Button1" runat="server" Text="Button" />

También puedo poner botones con una etiqueta de html:
<button></button>

Existe alguna diferencia? cual me recomendarían usar?
Gracias.

A: El botón de ASP <asp:Button> es un control del servidor que no sólo está disponible en el lado del cliente, sino al que puedes acceder desde el lado del servidor usando su ID. En cambio un <button> es un control HTML que muestra un botón cuyo ámbito está limitado al lado del cliente.
Otra diferencia es que <asp:Button> hace que se mande el formulario con un POST cada vez que se hace click en él (postback), algo que no ocurre cuando se usa <button>.
La recomendación sobre cuál de ellos usar dependerá de para qué quieras usarlos. Si quieres el botón sólo para hacer algún tipo de validación/lógica en el lado del cliente, usa <button>; si quieres el botón para hacer alguna operación en el lado del servidor, usa <asp:Button>.

A: La diferencia es que el <asp:Button> es un Web Server Control
Controles de servidor ASP.NET
en cambio si <button> o <input type="button"> es solo html
Si defines <button runat="server"> seria un Html Control, en este caso seria un HtmlButton
Controles HTML para páginas Web ASP.NET
Los web control y html control tienen eventos hacia el servidor, mientas que los html no los tienen, para esto seguro debas usar javascript o jquery enviando los datos por ajax con formato json
Si vas a programar usando asp.net usa los Web Server Control o sea <asp:Button> ya que contaras con los eventos.
Ahora si la idea es ir a asp.net MVC en ese caso si usarias controles de html.


Public Speaking Essay Examples. 28 total results. An Analysis of the Public Speaking and the Practice of Speech. 459 words. 1 page. The Use of Political Language in the Checkers Speech of Richard Nixon. 1,794 words. 4 pages. My Journey to a Writing Career. 917 words. 2 pages. A Study of The Different Elements Affecting Good Communication. 1,383 words. 3 pages. An Analysis of the �... One of the most common public speaking shortcomings, in fact, is the lack of a memorable closing that drives home your message. For audience members, this can feel like being on the receiving end of a shaggy dog story. Or to put it another way: a speech without a conclusion leaves listeners hungry for a last satisfying mouthful.
12/09/2018�� Public speaking is something many people fear, and when you must speak persuasively, the pressure is even greater. Many people aren't sure where to start when they need to write a speech�... Great stuff Davina � you sound like a pro to me. Doing something like that to �take the focus off my nerves� is always a good idea. I would recommend that anyone who wants to make a start in Public Speaking should join a Speakers Club.
Starting a speech is important. If you can�t start your speech in the best way you can, you lose the audience�s attention from the beginning.
Great stuff Davina � you sound like a pro to me. Doing something like that to �take the focus off my nerves� is always a good idea. I would recommend that anyone who wants to make a start in Public Speaking should join a Speakers Club.


