Listed below is a express list of this instructional photograph slideshows available on World-wide-Medicalsearch. Each and every slideshow protects a new health care or even overall health topic as well as comes with pictures, designs, and also pics as well as synopsis details speaking about this issue.
Mature Skin Conditions: Identify These kinds of Skin disorders?
Weakening of bones: Are generally A person's Bone fragments vulnerable?
Doctors: What sort of Physician Does a person Want?
15 Worst Urban centers regarding Planting season Your allergies: Is the best City a new Planting season Sensitivity Money?
Dwelling Allergy symptom Questions: Will probably be your Residence Sensitivity-Evidence?
Doctors: What type of Physician Does a person Have to have?
Minimal Blood pressure levels (Hypotension): The best way Small is the wrong size?
Medical professionals: What Kind of Physician Should i Have to have?
Medical professionals: What type of Medical doctor Does a person Need?
Belly Pain in Children: The 'Abdominal Pain,' or something like that Significant?
Rear-to be able to-Institution Well being Listing: Is the best Toddler Geared up to get University?
Health professionals: Exactly what Physician Do you Want?
Medical doctors: What type of Health practitioner Do you Require?
Drinks as well as Liquids: What exactly is Within your Standard water?
Great-Health proteins Eating plans: Consistently?
Doctors: Types of Health care provider Do you Want?
Nutritional D: Are you needing a Nutritional N Supplementation?
Doctors: Exactly what Medical doctor Does a person Will need?
35-Second Exercise session: Consider You do not have Moment? You decide to do!
Ab Soreness in Children: A 'Belly Pain,' something like that Serious?
Person Skin Illnesses: Realize These types of Skin problems?
Appendicitis: Should i Need to have The Vermiform appendix Taken off?
Again-to help-Institution Health Guideline: Will probably be your Toddler Ready with regard to Classes?
Dental Health: The reality regarding Teeth whitening techniques Style .
Drinks and Liquids: What is Within your H2o?
Doctors: What Kind of Medical professional Will i Need?
Ringing in ears: Why Are My own Ringing in the ears?
Heart Disease: The absolutely no. one Colossal within the Oughout.Azines.
Health professionals: Exactly what Physician Does a person Want?
Pregnancy: Which often Treatment solutions are Good for you?
Minimal Testo-sterone: Do you know the Effects of Lower T?
Physicians: Exactly what Medical doctor Must i Want?
Manic-depressive psychosis: Do you know of Serious Disposition Shifts?
Depressive disorder Introduction: What exactly is Despression symptoms?
Phobic disorders: Precisely what are A person Petrified of?
Medical professionals: What type of Health care provider Will i Require?
Stomach Suffering in youngsters: A new 'Abdomen Ache,' or something like that Critical?
Pelvic Pain: What is actually Leading to Your own Pelvic Ache?
First Pregnant state Indications: Can you Be Expecting a baby?
Sterility: Which often Treatment solutions are Best for you?
Adult Dermis Diseases: Discover All these Skin disorders?
Boils: Should You Take A new Facial boil?
Cold Sores: Any time Are Fever blisters Infected?
MRSA: Just how much Do You Know About it "Bemisia tabaci"?
Medical professionals: Which kind of Medical doctor Do you Need?
Skin psoriasis Foolhardy: What Does Skin psoriasis Seem like?
Roundworm: May Roundworm Imply Concerning Red worms?
Roofing shingles: Is actually Herpes zoster Catching?
Abdominal Soreness in kids: Your 'Stomach Aches,' as well Critical?
The inability to conceive: Which often Treatment methods are Right for You?
Ovarian Nodule: Usually are Ovarian Cysts Cancer?
Physicians: Exactly what Medical doctor Must i Have to have?
Urinary Incontinence in females: Decrease of Urinary control?
Accuretic (hydrochlorothiazide along with quinapril) Drug Side Effects, Affairs, along with Treatment Home World-Medicalsearch.


FEATURING WINES FROM THE MARCHESI DI BAROLOESTATE.
· Fort Lauderdale and Boca Raton's finest Italian restaurant, Casa D'Angelo, owned and operated by nationally acclaimed Chef Angelo Elia, is pleased to invite guests to enjoy an exquisite 4 course White Truffle and Wine Dinner featuring wines from the Marchesi di Barolo estate.
· During the 4-course meal, guests will enjoy the flavors of Alba, Italy, a town famous for its truffle and wine production. Each dish will be paired with a Marchesi di Barolo wine from the Piedmon region.
· The Ft. Lauderdale dinners will be hosted by Owner/Chef Angelo Elia, Chef de Cuisine, Angelo Massanova and Koen Kersemans, Casa D'Angelo's Wine Director.
dinners require RSVP in advance. To purchase seats for the Ft.
Lauderdale dinners, please call 954.564.1234.
Award-winning Chef Angelo Elia takes great pride in serving Old-World, Italian dishes that have been passed down through generations. He hand-selects the freshest, seasonal ingredients and artfully prepares them in an inviting setting of warmth and sophistication. A carefully curated list of wines has been masterfully chosen to create an extensive wine list from every region around the world. Whether it's for an elegant night out or a gathering with family & friends, Chef Angelo Elia looks forward to inviting guests for an authentic Italian Tuscan-style meal in a setting that feels like home.


