text:
Q: How to add two values from list in dart This is a list of pizza prices
  const pizzaPrices = {
    'margherita': 5.5,
    'pepperoni': 7.5,
    'vegetarian': 6.5,
  };

how to calculate the total for a given order.
if margherita and pepperoni then it should be 13$.
const order = ['margherita', 'pepperoni'];

how do i add to list

A: There are a few approaches you can calculate the total. One way would be to use fold:
final total =
    order.fold<double>(0.0, (prev, elem) => prev + pizzaPrices[elem]!);

Another way would be to loop through the order and add up the total imperatively:
var total = 0.0;
for (final elem in order) {
  total += pizzaPrices[elem]!;
}

In order to add to your list, you would call the add method on the list:
order.add('vegetarian');

However, a const list cannot be modified, so you would have to change order to be declared as either final or var:
final order = ['margherita', 'pepperoni'];

A:   const pizzaPrices = {
    'margherita': 5.5,
    'pepperoni': 7.5,
    'vegetarian': 6.5,
  };
  const order = ['margherita', 'pepperoni'];
  var total=0.0;
  order.forEach((item){
    total+=pizzaPrices[item]??0.0;
  });
  print("Total : "+total.toString());

A: So if you use this than you don't have to define your own ```fold`` function.
var sum = [1, 2, 3].reduce((a, b) => a + b);

You can visit this for more clearity, https://github.com/dart-lang/sdk/issues/1649
Or
num sum = 0;
for (num e in [1,2,3]) {
  sum += e;
}

A:   const pizzaPrices = {
    'margherita': 5.5,
    'pepperoni': 7.5,
    'vegetarian': 6.5,
  };
  const order = ['margherita', 'pepperoni'];

  var total=0.0;
  order.forEach((item){
     pizzaPrices.forEach((name,price){
       if(name==item){
         total=total+price;
       }
     });
  });

  print("Total : "+total.toString());

A: void main() {
  const pizzaPrices = {
    'margherita': 5.5,
    'pepperoni': 7.5,
    'vegetarian': 6.5,
  };

  var x = pizzaPrices['margherita'];
  var y = pizzaPrices['pepperoni'];

  List xy = [];

  xy.add(x);
  xy.add(y);

  double somme = 0;

  xy.forEach((var element) => somme += element);

  print(somme);
}

redpajama_set_name: RedPajamaStackExchange


text:
Q: how to include a text file(secondary file) which is used for storing Jar's file data in the windows task scheduler? I tried to make a day counter program in which it starts to counts the days from specific date and it will update itself everyday.I used a text file to save the starting date.For the updating part, i tried to use the task scheduler so that my program is being run every single day at a specific time and it will be updated every time it is beginning to run.
I added the jar file as a task in task scheduler.But, the problem is that it does not use the txt file that is inside the folder which also contains the jar file.
I get the file not found exception.
What can i do now?is it possible to somehow include the txt file in time scheduler as well.Is there any other way that i run this program every day without using time scheduler?


Dr. Manish Arora was featured in Spectrum Article, "How Pregnancy may shape a child's autism", to discuss how chemical exposures may affect a child's odds of autism. Dr. Arora's work is part of a growing field that is attempting to decipher what kinds of environmental exposures increase the odds of autism and how they interact with human biology and genetics. Researchers cannot easily collect blood or saliva samples from fetuses to see what's circulating through them. Instead, they try to discern fetal exposures by using the mother's environment as a proxy. If a pregnant woman takes a particular medication, for instance, researchers can extrapolate that the fetus, too, was exposed. To read full article click here.
This entry was posted in In the News on December 5, 2018 by mountsinaitceee.


ZetrOZ is a young medical device company building a business around wearable, ultrasound technology. With two products on the market and several more in the planning stages, it was time for the company to seek its second round of investment capital. In conjunction with MJ Lilly Associates, Russell Design was hired to build a new website that reflected the growing sophistication of the company. The main target audience for the site was the investment community, specifically, venture capital firms. Rather than promoting the products, which have their own websites, the ZetrOZ site highlights the quality of the firm, its potential markets, its technology and leadership.