text:
USA: CGW Southeast Partners IV, L.P. and JI Acquisition Corp. Completes Tender Offer for Johnston Industries, Inc.
CGW Southeast Partners IV, L.P. today announced that its wholly owned subsidiary, JI Acquisition Corp., has completed its $3.00 per share cash tender offer for all outstanding shares of Johnston Industries, Inc. (NYSE: JII). The offer expired, as scheduled, at midnight, New York City time, on Friday, May 5, 2000. As of the termination of the offer, based on a preliminary count from the depositary for the offer, 9,002,189 shares of Johnston Industries' common stock had been tendered and accepted for payment, including 73,581 tendered pursuant to notices of guaranteed delivery. The closing of the transaction and payment for the tendered shares is expected to take place on May 10, 2000. The tendered shares and the shares of Johnston Industries' common stock that JI Acquisition will purchase at the closing, represent 91.2% of Johnston Industries' outstanding common stock. JI Acquisition and Johnston Industries will proceed to complete a merger pursuant to which JI Acquisition will acquire the remaining shares of Johnston Industries for $3.00 per share in cash. The merger is expected to be completed on May 10, 2000. CGW is a Delaware limited partnership organized to make strategic investments in distribution and manufacturing businesses throughout the United States. CGW is headquartered in Atlanta, Georgia.
CGW Southeast Partners IV, L.P. today announced that its wholly owned subsidiary, JI Acquisition Corp., has completed its $3.00 per share cash tender offer for all outstanding shares of Johnston Industries, Inc. (NYSE: JII). The offer expired, as scheduled, at midnight, New York City time, on Friday, May 5, 2000. As of the termination of the offer, based on a preliminary count from the depositary for the offer, 9,002,189 shares of Johnston Industries' common stock had been tendered and accepted for payment, including 73,581 tendered pursuant to notices of guaranteed delivery. The closing of the transaction and payment for the tendered shares is expected to take place on May 10, 2000. The tendered shares and the shares of Johnston Industries' common stock that JI Acquisition will purchase at the closing, represent 91.2% of Johnston Industries' outstanding common stock. JI Acquisition and Johnston Industries will proceed to complete a merger pursuant to which JI Acquisition will acquire the remaining shares of Johnston Industries for $3.00 per share in cash. The merger is expected to be completed on May 10, 2000. CGW is a Delaware limited partnership organized to make strategic investments in distribution and manufacturing businesses throughout the United States. CGW is headquartered in Atlanta, Georgia.
Global Mergers and Acquisitions (M&A) Deals in 2021 - Top Themes in the Apparel Sector - Thematic Research
Apparel Industry Mergers and Acquisitions Deals by Top Themes in Q1 2022 - Thematic Research


text:
As I Lay Dying signs with Metal Blade
Sun, March 2, 2003 1:08 PM PT5,867 views
As has been rumored for some time now, California hardcore/metal outfit As I Lay Dying has officially signed with Metal Blade Records. According to the band, "We are excited to be working with them and have received a surprising amount of support." The group is currently recording a new full-length entitled "Frail Words Collapse." The album will consist of twelve tracks and should hit stores in June. A tour is now being booked for early-Summer with The Death Campaign, with several other tours also in the works.
Tags: Metal Blade RecordsAs I Lay Dying
As I Lay Dying 'classic' albums set for re-issue
As I Lay Dying members announce new band Wovenwar
As I Lay Dying reveal new album title, street date
As I Lay Dying working on new music
Vio-lence premiere first new song in 29 years, to release 'Let The World Burn' EP
Comment on this news Search news Latest headlines Submit news


Daily lunch options include: a daily special, fresh fruit bowls, salads, sandwiches, yogurts, desserts, milk, flavored drinks, and more.
Hot Soups and Chili are served seasonly.
Food items may be purchased by students using a credit card, debit card, or a prepaid card. You can purchase prepaid, non-chargeable cards for your student/s in the amounts of $25, $50 & $100 in the front office using cash, check, or card (card charges a convenience fee). Another option is to purchase a rechargeable card at your local grocier or super center and to reload it at your convenience.
To plan accordingly for charging, please be aware that item pricing for individual items ranges from 50 cents up to $4.00.
Students and parents will be notified when balances on their cards are low or insufficient. In the event that students cannot produce sufficient funds, they will be allowed TWO courtesy lunches per semester (consisting of a PB&J and chips).
Food items can also be purchased with cash or card from our variety of vending machines. Candy, soda, juices & energy drinks can be purchased from vending machines only.


Under is 4-0 in Broncos last 4 games as a home favorite.
Over is 5-0 in Broncos last 5 games as a favorite of 7.0-12.5.
Over is 4-0 in Broncos last 4 games as a home favorite of 7.0-12.5.
Under is 10-1-1 in Lions last 12 games as a road underdog.
Under is 5-0-1 in Lions last 6 games as a road underdog of 0.5-6.5.


text:
John Littlewood (nascido em 1931 - falecido em 2009) foi um jogador de xadrez britânico, campeão em muitos torneios da categoria. Seu jogo mais famoso foi no qual que perdeu de encontro ao campeão Mikhail Botvinnik no Campeonato mundial de xadrez de Hastings, em 1961/1962. Littlewood lançou um ataque forte que Botvinnik pudesse defender somente por meio de um finesse tático. Botvinnik escolheu incluir o jogo em seus melhores jogos autobiográficos, em 1947-1970.