text:
2021 Best Picture Nominees
I won't dance around this: I don't think any of the Best Picture nominees this year deserve to win. Some awards—the Hugo awards for science fiction writing, for example—ask voters to rank all the nominees, as well as a "No Award" item; I'm afraid that for the 94th Academy Awards I'd rank "No Award" first for Best Picture.
I've been doing a lot of reflection on that opinion: am I getting even more jaded and negative? is watching the films at home (and even occasionally second-screening when my attention wanders) ruining my ability to recognize, let alone appreciate, good films? is the Academy now somehow more motivated to nominate worse films, perhaps to prove some kind of point about "integrity" or "art"? are market forces (eg the elimination of mid-budget filmmaking) conspiring to prevent the production of quality films? I don't know. Perhaps some of all of these; the list of nominees rules out any one of them as a sole factor.
Every year I pick one non-nominee as an excellent film that just doesn't quite fit the (Academy's definition of the) Best Picture category. Candidates I considered this year included Last Night In Soho (a brilliantly, beautifully made film that I enjoyed despite never caring for even a moment about the plot) and Shang-Chi and the Legend of the Ten Rings (which somehow offered a lot that was fresh and exciting within a franchise and framework that by all logic should have run out of steam long ago), but I think I'd rather highlight Ghostbusters: Afterlife, mainly because it delivered on what it promised despite a high degree of difficulty trying to reprise one of the greatest popular films of all time. It didn't try to launch a new franchise; it relied on charismatic new characters and a fresh story instead of merely remaking the first film; and it managed to service my emotional attachment to the first film (and its cast and characters) without making any pretense of getting by on merely nostalgia and cameos. Of course it was nothing like the cultural phenomenon of the original Ghostbusters, but it was a solid and entertaining movie that stayed true to the tone and the fun of the genre that original defined. I had low expectations going in, but left with a grin.
Anyway, talking about films that you don't like isn't (or at least shouldn't be) much fun, so I'll keep my individual comments relatively brief. This is my ranking from worst to best, but that's particularly arbitrary this year: if I think too long about any of these films I can get angry enough to want to put it last:
Just an incredibly tedious, pretentious slog, with no effort to provide any forward momentum for the audience to latch onto. You can see Benedict Cumberbatch acting the hell out of every second of screen time, and that's not a compliment.
Instead of this, just go back and watch Brokeback Mountain, which is as beautiful and heartbreaking (if not as ostentatiously bold) as it was when it was released.
I've always had a bias against Hollywood telling stories about Hollywood, which is where this starts (although it admittedly doesn't dwell there). But beyond that it's not a complete story, just a collection of vignettes of characters…none of whom I liked at all.
Instead of this, watch Almost Famous.
I think it was Roger Ebert who said that a great film has two great scenes and no bad scenes. But we can go past that: a great film has some great scenes, which are why the film is worth watching, a bunch of good scenes that offer building blocks to enable the great scenes, and perhaps a few fun self-indulgent scenes that could have been left on the cutting-room floor, but what the heck a great film is allowed a little bit of slack.
Belfast is nothing but self-indulgent scenes that feel like they were pulled from the cutting-room floor of great films.
I was working so hard to give Branagh the benefit of the doubt on both the "he stole soap flakes!" and the "she made him return the soap flakes!" gags…but the plot hinges on a mother literally putting her son's life in danger over this light-hearted fun.
If you want unreliable child narrators, watch 1987's Hope and Glory, or even 2019's Jojo Rabbit.
I really wanted to like this film, if only because it was mercifully short. But it is an atrociously written mashup of a handful of much, much, much better films. The explanation I finally arrived at for the script's absurdities is that this wasn't made as vapid Oscar bait (like the above three films), but rather that it was repackaging several adult films about adolescents for adolescents.
Watch Billy Elliot. Watch Whiplash. Watch The Sound of Metal.
(If you want singing, then I guess people seemed to like Pitch Perfect, and there must be a dozen teen romances with more meat on the bone than this nonsense. I'm afraid my knowledge of those genres is nonexistent.)
As a final note, the lead is a capable and charismatic Emma Stone/Watson knockoff. But you simply cannot base your film on "…but her voice was so spectacular that joining the school choir her senior year was enough for everyone else to push her into a professional singing career" if your lead's voice is, you know, fine. At best.
The Williams story is spectacular.
This film, however, offers absolutely no depth to that story. At all.
There's one mention that Richard Williams actually has (lots of) other kids, who he didn't invest his life into making stars. So that fascinating angle on what makes a "good father" goes completely untapped.
There are multiple mentions that he's a shameless public promoter for his daughters, but this all happens entirely off screen, and what we're shown is merely what (the screenwriter assumes) he said directly to his daughters. So any possible contradictions there go unexplored.
And I realize everyone likes Will Smith. I realize the Academy's only hope for making this year's awards ceremony relevant to the public is for Will Smith to win Best Actor. But his performance felt to me like a caricature.
If you like cringeworthy Will Smith performances that dance with racial tropes in shallow sports movies…then maybe just watch The Legend of Bagger Vance?
If you were going to remake a film, then I'd have hoped you'd have a reason for it. A new angle. Something new to say. But there's nothing new here. I mean, Spielberg throws the camera around in ways nobody could have managed sixty years ago, but the staging and choreography he's flying through are straight out of 1961.