Yoga doesn't stop with asana – in fact, asana is only the beginning! Once we have detoxified and strengthened our body with the physical postures in order to sit comfortably and with ease, we are ready for the crown jewels of our yoga practice: Meditation and Pranayama.
Pranayama means "breath control" and "stretching the life force". In this all-levels class, the teacher guides you through a series of kriyas; "cleansing acts"; and breathing techniques meant to help to balance, calm, and awaken the subtle energies in the body, while expanding the lungs' capacity for breath in a safe and progressive manner.
With the mind clear and open, the teacher then leads the class through a mindfulness-based meditation practice.
Mindfulness is the art of being present to exactly where we are in this moment, whatever arises and without judgment. This ability to simply observe, witness, and stay "in the now" is a tremendous tool that can help us deal with the real stresses of daily life with equanimity and grace. The techniques that are introduced will help the student to develop greater concentration, focus, and self understanding.
Both the committed meditator and the new beginner will leave with tools they can use at home to continue these advanced yogic arts on their own. When you're ready to deepen your practice of yoga, this is the class to try!
Sundays from 7:30 pm to 8:30 pm, both starting from September 2018.


text:
Tag: Debbie Harry
Riot Fest 2019 Valentine's Day Cards
By Riot Fest / Music / Gwar, andrew w.k., danzig
Did you forget about Valentine's Day or are you just too cheap to buy a card for your boo? Either way we've got you covered…
How Blondie Channeled Donna Summer to Create its Defining Hit, "Heart of Glass"
By Bianca Xunise / Comics / riot fest 2018, new releases, blondie
Blondie is one of the quintessential New York punk bands, and Chicago's favorite crate diggers at Numero Group just announced the release of the group's…
This Year's Riot Fest Artists Make Great Collaborators, and Here's the Proof
By Miles Raymer / Riot Fest 2018 / andrew w.k., beck, Elvis Costello
The performers at this year's Riot Fest are a creatively profligate bunch with a kink for getting outside their comfort zones to team up with…
Musicians Flipping The Bird
By Riot Fest / Chicago, Music, News / david bowie, iggy pop, John Stamos
Giving someone the finger, or middle finger, or the bird, can be a great way to show your displeasure with them. Also referred to as "flipping…
Post-Punk Supervillain Art by Butcher Billy
By Riot Fest / Chicago, Denver, News / morrissey, devo, The Cure
Brazilian artist Butcher Billy is back with a new Post-Punk supervillian series, and it's amazing. Siouxsie Sioux as Catwoman, Debbie Harry as Harley Quinn, Robert Smith…

redpajama_set_name: RedPajamaCommonCrawl


Accommodation, Weddings, Conferencing and more at Cape St Francis, South Africa.
Experience the Beauty of the Eastern Cape.
We are situated in Newington Street, Richmond Hill on a quiet tree-lined lane, filled with historic and gracefully restored buildings. The peace of the picturesque neighbourhood belies its location in central Port Elizabeth where the heartbeat of the city pulses nearby and the main N2 highway that charters motorists in and out the Bay is but a few streets down.
The saying goes that in Port Elizabeth nothing is more than 15 minutes away and with Richmond Hill this most definitely rings true.
The waters warm, the sand is golden... and just a stone's throw away from your accommodation. Offering 3 stunning beach villas, swimming pool and the ultimate in beach living, Casa Malcampo based in the small fishing village of Tofo, is your ideal Mozambique holiday destination. For more information visit the Casa Malcampo website today! If a European holiday is what you're looking for then why not check out our stunning 5 bed Croatian Villa perched on the ocean's edge set on the island of Lastovo.