Ligações externas
 John Littlewood contra Mikhail Botvinnik no Congress 1961 do Chess de Hastings
 Estatisticas em ChessWorld.net

Littlewood, John


COME FUNZIONA L'APPLICAZIONE Per eseguire la scansione di un codice QR o codice a barre è sufficiente aprire l'App, puntare la fotocamera verso il codice . QR Code Reader è il lettore di codici QR più veloce e facile da usare in circolazione.
Allows to read a QR Code with you WebCam using HTMLWebRTC API. So now that you've been seeing these QR codes all over the place, and have just been learning all about how awesome QR codes are, are you excited to start . Scan accurately and fast with QR Code scanner.
QR Code Scanner easy to use, free and ad-free. Read QR Codes, FlashCodes and Datamatrix easily with Unitag's mobile application! QR codes can be used for a lot of things — website links, coupons, tickets, and contact information, just to name a few — but using them with an . That's probably because it's not every day (or every month) you scan a QR code spotted . Just launch the app and point your camera at the code; History logs and displays of all of your past scans in a list; Customize how Scan . QRCode Scanner – a simple, fast and useful progressive web application. QR codes are a great way to quickly access information, enter competitions, setup devices, and a whole host of other useful shortcuts. Passa a QR Code Scan – The QR Scanner's main function is scanning QR Codes.
Scanning any QR Code records the Pokémon it describes as seen in . Note: You can also view your QR code and scan other's QR codes from the Connect tab in the Twitter for iOS app. Simply tap the Connect icon to get started. Firefox for Android has a QR code reader in the URL bar to allow a user to load a webpage using its QR code.
This article will show you how to . Several Nest products have a QR code for quick setup.


OK, so in the Review tab, I pressed the Hide Comments button, and all my yellow highlights disappeared as expected. But lo and behold, there is NO button in that vicinity to show them again. How can this be? Please say there is a way to restore them, so that I wont have to revert to Acrobat. Thank you.
Hi @Bruce R, you can simply press the button again. The 'Hide Comments' button is a toggle switch (on / off).
Toggle works now, after restarting my computer, closing and reopening the program and the file. Must have been a glitch. Thanks for the help!


Popular Twitter client Tweetbot posted an update for its Mac application this weekend, bringing the app to version 1.4.1. The update looks fairly minor on the surface, but it includes a handful of serious bug fixes.
The update serves as a nice iterative follow-up to last month's release, which brought about a number of improvements including smoother scrolling, reply support for push notifications and more for folks on OS X Mavericks.
Like its iOS counterpart, Tweetbot is widely considered to be the best Twitter client for the Mac. It's not for everyone, as the price tag may feel a bit steep, but if you're interested you can find it in the Mac App Store for $20.