I admit I haven't gone back to watch the original film, but the main change I noticed in the script is that the racist street kids who start the whole thing by vandalizing a piece of civic art also try to gang rape a woman for being the wrong race? And this is, like, explicitly called out? I would have remembered that from the old version, wouldn't I?
I didn't enjoy 2016's La La Land (again, my bias against Hollywood stories), but it at least provided a modern cinematic take on the musical. If you want a musical that suffers all the staging constraints of a theatre production, then just watch the 2020 release of Hamilton.
Adam McKay makes movies for dumb people. He identifies a simple idea he wants to get across, he turns it into a screenplay, he goes through that screenplay line by line, identifying every shred of nuance or subtext, and then he takes those shreds and makes sure that some character in the movie says them out loud so that the audience can't possibly miss them. It's insulting. It's depressing. It's exhausting.
Some reviews say that Don't Look Up is a satire. These people don't know what satire is. Satire doesn't involve people yelling "that sounds like satire!" at potentially satirical lines. Don't Look Up is instead a polemic in narrative form. A relevant polemic; a polemic with which I largely agree; but a polemic. And not a particularly deep or thoughtful one. It's meant as a metaphor for climate change, but all the details that have made that problem intractable—the uncertainty and false steps in developing the science; the absence of objective thresholds to provide unambiguous targets; the inherent inequities not just in impact but in who get the chance to contribute to the problem (and reap the rewards) that complicate any intuition of "fairness"—are totally erased to make some utterly anodyne points that provide no guidance for future action.
"Politicians care only about winning elections!"
"Rich people will risk everyone else's lives to get richer!"
"Fame is seductive!"
If Don't Look Up is what it took to get you to really think about those nuggets of wisdom, I have absolutely no faith that applications of your new enlightenment will be anything but counter-productive.
Still, all these are arguments that this isn't a particularly good film, not that it's a bad film. And it isn't bad. It's well made. It's fairly well paced. It has a real arc. There are a few good gags (the mid-credits scene got a laugh from me). And Jonah Hill is a delight.
The obvious film to watch in place of this is Dr Strangelove. But the British series The Thick of It and its feature film spin-off In the Loop, as well as the American series Veep, are all much more entertaining critiques of political incompetence.
Dune is one of the most influential franchises (if not the most influential franchise) in all of scifi. I've read the book. I've even seen Lynch's bizarre 1984 film. And I kind of enjoyed both. But at this point the basic structure is so ingrained in the genre, and so many of the details that must have been engrossing in 1965 when the book was first published have been aped by other properties, that it's very tough to evaluate them as though they are "original". This 2021 film is beautiful. Worth seeing on the big screen. But it brings no nuance to the story that wasn't already there, it is utterly devoid of humor, none of its characters have any depth, and honestly I'm skeptical that anyone not already familiar with the plot could even follow what's going on.
Worst of all, however—what completely knocks it out of contention for being a Best Picture—is that it's not a complete movie. 2018's Avengers: Infinity War was conceived, written, and marketed as the first half of a two-parter, but it had an internal arc that reached a coherent conclusion making sense of everything it contained. Even the first half of 1962's Lawrence of Arabia (a rather obvious parallel with Dune) offered viewers a satisfying story arc. Villenueve's Dune is merely a bunch of things that happen before the budget and runtime are exhausted. There's absolutely no attempt to tie up threads; in fact an absurd amount of screen time is spent promising us exciting things that this first part never makes any attempt to deliver. Including Zendaya. It doesn't even bother pacing itself for some big cliffhanger—it just…stops. Maybe both parts together will constitute something that I could consider Best Picture (in an off year). But this on its own is an insult, and the nomination is a declaration that the Academy cares more about visual artistry than any aspect of story.
On the Dune story itself
Instead of running the film down any more, let me use this space to rebut one common criticism of Dune: that the emperor giving the most valuable planet in the universe to someone he fears is a plot hole. I admit I'm doing a little bit of head canon on this, but I say the opposite. Grokking the emperor's perspective is the only way to redeem what would otherwise be a miserable story about one man's greatness saving the galaxy.
The Bene Gesserit, a secretive cabal that has infiltrated every power structure in existence, have spent centuries doing two things:
Constructing a latent army on Arrakis powerful enough to permanently seize the planet, control Spice production, and thus own the greatest bargaining chip in the universe. But an army that crucially will not go rogue.
Breeding a messiah for this army that they can control.
A centuries-long breeding program doesn't culminate suddenly. Leto Atreides (Paul's father) is a nutjob with a messiah complex and the ability to inspire loyalty to the extent that his followers lose all rationality. When the book(/film) opens, he's convinced himself that somehow he's accrued real power in the universe. He's convinced his followers of this. They are are all utterly deluded. This is like a middle manager at a giant corporation who suddenly thinks they have clout in the way the founders and primary shareholders do. Just bonkers.
The emperor sees this nutjob, rolls his eyes, and says "man you sure are powerful! Good for you! I'll give you the most valuable thing in all of existence, and all you have to do is peacefully transfer all your current responsibilities to others, and gather you, your family, and all your fanatics—I mean followers—in one place!"