Embattled Superior Court Justice Paul Cosgrove is clinging to the hope that the Canadian Judicial Council will let him play out the final months of his judicial career rather than oust him based on an attorney general's 2004 complaint.
Justice Paul Cosgrove (right), who made a final plea to the Canadian Judicial Council to remain on the bench, is seen during the meeting with Richard Stephenson, one of his lawyers.
It was only the third time the CJC has held such a meeting through its inquiry process. Should the council rule against Cosgrove, he would become just the second judge to face a recommendation to the federal minister of justice for removal.
Cosgrove, 74, responded to the findings released in December by a CJC inquiry committee, which ruled 4-1 there are grounds for his dismissal.
The Brockville judge told the council, which is made up of chief justices, associate chief justices, and senior judges of Canada's superior courts, that he failed at his task of handling the Elliott trial.
Cosgrove, who was appointed to the bench in 1984, also explained his confusion as to why then-attorney general Michael Bryant waited until April 2004 to issue a complaint over his handling of the trial, which he stayed in September 1999. Cosgrove said he had become desensitized to criticism of his handling of the trial by the time the complaint was made.
He said it was based on "an important issue of principle" that he opted to pursue a constitutional challenge of the CJC proceedings at the Federal Court in 2005. He won that decision, but the Federal Court of Appeal later overturned it. The Supreme Court of Canada rejected Cosgrove's leave to appeal application in November 2007.
The judge told the council that a statement made to the inquiry committee was meant to fully recognize the mistakes he made during Elliott and apologize to those who suffered because of them. He reaffirmed his apology to the attorney general, police officers, civilian witnesses, the public, and the family of the victim, who he acknowledged were forced to wait too long for justice.
Cosgrove also said he regrets any damage he may have done to the judicial office he holds.
The former Scarborough mayor and federal Liberal cabinet minister said he can best serve his community by returning to the bench until he reaches mandatory retirement this December. He added that he stands by his performance as a judge both before and after Elliott.
Chris Paliare of Paliare Roland Rosenberg Rothstein LLP, Cosgrove's lawyer, told the council that based on its previous analysis of an inquiry into the conduct of Superior Court Justice Ted Matlow, the CJC must apply a two-step test when deciding if a recommendation should be made to remove a judge.
He said the first stage - whether the judge has committed judicial misconduct as defined by the Judges Act - has been met. But he said it has not been established that the finding of misconduct merits removal based on all other relevant circumstances.
Paliare argued that Cosgrove's apology, independent counsel Earl Cherniak's position that removal is not merited, glowing character letters, and the fact that he sat as a judge for over four years following Elliott without facing a complaint means a "strong admonition" is punishment enough.
The complaint against Cosgrove followed the Ontario Court of Appeal's 2003 decision to overturn the judge's decision to stay proceedings against Elliott and order costs against the Crown. Cosgrove cited 150 alleged Charter violations by Crown counsel and senior members of the Ontario Ministry of the Attorney General in his ruling.
The inquiry committee's December ruling stated, among other things, that Cosgrove allowed defence counsel at Elliott to "take control of the trial"; failed to curtail inappropriate cross-examination by defence counsel; demonstrated an "appearance of anti-Crown bias"; and abused his contempt powers, noted Cherniak in his submission to the council.
Elliott pleaded guilty to manslaughter and received a seven-year sentence after the appeal court ordered a retrial.
The council, which is not beholden to the inquiry committee's finding, reserved its decision.


"Dunkin' Donuts was founded in Quincy, MA, in 1950 by Bill Rosenberg. Those were the good old days, when a cup of coffee cost . . . 10 cents.
2. Unused and unsold food is donated at the end of each day.
"At the end of the day, everything is donated to a local, nonprofit food bank. It is left to the discretion of the individual franchisees of each restaurant to select their local donation partner."
3. Everything on the menu can be customized.
4. Employees get free food AND coffee.
5. Dunkin' Donuts has it's own school.
"Dunkin' Brands University, located in Braintree, MA, is the training center where the brand's franchisees and managers train to run Dunkin' Donuts and/or Baskin-Robbins restaurants."


text:
Q: Different Crontab - Linux Debian What are the differences in using crontab editing directly:
vi /etc/contrab

And using:
crontab -e

Because if you use one or the other, the commands inside the file are not the same.

A: The crontab command manage crontab files for USERS. These crontab are defined in /var/spool/cron/crontabs/ directory ; they are not intended to be edited directly !
The /etc/crontab is the SYSTEM crontab file, which can be edited directly.