text:
Baker And Raimondo Considering Express Commuter Rail
Published Wed Aug 28 2019 11:18:21 GMT+0000 (UTC)
by Zeninjor Enwemeka
We all know traffic can be nightmare in Greater Boston. A recent congestion study even found Massachusetts is at a "tipping point" as congestion has "gone from bad to worse."
And it's an issue plaguing other states too. Hoping to share ideas on ways to beat traffic congestion, several members of the National Governors Association gathered for a summit in Boston Tuesday.
The summit was hosted by Gov. Charlie Baker and included Rhode Island Gov. Gina Raimondo, New Hampshire Gov. Chris Sununu, and Maryland Gov. Larry Hogan. The governors were also joined by policy advisors and transportation experts. Here are a few highlights:
Electrified Commuter Trains & Express Service From Boston To Providence
Baker and Raimondo said they are discussing ways to expand commuter rail service between their state capitals.
"We share many companies across borders, many people on both sides cross the border every day, so it's something we have to work on and look at," Raimondo said.
Raimondo says Amtrak is a good option, but it is expensive for commuters who need rail service twice a day.
"Number one is figuring out how we would run an express train," Baker said.
He also envisions electric trains on the commuter line. (The MBTA currently runs diesel locomotives.)
Massachusetts Transportation Secretary Stephanie Pollack said the state is talking with Amtrak about leasing "an electric or what's called a dual-fuel locomotive that can run on either diesel or electric" to test it out.
Talks with Amtrak are ongoing, and there's no time frame for when such a deal would happen, according to Pollack.
Baker and Raimondo said they also need to work with Amtrak to figure out scheduling for express service, since both the commuter rail and Amtrak use the same track.
A 'Serious Inquiry' Into Managed Lanes In Mass.
Baker is all in on exploring managed lanes — express highway lanes that drivers pay a toll to access.
These lanes are sometimes given the nickname "Lexus Lanes," which reflects criticism that the lanes are only accessible to drivers who can afford them. Managed lanes can also require more highway lanes be built, which some detractors say will only attract more cars.
Baker said his administration will do a "serious inquiry" into implementing managed lanes — a recommendation in the congestion study released earlier this month. The administration will examine how the lanes would work and where they could go, according to Baker.
"We thought that was the fairest and probably the quickest way for us to put a congestion mechanism in place in Greater Boston," Baker said. "And the fact that several people have done very similar things in equally congested metro areas is particularly interesting to me."
One place that already has these lanes is Maryland. That state's governor, Larry Hogan, said at the summit that the lanes have improved congestion.
"And we've found ways to do it within existing right of ways," Hogan said. "There's innovative techniques where you can actually do some of these lanes without widening. You can actually add lanes on the existing spaces in many cases."
A 'More Aggressive' Approach To Buses
Collaboration was a constant talking point throughout the summit: Collaboration between states, and collaboration between the state, cities and towns to address transportation challenges.
Baker said he's focused on bolstering the relationship between state and local governments to look at traffic signal technology, better manage intersections and pursue "a much more aggressive approach to designated bus lanes."
Bus-only lanes have already sped up some commutes around Greater Boston.
"They have been enormously successful," Baker said. "And we're going to look forward to seeing if we can't do a lot more of that, because that has also proven to be a very effective way to move people."
This story comes from the New England News Collaborative, eight public media companies, including The Public's Radio, coming together to tell the story of a changing region, with support from the Corporation for Public Broadcasting.


The SE McCurtain County Campus (SEMCC) was recently awarded a $10,000 grant from Weyerhaeuser – Idabel Lumber Mill. The grant will fund much needed upgrades to the auditorium audio and visual equipment.
The grant money will be used for purchasing the equipment, parts, and supplies for the project.
Pictured from left to right are Aaron Smith (Weyerhaeuser Giving Fund committee member), Sandra Gandara (Weyerhaeuser Giving Fund committee member), Kendra Gross (SEMCC Director) and Ted Fischer (Weyerhaeuser Giving Fund committee member).


text:
Introduction to the Coursebook
I. Module 1: Introduction
Ch. 1: Background Facts and Figures
Ch. 2: A Brief History of Substance Use and Policy Responses in the U.S.
Ch. 3: Considering the Language We Use
Ch. 4: Summary
Module 1: Key Terms
Module 1: References and Image Credits
II. Module 2: Key Definitions, Diagnostic Criteria, Classification of Substances, & Trending Topics
Ch. 1: Key Definitions & Diagnostic Criteria
Ch. 2: Classification Systems for Different Types of Substances
Ch. 3: Trending Topics
III. Module 3: Biological Models of Substance Misuse, Pharmacokinetics & Psychopharmacology Principles
Ch. 1: Genetic Influences
Ch. 2: Neurobiology and Substance Use
Ch. 3: Basic Pharmacokinetic and Psychopharmacology Principles
IV. Module 4: Psychological Models of Substance Misuse
Ch. 1: Cognitive and Learning Theories
Ch. 2: Developmental Theories
Ch. 3: Theories of the Psyche
Ch. 4: Expectancies & Cravings
V. Module 5: Social Context & Physical Environment Models of Substance Misuse
Ch. 1: Social Contexts and Physical Environments
Ch. 2: Family as Social Context
Ch. 3: Peer Groups as Social Context
VI. Module 6: Theory Integration, Transtheoretical Model, and Vulnerability/Risk/Resilience/Protective Factors in Substance Misuse
Ch. 1: Theory Integration and Prevention
Ch. 2: Prevention and the Continuum of Care
Ch. 3: Theory Integration in the Transtheoretical Model of Behavioral Change
Appendix - Syllabus
Theories and Biological Basis of Substance Misuse, Part 1
In this module about the second aspect of a biopsychosocial framework, you learned a great deal about what goes on in the minds of individuals considering or engaging in substance use, substance misuse, or experiencing substance use disorder. As a result, you should now be able to explain how cognition, information processing, learning, social learning, rational/planned behavior, developmental, psychodynamic, attachment, self-medication, personality, psychopathology, expectancies, and cravings models relate to substance use, misuse, and use disorders. In discussing many of these theories and models, the relationship between brain and mind was evidenced again (first visited in our earlier biological models module), and linkages were drawn to how the theories and models inform interventions to prevent, treat, and support recovery from substance misuse and substance use disorders. At this point, you are well equipped to explore the final dimension of the biopsychosocial framework: social contexts and physical environments. That is the topic of our next learning module.
Previous: Ch. 4: Expectancies & Cravings
Next: Module 4: Key Terms
Theories and Biological Basis of Substance Misuse, Part 1 by Audrey Begun is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License, except where otherwise noted.