Leto Atreides does. He thinks "there's something suspicious about this, but my genius will see me through this intricate game of five-dimensional chess…" He's an idiot.
Immediately upon making himself trivial to cleanly eliminate, he is cleanly eliminated by the emperor, who hands Arrakis right back to its prior administrator. This was not a squeaker of a battle and House Atreides got unlucky. They had zero chance—zero—of holding Arrakis against the emperor's will.
And of course the Bene Gesserit don't care a whit. Maybe they whispered in the emperor's ear to ease this along to give Paul Atreides even more claim to legitimacy on Arrakis, but after breeding him for the same ability to inspire fanatical loyalty as his father, and then training him (perhaps subconsciously) through childhood to fulfill the prophecies they'd seeded among the Fremen ("he already knows how to wear a stillsuit!") he probably doesn't even need that to take control of their underground army.
And the thing about all this is that his visions—the ability to see through a tree of possible futures—may just as well be nutty drug-induced hallucinations related to his messiah complex. Paul is a peg of Bene Gesserit design fitting into a hole of Bene Gesserit design. He's a kook and doesn't know it. And, as the Bene Gesserit make very clear to his mother, he is the most easily replaced part of the plan. They've been preparing other pegs that would fit just as well.
The emperor's mistake was not seeing the power of Bene Gesserit long-term planning. Wiping out House Atreides was perfectly reasonable, and went off entirely according to plan.
Thank you for coming to my TED Talk.
Guillermo del Toro is on my list, with Edgar Wright, of filmmakers whose films I will watch no matter what they're about. Nightmare Alley is a beautiful film, in the "every frame a painting" sense. He's a master of the visual side of the artform.
He's not a master, unfortunately, of plot, or structure, or character, and Nightmare Alley left me cold on all of those fronts. There is nothing in the first half of the film to pull the audience into the future; it's just a bunch of things that happen one after the other. When tension finally is created in the second half—there's an endgame with Grindle to drive towards—the stops and starts along the way seem arbitrary and forced. This felt to me like a result of never really establishing either Molly or Ritter as full characters, just obstacles motivated solely by the need to advance the plot. I wonder whether there were a few scenes that ended up on the cutting room floor that could have helped with that.
Not that I would actually endorse putting back any cut scenes; at 150 minutes this is already far too long a film. The trouble is that there are just so many plot points this film needs to get through it's a huge challenge to actually motivate them all. Any one of the acts could have been a (good) two-hour film of its own.
If you want a visually stylish film along these lines, I guess the obvious alternative is The Shape of Water. If you're more interested in the period character study aspect, then I recommend 2006's The Prestige, a good film that seems to have been widely forgotten.
I've read a handful of Murakami novels, and I see the art and appeal of them, but they're not for me: four hundred pages of people experiencing ennui and finally concluding that, you know, life is sad. (Sometimes the characters kill themselves. Finally.) But if that's the kind of thing you enjoy putting yourself through, this is the film for you!
I've already mentioned (several times) that I hate films about film culture, and Drive My Car has that in spades. But I also have another bias: I love it when films take details of niche passions seriously. 1994's Clerks (a bad film) took Star Wars fandom seriously, and 1997's Chasing Amy (an okay film) had a couple of real conversations about making comics, so I can't hate Kevin Smith despite considering him a terrible filmmaker. The long, going-nowhere scenes tracking the minutia of theatre rehearsals in Drive My Car leave me torn. There is zero chance—zero—that any filmmaker would allow such indulgent dives into any other discipline. You'll never see a twenty-minute sequence tracking the emergence of a software architecture or the identification of a programming error, no matter how brilliantly the associated methodology mirrors the philosophy of the film. I'm bewildered that movie folks can't see that double standard. So there's that.
I feel obliged to note that there's an arc on Seinfeld where they make a TV pilot in which a man gets in a car accident and is sentenced to be Jerry's butler. They take this pilot to a bunch of Japanese TV executives, and the executives ask "Is this common in America? For a man to be sentenced to be another man's butler?" Similarly, I must ask: is it common for one visiting artist to get in a car accident, and then for all subsequent visiting artists not to be allowed to drive? Because the film makes it seem like that is a normal thing in Japan. I—a westerner unfamiliar with the exotic customs of The East—do not think that is a normal thing.
And finally: the pacing. The nominees this year include several 150-minute slogs, but pushing past the three-hour mark—for a film with very, very few plot points—is ostentatiously advertising that you're going to take your time. Forty minutes into the film, the opening credits appeared, and I laughed out loud. The car had a sunroof, and they aren't using the sunroof, and they're doing Chekhov, right? So they have to use the sunroof, right? And in the last sequence they used the sunroof, and I cheered. Because when the filmmakers have consciously decided that their goal is to trap an audience in a theatre and deprive them of all joy for three hours, you've got to find your own, auteur's intent be damned.
So it was tedious, and pretentious, and self-absorbed, but at least with this film I'll concede that it was coherent: the digressions and silences and the sheer grinding boredom for its own sake all fed into the theme. They managed to tie it together, and I grudgingly admit that it more or less worked for me.
Could I recommend this film? No. Of course not. Watching it was a terrible experience and I don't feel it enriched my perspective in any way that a dozen more enjoyable works haven't already done. Best film of the year!