IRacing Setup Sync is the one and only setup sharing application for iRacing. At first I couldnt understand how some of these guys were setting such incredible lap times. This video is long, but very descriptive of the best settings for setting up iRacing. My guide for setting up iRacing graphics settings, enjoy and thanks for watching.
Not graphics setting but the car setup lingo.
What is the customer service number for Time Warner Cable. Zombie mode pubg mobile new update. A walkthrough guide for iRacing so you can create your best settings and boost your FPS. Can you guys do something like this but for dirt rally car set ups. Create an account or sign in to comment. IRacing graphics settings Walkthrough. If you are wondering how to become a registered nurse, one of your first questions might be how long it takes, iracing graphics setup.
It seemed that no matter what I did, I couldnt even come close to the fast guys and it was becoming very frustrating to say the least. What does Google Im Feeling Lucky button do. You need to be a member in order to leave a comment. A quick walk-through of how you should setup your graphic options within iRacing.


text:
Moonlighting: The Anthology es un álbum recopilatorio del músico británico Roger Daltrey, publicado por la compañía discográfica Sanctuary Records en febrero de 2005. El recopilatorio es notable por incluir canciones de diferentes proyectos de su carrero, incluyendo apariciones cinematográficas y selecciones de su discografía en solitario. Además, incluyó «A Second Out», una canción inédita hasta la fecha y compuesta por Daltrey y Steve McEwan.

El álbum fue reeditado en octubre de 2006 con el título de Gold y con una lista diferente de canciones.

Lista de canciones
Disco uno
  "One Man Band"  (Courtney, Leo Sayer)  3:52
  "The Way of the World"  (Courtney, Adam Faith)  3:16
  "Thinking"  (Courtney, Sayer)  4:25
  "There Is Love"  (Courtney, Sayer)  4:36
  "Giving it All Away"  (Courtney, Sayer)  3:34
  "(Come And) Get Your Love"  (Russ Ballard)  3:44
  "The World Over"  (Paul Korda)  3:08
  "Proud"  (Ballard)  4:51
  "Dear John"  (Courtney)  3:48
  "Avenging Annie"  (Andy Pratt)  4:32
  "One of the Boys"  (Steve Gibbons)  2:46
  "Martyrs and Madmen"  (Steve Swindells)  4:19
  "Say It Ain't So, Joe"  (Murray Head)  4:16
  "Bitter and Twisted"  (Swindells)  4:07
  "Free Me"  (Ballard)  3:59
  "Without Your Love"  (Billy Nicholls)  3:19
  "Waiting for a Friend"  (Nicholls)  3:24
  "Parting Would Be Painless"  (Kit Hain)  3:42
  "After the Fire"  (Pete Townshend)  4:37
  "Under a Raging Moon" (Downes, Parr)  5:34

Disco dos
 "Behind Blue Eyes"  (Pete Townshend)  2:29
  "Won't Get Fooled Again"  (Townshend)  7:52
  "Quicksilver Lightning"  (Moroder, Pitchford)  4:43
  "Lover's Storm"  (Kelly, Usher)  3:54
  "Mack the Knife"  (Blitzstein, Bertolt Brecht, Kurt Weill)  4:49
  "The Pig Must Die"  (Mike Batt)  4:30
  "Don't Let the Sun Go Down on Me"  (Elton John, Bernie Taupin)  6:12
  "Rock and Roll"  (John Bonham, John Paul Jones, Jimmy Page, Robert Plant)  3:39
  "Who's Gonna Walk On Water"  (MacMahon)  4:45
  "Love Is"  (Byrd, Daltrey, Katz, MacMahon)  4:09
  "Blues Man's Road"  (Byrd, MacMahon)  4:03
  "Baba O'Riley" (Townshend)  3:23
  "Pinball Wizard"  (Townshend)  3:43
  "The Real Me"  (Townshend)  4:30
  "Child of Mine"  (Daltrey, MacMahon)  4:02
  "Born to Run"  (Bruce Springsteen)  5:12
  "A Second Out"  (Roger Daltrey, McEwan)