text:
Group 65Go to Ecanvasser
Go App: Canvassing
Ready to start engaging voters?
Written by Alan Conway
From the Home page, you can select whether an engagement was successful by either swiping left/right, or clicking on the red and green thumb icons.
Unsuccessful Attempt
Marking a canvass attempt as unsuccessful will be useful for your campaign management team, as it will allow them to later determine the level of engagement during this particular outreach, From this, they'll gain insight into optimal times for such activities, or how much ground they covered.
Successful Attempt
Marking a canvass attempt as successful will bring you through the canvass screen, where the real fun of canvassing, engaging voters can begin!
Once you've swiped right, you'll begin the canvass, and see that it's broken into 4 parts. Most are optional, and can be completed as per the direction of your campaign management team, or the detail/needs of a particular interaction - by default, Rating is the only thing that is required to complete a canvass.
Your campaign management team can also choose to disable any of the four, in which case they will be presented on the app, but greyed out and inaccessible:
As you complete any particular section, it will be marked with a checkmark to indicate data has been gathered.
Once you're wrapped up the interaction, you can select Finish to save, and return to the Home page. Down below we'll take a closer look at the four different aspects of a canvass in Ecanvasser Go.
These are matters that a voter has raised, that require follow up actions by the campaign team, and will populate for the the backroom team in their Issues CRM. Examples of where people might generate an issue are:
A voter has requested to speak to particular member of the team, such as the candidate
A constituency issue has been reported, that a voter wishes the candidate to make a representation on their behalf for, or that needs addressing (e.g. a pothole needs fixing, or they would like assistance with a grant application
A voter has requested further follow up information or literature
Generally it is best to avoid using issues for general notes.
Issues can be logged as text, and you may also assign a priority as appropriate and required.
Data collected from canvasses in Ecanvasser Go are aggregated for your campaign management team to review. That said, in some instances you may want to attach the data you've gathered to a particular person, if:
They've raised an Issue they want to be contacted about for status updates
You've logged information about them wanting to volunteer to help out the campaign
You're campaign management team would like to be able to segment the aggregated data based upon a particular additional data point
If you log data within a Contact field, depending on the campaign settings regarding data privacy, you may be asked to collect an E-Signature from the person, and record a the purposes for which they are consenting to being contacted:
This allows you the opportunity to rate an interaction out of 5 Stars. Your campaign management team should indicate to you how they expect it to be used. Some examples of how it might be used are:
Sense of allegiance to your party
Likelyhood to Vote
General reception
Surveys allow you to capture responses from voters on any topic your campaign would like to. If you have more than one active Survey, you can choose between these in the upper right hand corner.
Once you've selected a Survey, when you tap an individual question, an additional dialogue will open, from which you can input an answer in the manner configured by your campaign management team.
Once you've input all the relevant data, click Save to return to the Canvass Screen.