redpajama_set_name: RedPajamaCommonCrawl


InterContinental Shanghai Wonderland is located at Sheshan Mountain Range and features quiet luxury, exotic flora and fauna, world class cuisine and warm smiles to make your next holiday or conference visit to Sheshan a welcome escape. We are 30 km from Hongqiao Airport and close to attractions like Sheshan National Park and Chenshan Botanic Gardens. Hotel features 336 luxury guest rooms and suites with panoramic views of Shenkeng Quarry.
On Thursday, November 15, the Intercontinental Shanghai Wonderland Hotel opened its doors to the media.
Carved out of an old rock quarry, the project was at first considered an impossibility since its construction was said to have run counter to basic laws of engineering.
However, the hotel's structural safety has been guaranteed.
There are a total of 336 rooms spread across 17 floors, 15 of which have scenic views of the quarry.
The hotel is set to open to the public on Tuesday, November 20, 2018.


text:
William DeCota, 51, Heralded as Guiding Light of Queens Boy Scouts
Sep 14, 2009 | 9261 views | 0 | 119 | |
Bill DeCota, Queens Boy Scouts Council President and Executive Committee member, passed away suddenly on Friday, September 11, 2009.
DeCota was the Director of Aviation for the Port Authority of NY & NJ and well known as the visionary leader and generous benefactor to the Greater New York Boy Scout Councils. He joined the Queens Council Board of Directors as president in 2000, a role he served in up until his passing. He was selected as a "Top Mover and Shaker" in a 2008 edition of It's Queens - The Magazine, and characterized as a true "workaholic" who loved the aviation industry and a challenge.
"During his tenure as president, he provided instrumental leadership as the council grew in membership, finance, and program delivery to the Scouts in the borough of Queens," said Bill Sullivan, field director for the Queens Boy Scouts Council, on Monday morning. "Bill was very heavily involved in the recruitment of board members and event honorees and was directly or indirectly involved in raising over $9 million for Scouting in New York City. Bill's dedication, passion, and leadership to Scouting will be sorely missed."
DeCota began his career with the Port Authority as a financial analyst in 1982, and became the Director of Aviation in December of 1999. With his special blend of intelligence, humor, and unwavering dedication to his staff and the aviation industry as a whole, DeCota ensured that the Port Authority airport system was one of the most recognized and valued in the nation.
"The news of William DeCota's death brings great sadness," said Queens Borough President Helen Marshall in a statement. "Over the years, we attended many meetings and airport events together. His wealth of knowledge on a multitude of aviation-related issues was immense, but it was his smile and quick sense of humor that endeared him to so many. He worked long and diligently to make the airports in Queens operate as efficiently as possible, while also working with the local communities most affected by airline operations. He will be missed."
"There are people who give you energy and people who take energy from you," said Walter Sanchez, publisher of this paper and DeCota's fellow Queens Boy Scouts Council Executive Committee member. "Bill was someone you always looked forward to being around because he gave energy to the room and found a way to make you feel important. You knew he had a good heart so you wanted to be around him. There are few like him in the world."
DeCota is survived by several nieces, nephews, and cousins, as well as a network of close friends.
Software Copyright © 2020 Sole Solution. Content Copyright © 2020 Queens Ledger. Business listing data provided in part by Localeze.
Queens Ledger - Breaking news, classifieds, businesses, events in Queens, New York. is in Queens, NY


text:
El Estado de Andhra (en telugu: ఆంధ్ర Āndhra [ˈɑːndʰrʌ]) era un estado dentro de la Unión de la India existente desde 1953 hasta 1956. Se originó a partir de las partes del norte del estado de Madrás de habla telugu y se unió en 1956 con la región Telangana del antiguo estado de Hyderabad, creando así el estado de Andhra Pradesh. Después de que Telangana se convirtió en un estado separado en 2014, el actual estado de Andhra Pradesh obtuvo un territorio similar al anterior estado de Andhra. La capital era Kurnool.

Historia

El área de Andhras cayó a finales del siglo XVIII bajo el dominio británico y se incorporó a la presidencia de Madrás, una de las unidades administrativas de la India británica. La presidencia de Madrás era una zona étnica y lingüísticamente homogénea: mientras que en su parte sur se hablaba principalmente tamil, en la parte norte el idioma predominante era el télugu. Durante el período colonial británico, desde la década de 1920 se dieron esfuerzos para unificar las zonas telugu de Madrás. En 1947 se creó el estado de Madrás en el mismo territorio de la presidencia. Después de la independencia de la India, las demandas de crear una zona telugu de nombre Andhra se hicieron más fuertes. En particular, la composición de la ciudad de Madrás (la actual Chennai), en la cual una minoría de telugus vivía junto a una mayoría tamil, se convirtió en un punto de contención. La culminación de la agitación ocurrió con la muerte de Potti Sriramulus, quien murió en Madrás el 16 de diciembre de 1952 después de una huelga de hambre de casi dos meses. El 19 de diciembre, el primer ministro indio Jawaharlal Nehru acordó el establecimiento del estado de Andhra. El 1 de octubre de 1953 se estableció finalmente el estado de Andhra a partir de los once distritos de habla telugu en la parte norte del estado de Madrás. La ciudad de Madrás, sin embargo, siguió perteneciendo al estado homónimo, que más tarde se denominó Tamil Nadu. El distrito de Bellary fue cedido al estado de Mysore, hoy Karnataka, debido a su población predominantemente canarés.

Debido a la modificación de límites, tuvo que ser redefinida la representación parlamentaria de los estados en cuestión. Andhra recibió un parlamento de 140 diputados que eran elegidos en circunscripciones uninominales y se dividieron en 28 grupos para la Lok Sabha. El parlamento de Madrás se vio reducido de 375 a 230 diputados y el número de circunscripciones para el Lok Sabha de 75 a 46. El parlamento de Mysore obtuvo 5 diputados más (104 en lugar de 99) y una circunscripción adicional para el Lok Sabha (12 en lugar de 11). En esta cámara, surgió una nueva relación de los asientos: 12 diputados para Andhra y 18 para Madrás (en lugar de 27). Los diputados titulares que previamente habían sido elegidos en las circunscripciones en el estado de Madrás (en las elecciones al parlamento de Madrás en 1951 y en las elecciones generales de la India 1951), retuvieron más de sus funciones, solo que ahora estaban asociados con los nuevos estados y parlamentos.

La fundación de Andhra fue el primer paso a una reorganización de los estados del sur de India por criterios lingüísticos. Tres años más tarde fue finalmente redactada y promulgada el Acta de Reorganización de los Estados Indios. Como resultado de la reorganización, Andhra se unió el 1 de noviembre de 1956 con la región de Telangana, que comprendía las partes de habla telugu del antiguo estado de Hyderabad, y se creó así el estado de Andhra Pradesh con capital en Hyderabad. En 1960, hubo un ajuste de los límites de menor importancia entre Andhra Pradesh y Madrás. El 2 de junio de 2014 fue separado Telangana de Andhra Pradesh. Así, el área residual de Andhra Pradesh se corresponde en gran medida con el anterior estado de Andhra.

Véase también
 Estados nativos de la India
 Integración política de la India
 Historia territorial de la India
 Andhra Pradesh

Referencias

Bibliografía
 B. P. R. Vithal: A State in Periodic Crises. Andhra Pradesh. Hyderabad 2010.
 A. R. Venkatachalapathy: "'Madras Manade'. How Chennai Remained with Tamil Nadu". In: A. R. Venkatachalapathy (Hrsg.): Chennai not Madras. Perspectives on the City. Mumbai 2006, S. 9–18.