Referencias

Álbumes de Roger Daltrey
Álbumes recopilatorios de 2005
Álbumes en inglés

redpajama_set_name: RedPajamaWikipedia


text:
Request stop
Well, so, my dumps have been enshrined in showbiz history, playmates. I have become the official Guardian posterboy for artistic despair. Serves me right, and I can't stop giggling at the URL of the post in question, which is:
http://www.guardian.co.uk/stage/theatreblog/2009/nov/12/theatre-hopelessness-chris-goode
Well, quite. Thanks again to everyone who shouted encouragement. Of course I'm not going to give up. What else would I do? I am monumentally unfit for all other human practice and enterprise. A couple of well-wishers used the phrase "keep on truckin'", which reminded me that the results of my sixth form careers aptitude test indicated that, by some considerable margin, the job I was most suited for in life was road haulage manager. (So close.)
Anyway, despite the anxieties I aired in my last, I've spent quite a pleasant week writing and shaping The Forest and the Field and I'm interested now to see how it might go down. So, do come if you can.
Also, I took delivery this afternoon of a proof copy of The History of Airports, and I'm pretty pleased. For a POD job it's not too shabby at all. So now the presses can roll. I'm not quite sure what that entails, but in my imaginings it's very much like this:
At any rate I now feel all the more confident in urging you to pre-order the book (for the special price of £10 +p&p), which you can do through the Lean Upstream web site, and which you'll shortly be able to do from this site also.
The book launch event, by the way, has moved again, this time to Sunday 29th, still at STK as per the side bar (over there >>>). This is to avoid a clash with the last ever Openned at the Foundry, which I imagine most right-thinking people (including myself) will feel they want to attend. The Foundry has been a great location over the years and Openned in particular have done fantastically important work there; it's absolutely nauseating to be losing it.
Mostly this post is just to fill y'all in on what lies ahead at Thompson's in weeks to come.
The next major post will be a transcript of my recent conversation with Tim Crouch and a smith, which they very generously made time for on The Author's last day at the Royal Court. I'm excited to listen back to it all, though I think it might be quite an undertaking to turn it into text, as I remember a lot of words quite tightly packed in to our hour together...
After that, Thompson's takes its customary winter wonderland lurch towards muso-obsessiveness. The 2009 Furtive 50 rundown of the year's most ear-pleasing albums will hopefully be going up a little bit ahead of Christmas this year, so as to help with those last minute gifts for strange people who are difficult to buy for and seem to like peculiar music. And also -- contain your excitement now, little ones -- I'm going to be doing an audio advent calendar: so there'll be a new consignment of jingle-bellery every day for you to listen to and enjoy or not as you see fit.
No doubt there'll also be one of those reflective end-of-year pipe-smoking posts, possibly in the gap between Christmas and New Year. I want to remember to say something about Bob.
But I think there's room in the schedule for one more post, and I thought it might be fun or interesting or something to take requests. I will undertake to generate a substantial post, sometime between now and December 31st, on any topic prescribed by any Thompson's reader. Suggestions may be lodged in the comments field here, or by email. I'll pick one more or less at random, with perhaps some moderate (but far from conclusive) weighting towards those who I know have been particularly close or committed readers. -- Normally my attempts to engage Friends Of Thompson in this kind of vaguely bogus-looking way fall coldwater flat: exempli gratia, the resoundingly 100% unentered Thompson's Christmas Quiz competition of 2007. But I hope this new wheeze at least places less grotesque impedimenta in the way of the, er, fun and interesting part than did that quiz debacle.
There's absolutely no constraint on what the topic is, it needn't be within a million miles of any of the subjects we normally discuss here. An independent adjudicator will oversee the selection and ensure, if not impartiality, then no more than a gentlemanly degree of bias.
So, please, let your mind wander freely, and propose your topic. Any time between now and the end of November will do.
Let me announce, also, finally, that Thompson's will be on sabbatical during January and February 2010. I have another project -- two, in fact -- into which I need to be pouring whatever writing energies I may by then be capable of generating. Given that the blog quite frequently lapses into month-long silences anyway, I don't suppose it will make much difference to anybody, but for the sake of transparency...