Estados y territorios desaparecidos de India
Andhra Pradesh

redpajama_set_name: RedPajamaWikipedia


text:
Q: Alert on Input focus, which has no class or ID and is within a Div How can I alert a message once the input is focused, of the following HTML code:

    <input autocomplete="off">

This is what I tried but none works:
$(".ss_datesel_inp_cont:input").click(function() {
    alert("focused");
});

// or

$(".ss_datesel_inp_cont:input").focus(function() {
    alert("focused");
});

//or

$(".ss_datesel_inp_cont").find("input").focus(function() {
    alert("focused");
});

A: The :input selector will only work if the the given element is an input (also textarea, select, and others).  The .ss_datesel etc. class is not on the input, it's on the div.  You can simply use a descendant selector instead:
$(".ss_date_etc input").click(function() { alert('focused'); });

However, this will only work if click the input.  If you focus it by tabbing or automatically, the alert won't occur.  Problem is, if you use .focus, alert() steals the focus and then reapplies it in some browsers and you will be stuck in a focus loop.  Here's a simple solution:
$(".ss_date_etc input").focus(function () {
   if (!$(this).data('focused')) {
      $(this).data('focused', true);
      alert('focus!');
   }
});

Note that not all browsers will restore focus after an alert, even if you try to force them to.  You may want to use some alternative to alert, especially because that would be really annoying to users.
You can also update .data('focused') to false on blur so this happens over again.

A: You're going at it wrong with your jQuery selector.  This should work:
$(".ss_datesel_inp_cont input").focus(function() {
    alert("focused");
});

Also, your input is not set up properly...although "text" is the default input type, you should always specify the type on the input:
<input type="text" autocomplete="off" />

Interestingly enough, your third attempt seemed to work in my test.  Good luck.

redpajama_set_name: RedPajamaStackExchange


Places that seem free of restrictions and just about right during location scouting unnecessarily become the most difficult places to shoot. I have always wondered why the local crowd gets paranoid when they see someone with a camera. From security guards shooing us away while in the middle of the shoot, people stopping their vehicles to see what's going on and weird stares of the passers-by- I've experienced it all. Shooting this post unsurprisingly was challenging too when the caretaker of the place just refused to let our camera inside. However, we somehow managed to sneak it in and got some quick shots, not in the places I had planned though.
Featured in this post is this asymmetrical dress and a black neckpiece. Samprada is a store that showcases clothes for modern women with an Indian touch. The store believes in the idea of preserving the textile heritage of the country using the art of hand block printing. I love how the prints have been blended into western wear giving the garments a fusion feel. The store has everything from easy breezy dresses for summers, scarves in beautiful prints, summer jackets to interesting jewelry and knick-knacks. Do check out their website and Facebook page to browse through their collection. You are sure to find a lot of stuff for the season.


Cooking up a delicious treat?
Prep in style with our cute kitchen gadgets! From colorful teaspoons to mushroom-shaped shakers and printed pot holders, our terrific kitchen tools are sure to make cooking extra fun.
Add flair to every meal with our cool kitchen gadgets! Whether you're fixing up a late-night snack or preparing an extravagant feast, our unique kitchen tools are perfect for any culinary creation. Serving fun hors d'oeuvres for a movie night with your besties? Create petite quiches by chopping the ingredients on a floral-print cutting board, then salt and pepper to taste with darling dog-shaped shakers. Next, prepare miniature PBJs with a handy novelty sandwich cutter, and uncork the sparkling apple cider with a robot-shaped corkscrew. Once the girly gathering has ended, wash and set your plates in an elegant dish rack, and pack any leftovers in an adorable retro-style tiffin box. Our cute kitchen gadgets are perfect for any occasion!
Craving a yummy treat? Bake up something sweet with our cool kitchen gadgets! Prep your famous fudge brownies or scrumptious cinnamon streusel by gathering your rainbow-colored mixing bowl set, flower-shaped whisk, and polka dot measuring cups. Then, grab your essential ingredients stored in charming retro sugar canisters. Once your delectable dessert has finished baking, take out your sugary creation with an owl-shaped oven mitt, and untie your matching apron for a job well done!


and to develop strategies aimed at growing your business.
If you're considering using Active Campaign – or if you already use it – you've made a wise choice. As an inbound and content marketing company, we have worked with many marketing automation systems. ActiveCampaign is intuitive, reliable, and has many powerful features found only in more expensive solutions.
As an Active Campaign certified consultant, we're here to help you get the most out of the software. Whether you need help integrating Active Campaign with your website, setting it up, building complete marketing strategies, or just some outside advice, let our experience help you reach your goals.
Our experienced team of Digital Strategists, Content Developers, Social Media Specialists, and Programmers can create and implement a complete marketing strategy designed to meet your business goals.
Most business owners we encounter have an understanding of what Active Campaign and other automated marketing can do but don't have the time or the experience to set these services up correctly in order to achieve the results they are looking for. That's what we do!
As certified consultants of Active Campaign, we have to pass tests as well as pay to be listed on the Active Campaign site as a qualified, certified consulting agency. The reason we offer these services is because we believe that Active Campaign is an extremely valuable tool for growing small and medium-sized businesses.
Let's chat and see if Active Campaign is right for you and what we can do to help you get the most out of it.


text:
Alexa listened to a couple's conversation and sent it to the husband's employee without permission
Carla Sinclair 10:24 am Thu May 24, 2018
A couple in Portland is accusing Alexa of doing exactly what many people have feared she might do. They say she listened in on a conversation and sent it to a random contact of theirs – one of her husband's employees.
The woman, whose name is Danielle but whose last name hasn't been disclosed, says that two weeks ago she got a call from her husband's employee, who said, "Unplug your Alexa devices right now. You're being hacked."
According to KIRO-7 in Seattle:
"We unplugged all of them and he proceeded to tell us that he had received audio files of recordings from inside our house," she said. "At first, my husband was, like, 'no you didn't!' And the (recipient of the message) said 'You sat there talking about hardwood floors.' And we said, 'oh gosh, you really did hear us.'"
Danielle listened to the conversation when it was sent back to her, and she couldn't believe someone 176 miles away heard it too.
"I felt invaded," she said. "A total privacy invasion. Immediately I said, 'I'm never plugging that device in again, because I can't trust it.'"
Danielle says an Amazon engineer investigated.
"They said 'our engineers went through your logs, and they saw exactly what you told us, they saw exactly what you said happened, and we're sorry.' He apologized like 15 times in a matter of 30 minutes and he said we really appreciate you bringing this to our attention, this is something we need to fix!"
When KIRO-7 questioned Amazon, they responded with this: "Amazon takes privacy very seriously. We investigated what happened and determined this was an extremely rare occurrence. We are taking steps to avoid this from happening in the future."
Image: QuoteCatalog/Flickr
spies amongst us
Easy ways to use Alexa just to mess with your children
My colleague Jon Chase has a great new piece up on Wirecutter detailing some of the delightful ways he's found to lean into his Dad Joke-ness and use Alexa to screw with his kids: I happen to be content with the number of times I've heard the song "Baby Shark," and I feel no need… READ THE REST
2019 was the year of voice assistant privacy dumpster fires
2019 was the "I Told You So" year for privacy advocates and voice assistants: the year in which every company that wanted you to trust them to put an always-on mic in the most intimate places in your home was revealed to have allowed thousands of low-waged contractors to listen in on millions of clips,… READ THE REST
It's dismayingly easy to make an app that turns a smart-speaker into a password-stealing listening device and sneak it past the manufacturer's security checks
German security researchers from Security Research Lab created a suite of apps for Google and Amazon smart speakers that did trivial things for their users, appeared to finish and go dormant, but which actually stayed in listening mode, then phished the user for passwords spoken aloud to exfiltrate to a malicious actor; all their apps… READ THE REST
With this book summary app, you can read an entire best-selling book in 4 minutes
It's a sad fact of modern life. Most people just don't read anymore. And, for those who do make the effort to dive into a new book once in a while, life's busy nature probably means it could take several days, to a few weeks, to maybe even a month or two to finally complete… READ THE REST
The PURO²XYGEN P500 Air Purifier makes sure your air is healthy and breathable
Once upon a time, air purifiers were mostly only found in the homes of the elderly, the environmentally sensitive, and the all-out germaphobe. Of course, after 2020, there's been renewed attention paid to everything that wafts through the air in everyone's homes and office spaces. Where health is concerned, nobody is skimping now. That massive… READ THE REST
This bioluminescent orb glows every night – and will keep you utterly transfixed
Bioluminescence is one of those products of nature that truly makes the average person step back and marvel at the absolute wonder of our world. Found in many types of aquatic life, science explains it as molecules in the body of a living organism that produce light, often when exposed to oxygen. While it may… READ THE REST


Neuro 2 is the smallest ever cochlear implant sound processor. It sets new aesthetic standards with an organic shape that is discreet and comfortable for everyone, including children and people who wear glasses. Its design is characterized by an attention to detail that gives outstanding sound quality, reliability, and usability, as well as the impressive IP68 rating. Features like the voice-activated system check let users check if their sound processor is working by simply asking, "How are you? Neuro 2 is available with a wealth of accessories to enable people of all ages and lifestyles to live life to the full.


Finnish telecommunications giant Nokia and property group Futureal opened a new office building in Budapest called Skypark. Over 2000 Nokia workers will work in Skypark, and the office was officially opened by Hungary's foreign minister Péter Szijjártó. Skypark is now technically the home of Nokia's IT and R&D center in Hungary, and will cost the company €64 million over a lease period of 10 years.
Last week, Nokia also opened a new Office in Sao Paulo, Brazil, which we reported here. More in detail about the new Skypark office can be found here. Historically, Nokia had a strong presence in Hungary, with many phones being manufactured in the city of Komarom, including few batches of Nokia X. Nokia closed most of its factories in Europe in the period between 2009 and 2012, with the factory of Komarom technically being closed by Microsoft in 2014, firing 18,000 people.
If you want to know more about Nokia's factories today, you can find it here, in the annual report.