Maybe see you tomorrow at Lawrence's birthday corroboree, or next week at The Forest and the Field -- and if neither of these, then somewhere down the crazy river, right?
I am Matt Kelley
First things first, and probably not then much more than this: remember the Artsadmin Weekender workshop that I said was sold out? Yeah, not so much. A couple of people have withdrawn so we're back to flogging the last few places. If you thought you'd missed the boat, it turns out still to be moored to the oh god what am I talking about.
End of the first week of LEAN UPSTREAM and a wholly predictable mix of tiredness, euphoria and despondency. Actually the euphoria isn't wholly predictable: it could all have gone moobs-up, after all, and it hasn't. The reverse, actually: it's overshot my expectations. Which is nice. Getting Hippo World out of storage turned out to be worthwhile, and my post-show conversation with the brilliant Matt Trueman was stimulating for me and I think for others; Yeah Boom! we got through without collateral damage, and the new reading The Net Work of Howard Betel seemed to work pretty well for a first outing -- wish I'd remembered to record it as I can't quite tell whether it's something to pursue or not. Friday's mixed bill was a blast, with extraordinary sets from all four guest performers, and what seemed to be a sincerely warm and advancing response to Jonny Liron's performance of my score O Vienna. And last night, a steep and scary but eventually (for me, at least) exhilarating reading of some tricky pieces including Ursonate and -- at last! -- a pretty satisfactory go at Beckett's unsteadying 'Ping'. (I'll try to get some scraps of audio up some time this week.) Good, attentive, supportive audiences; some genuinely toothsome conversations. And a sense overall of a largeish hill well-enough climbed.
From which summit the view of course is pretty bleak. (I say 'of course' because longstanding Thompson's readers will know that this is the pattern.) I'm tired and it's a grey day and I just don't know that all of this adds up to a viable way of living in the world. I mean, one sees glimpses. But the flipside of the pleasures of inhabiting these upstream zones where the water is less polluted and the air seems more breathable is that there's a kind of a general sense of meagreness, which has its own practical ramifications. Mostly it's that, for the first time since I went freelance at the end of 2004, I just don't know if I can afford to live like this beyond early spring next year. LEAN UPSTREAM is a foolish enterprise in a way, in that it's costing me quite a bit financially to do this work and unless things pick up pretty soon (which in this climate seems a long-shot) I'm just plain-and-simple going to run out of money. I've been close to this point several times but have always had a sense that I'd get by; this time, I don't have that sense, partly because I no longer have any savings to fall back on.
And this then colours my view of the bigger picture -- of what, if anything, this work all adds up to, and whether it can possibly be worth it. I had a little epiphany at Liverpool St station last night after the post-show drinks, where I spent some time talking with a brilliant student I've met a few times. She was talking about Castellucci, and in particular the Dante trilogy at the Barbican not long ago, and it turned out that our differing responses to that work were in part shaped by our differing expectations of the social or political instrumentality of theatre more generally. I realised afterwards that those of us for whom the possibility of using theatre as a broadly anticapitalist locus are (as leftists always are) split down the middle, between those for whom everything -- including theatre -- is basically hopeless, but who suppose theatre is a good place to describe that hopelessness; and those, like me, for whom that hopelessness has not yet been conclusively and terminally proved. As I've said here many times, my work is premised on the fact (and I think it is a fact, and a trustworthy one) that not all the results are in yet.
For the most part, I find I have the stomach for this, knowing that it's hardly different to any one of a number of decent -- and not futile, and not wholly negligible -- quests towards this distant socialist utopia or that just-about-imaginable social turn towards anarchosyndicalism. But it necessarily implies a long view, a sense of the 'long now', in Stewart Brand's useful phrase. And that long narrative, that long trail of birdseed we're pecking at, is really horribly incompatible with this kind of hand-to-mouth rhythm in which I'm living, in which trying to think about the longterm -- something I've been doing rather more having had this year, for the first time, the experience of health problems -- is a humbling and demoralising experience. There are, of course, lots of us in the same boat, but in the middle of the night it's really individually lonely and it makes everything else, everything more immediately personal, seem hard to trust.
I'm whingeing about this now only because my task for the next seven days is to write and stage The Forest and the Field, which is showing for the first time at CPT a week tomorrow. I haven't started work on it yet -- this is an unplanned consequence of how much preparatory work everything else in the season has taken, not least my wretched book -- and I'm going to have to move fast and not look down. Normally that would be fine, but it's a performance lecture in which (according to the trailer) I'll be "trac[ing] a seductively radical through-line which joins theatre's past to the promise of its future": and right now, on this slowly-brightening Sunday afternoon, I feel as though I hardly have a sense of what that through-line might be, or why it might matter, or whether the hard week ahead is actually in the end going to amount to anything more than a polite guff in a hypersonic wind tunnel. What's worse, this is all exactly as it should be.
Well, so, I'd better not talk myself any nearer the edge of this ledge. Maybe I can work myself out of it. Maybe The Forest and the Field can somehow contain these scenes of mild peril and still come out the other side. I probably won't get back here until it's on -- so: details are in the side panel -- come and see it, please! -- what a fantastic advert for it this post has been.
Roughly this time last week I was at the Lyric Hammersmith for this year's TMA Awards, in which King Pelican was nominated for best new play. There was never any chance of winning (up against Enron) so it was really just an opportunity to put on a nice pair of shoes and watch dumbfounded as extracts from an array of horrid musicals clunked on and off and a seriously addled Nichola McAuliffe engaged the award-winners in conversation so stilted it sounded as though it had been run back and forth several times through an online English/Hungarian translation engine. The whole event was like a nightmarish version of The NeverEnding Story in which one had somehow been sucked into an edition of The Stage and it was coming to life all around you. Some very good work was recognised -- an award for outstanding achievement to Nicholas Kent, for example -- but it was hard to feel altogether pleased at those moments, taking place as they were in front of a backdrop of dancing fountains of shit. When I tell new acquaintances that I work in theatre, this is the world that most people imagine I inhabit, and I suppose, given that I was there and I'd have quite like to have won the award, I basically do. Where is this on the radical through-line, I wonder? And yet bawling the Ursonate at 35 people is doing what instead, exactly?
Yeah, no, I should stop. I just, not for the first time, find I am thinking of Matt Kelley, the guy in the bar in the second episode of season four of The West Wing, talking to Toby and Josh about his financial struggles and his desire to do well for his family: "It should be hard," he says. "I like that it's hard. [...] But it should be a little easier. Just a little easier. 'Cause in that difference is... everything."
A little Monday morning p.s. as I'm a bit overwhelmed, emotionally but also administratively, by emails from inordinately kind folks cheering me on. So, please be assured that a good night's sleep has made a considerable difference, and I've made a start on the new piece this morning, and I'm fine. I actually really really like what I do and how I live, and I'm certainly not thinking of walking away from it just because not many people are engaged with the work. That isn't anyway true -- plenty of people see some of it, and I'm not remotely uncomfortable with the fact that only a very few people see some other bits. On the other hand, at whatever point I can no longer afford to pay my (very low) rent, the choice is made for me: no Rumplestiltskin I -- it's back to the call-centre (and the concomitant weary commute to and from Hyderabad).
It's happened before and will no doubt happen again that I've posted here through a fog of tiredness and self-doubt, and the next day when the clouds have rolled by and I've managed to sleep a bit, I feel a bit of a twit. But I resist the impulse to delete -- because it seems to me, if this kind of online journal is to be of any use, it has to be a place where one can lodge an unvarnished blah from time to time. It is, sometimes, really hard, and it seems to me more important to say so (sometimes) than to pretend it isn't so.
But, please, no worries, and thank you again to everyone who's backchannelled their love and support. I appreciate it more than I can say. ...Well, who doesn't appreciate a little backchannelled love from time to time? xx


This house is now at 331 Fort Johnson Road on James Island.
Current status – Original property is part of the former Charleston Navy Base. The house was moved to James Island, and is part of the Hollings Marine Laboratory.
1819 – The original 213 acres tract was sold to Nathaniel Heyward. He owned numerous lowcountry plantations (1, p. 3).
1861-1865 – During the Civil War, Union soldiers used Marshlands as headquarters for the United States Sanitary Commission.
1961 – The house was loaded intact aboard a barge and floated from its site within the bounds of the Naval Base to James Island.
The clapboard house with a brick foundation was constructed in 1810. In 1961, it was moved to James Island (1, p. 2).


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Karlovo náměstí – stacja linii B metra praskiego (odcinek I.B), położona na Nowym Mieście, między placem Karola  (Karlovo náměstí) a Palackého náměstí, pod ulicami Trojanovą i Václavską.

Linki zewnętrzne
 Stacja w nieoficjalnym portalu metra praskiego

Stacje metra w Pradze


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Q: How to tell Power BI that it should use a filter inside the calculate formula and use it as filter for other visualizations? I am creating a loan process approval report in Power BI. One of the visuals ('funnel') displays the total count of applications, the count of applications approved at the applicant level, the count of applications approved at the product level, and the count of applications that are approved at both levels.
These measures are calculated like this:
Approved applicants =
    CALCULATE(
        COUNT(ApplicationDecision[applicantEligibility]);
        ApplicationDecision[applicantEligibility] = 1)

I.e., it counts fields in the specific column that are equal to 1 and leaves out the residual 'zero' fields.
What I need is that this funnel visualization works as a filter, i.e. when I click the 'Approved applicants' panel, all other visualizations will be filtered by the condition 'ApplicationDecision[applicantEligibility] = 1'.
Is there a way to tell the report that it should take the filter for 'calculate' and make it work as a report-level filter when clicked on?
Thank you very much for any hint, hope I was specific enough!
Edit:
Here is the data example:
applicationUniqueId | applicantEligibility | productEligibility | applicationEligibility
       A0001                    1                      1                    1
       A0002                    1                      0                    0
       A0003                    0                      1                    0
       A0004                    1                      1                    1
       A0005                    0                      0                    0
       A0006                    1                      0                    0

And for these data, the visual would show me:
Applications: 6
Approved applicants: 4
Approved products: 3
Approved applications: 2

What I need is that when I click e.g. on row 'Approved applicants', the whole report will filter based on the condition:
[applicantEligibility]='1'

A: The first thought - I would unpivot the data. Then all the funnel types would be in one variable. You can easily slice that variable.
let
    Source = Table.FromRows(Json.Document(Binary.Decompress(Binary.FromText("i45WcjQwMDBU0lFC4FgdiKgRVMQAjGGixlARQxRRE6wmmMJ1I6s1QzU3FgA=", BinaryEncoding.Base64), Compression.Deflate)), let _t = ((type text) meta [Serialized.Text = true]) in type table [#"applicationUniqueId " = _t, #"applicantEligibility " = _t, #"productEligibility " = _t, applicationEligibility = _t]),
    #"Changed Type" = Table.TransformColumnTypes(Source,{{"applicationUniqueId ", type text}, {"applicantEligibility ", Int64.Type}, {"productEligibility ", Int64.Type}, {"applicationEligibility", Int64.Type}}),
    #"Unpivoted Other Columns" = Table.UnpivotOtherColumns(#"Changed Type", {"applicationUniqueId "}, "Attribute", "Value"),
    #"Renamed Columns" = Table.RenameColumns(#"Unpivoted Other Columns",{{"Attribute", "variable"}})
in
    #"Renamed Columns"


text:
Australia vs South Africa | Plenty of Positives to Take from Close Defeat: Finch
Cricketnext Staff |July 7, 2019, 3:13 AM IST
Australia skipper Aaron Finch admitted his side would have liked to have won their final ICC World Cup 2019 group game against South Africa but felt there were lessons to be learnt from the loss at Old Trafford on Saturday.
"We would have loved a win, but quite a few positives to take from this match. We pulled ourselves back out of hole and David Warner scored a magnificent hundred. (Alex) Carey played a good knock to get us so close," Finch said at the post-match ceremony.
Yet while scintillating knocks from Warner and Carey nearly ensured they pulled off a win for the ages, Finch said it was frustrating that they managed to concede so many runs in the first innings.
"We didn't hit the right areas regularly with the ball. It is a bit frustrating, but we can learn from that."
"There is still plenty to learn, it's a positive that we managed to get so close, although we didn't play our best cricket."
To make matters worse, Australia have injury concerns ahead of the semi-final against England. Usman Khawaja suffered a hamstring injury while batting and doubts remain over all-rounder Marcus Stonis' fitness too.
"It doesn't look good when it comes to Khawaja, we have to wait for his scans in the morning. We'll make a call after the result. Not sure about Stoinis too, tough to know.
"The whole Australia A squad is here, the four-day squad and the one-day squad in case we need any replacement."
The loss to South Africa in the final game means they will take on arch-rivals England in the semi-finals, something Finch is looking forward to.
"It's going to be a blockbuster against England, hopefully it's a great game. The fans at Edgbaston are amazing; it's going to be a great atmosphere, we know that."
Aaron FinchaustraliaAustralia vs South Africaicc world cup 2019South AfricaUsman Khawaja