text:
Ebraheim, Abd El Hadi N, Institute of Statistical Studies & Research, Cairo University, Egypt
Ebraheim, Abd El Hadi N, nstitute of Statistical Studies & Research, Cairo University, Egypt
Ebraheim, Abd El Hadi N., Department of Statistics, Mathematics and Insurance, Benha University, Egypt dr.hadi@cu.edu.eg
Ebrahimi, Naser, Department of Accounting and Management, Zanjan Branch, Islamic Azad University, Zanjan, Iran
Edogbanya, Helen Olaronke, Department of Mathematical Sciences, Federal University Lokoja, Kogi State, Nigeria
Eghwerido, Joseph Thomas, FEDERAL UNIVERSITY OF PETROLEUM RESOURCES, EFFURUN
Eideh, Abdulhakeem, Al-Quds University
Eideh, Abdulhakeem A.H., Al-Quds University
Eideh, Abdulhakeem Abdulhay, Al-Quds University
EKHOSUEHI, Virtue Uwabomwen, University of Benin, Benin City, Nigeria.
Ekpenyong, Emmanuel John, Department of Mathematics/Statistics/Computer Science, Michael Okpara University of Agriculture, Umudike
El Attar, Abderrahim, Department of Mathematics Mohamed V University, Faculty of Sciences-Rabat, Morocco
El Gebaly, Yehia M., Department of Statistics, Faculty of Commerce, Benha University, Egypt.
El Gebaly, Yehia M., Department of Statistics, Mathematics and Insurance, Benha University, Egypt
El Hachloufi, Mostafa, Department of Statistics and Mathematics Applied to Economics and Management Faculty of Juridical Sciences, Economic and Social-Ain Sebaa, Morocco
El Haroun, Neema Mohamed, Mathematical Statistics
EL-Din, M.M. Mohie, Department of Mathematics, Faculty of Education, Ain Shams University, Cairo, Egypt.
EL-Faheem, A. A., Department of Mathematics, Faculty of Science, Aswan University, Egypt
El-Habil, Abdalla M, Associate Professor Department of Applied Statistics, Faculty of Economics and Administrative Sciences, Al-Azhar University, Gaza - Palestine
EL-Helbawy, Abeer Abd-Alla, Statistics Department, Faculty of Commerce, AL-Azhar University (Girls' Branch)
El-Raheem, A. M. Abd, Department of Mathematics, Faculty of Education Ain Shams University, Cairo, Egypt
EL-Sherbeny, M. Salah
Elbatal, I., 1. Department of Mathematics and Statistics, Al Imam Mohammad Ibn Saud Islamic University (IMSIU), Saudi Arabia 2. Institute of Statistical Studies and Research Department of Mathematical Statistics, Cairo University, Egypt
Elbatal, I., Department of Mathematics and Statistics, Al Imam Mohammad Ibn Saud Islamic University, Saudi Arabia
Elbatal, Ibrahim
Elbatal, Ibrahim, 1. Department of Mathematics and Statistics, Al Imam Mohammad Ibn Saud Islamic University (IMSIU), Saudi Arabia 2. Institute of Statistical Studies and Research Department of Mathematical Statistics, Cairo University, Egypt
Elbatal, Ibrahim, Institute of Statistical Studies and Research Department of Mathematical Statistics, Cairo University
Elbatal, Ibrahim, Department of Mathematics and Statistics - College of Science Al Imam Mohammad Ibn Saud Islamic University, Saudi Arabia	(Saudi Arabia)
Elbatal, Ibrahim, Department of Mathematics and Statistics-College of Science. Imam Mohammad Ibn Saud Islamic University (IMSIU)-Saudi Arabia
Elgarhy, M., Valley High Institute for Management Finance and Information Systems, Obour, Qaliubia 11828, Egypt
Elgarhy, Mohammed Abd Ellattif, Vice Presidency for Graduate Studies and Scientific Research, Jeddah University. Institute of Statistical Studies and Research (ISSR). Cairo University, Department of Mathematical Statistics.
Elgohari, Hanaa, Department of applied statistics, Faculty of commerce, Mansoura University, Egypt
Elrazik, Enayat M. Abd, College of Business Administration, Yanbu Department of MIS, Taibah University, Saudi Arabia Department of Statistics, Mathematics and Insurance Benha University, Egypt
Elsayed, Hisham Abdel Hamid, Ain Shams University
Elsehetry, Ahmed
Elshahat, Adel Tawfik, egyptian
Elshahhat, Ahmed
ElSherbini, Elsayed Ahmed, Cairo University Institute of Statistical Studies and research (ISSR)
Elsherpieny, Elsayed Ahmed, Mathematical Statistics, Cairo University Institute of Statistical Studies and Research, Giza, Egypt
ElSherpieny, Elsayed Ahmed, Cairo University Institute of Statistical Studies and Research (ISSR)
Erdugan, Funda
Erisoglu, Ulku, Eskişehir Technical University, Engineering Faculty, Department of Industrial Engineering, Eskişehir, 2655, Turkey
Esar, Saira Esar, University of The Punjab
Eskandarzadeh, Maryam
Esmaeili, Hamid, Department of Statistics, Factually of Sciences Persian Gulf University, Bushehr 75168, Iran


My brother stayed over a few weeks ago and, as a small payment for his lodgings brought a couple of rather nice whiskies with him for me to try.
The Octomore 6.1 by Bruichladdich is the sixth edition of their 'super heavily peated' whisky range. At 5 years old, 167ppm and 57% ABV it's not exactly aperitif material but I was interested to see whether it was actually a pleasant drink or simply style over substance.
Smoky, but not as much as you might expect. Slightly medicinal with cereal sweetness. Quite a dry, fresh smell overall.
Undiluted, the smoke is very intense – ash takes over then moves aside to reveal some sweetness. Dry finish. There is more in there, but it's completely overpowered by the smoke.
Adding water changes everything. The fresh smoothness which was in the nose appears and although there is still plenty of smoke everything seems to be more balanced. Fruit and a little spice comes through in the finish and despite my opening statement, this could actually sit quite well before a meal.
Overall, there is a bit more complexity in this than you'd expect from such a young, peated whisky. It's still pretty raw though.
An interesting whisky which is definitely worth a taste if you get the chance. I'm not a smokehead by any means and my fear was that the 'super peating' would make this pretty unpleasant. Neat it's too much for my tastes, but with water I actually really enjoyed it. It's not got the complexity of say, the Ardbog, however it definitely holds it's own.
Would I buy a bottle? At almost £100 probably not, but that's simply because there are so many good whiskies at that level to choose from. That said, if you like peated whisky and want to try something a bit different you could do a whole lot worse than this.


text:
UD hosts virtual town hall to discuss vaccine concerns
May 21, 2021 May 21, 2021 Kaitlin Lewis
Concerns over the coronavirus vaccine raised by UD students and parents were addressed by a panel of experts Thursday evening. Photo courtesy of Pixabay.com
Zoë Hill
An expert panel of doctors addressed parent and student concerns Thursday evening surrounding the COVID-19 vaccine and the university's summer vaccination goal.
The panel consisted of Dr. Mary Buchwalder, the UD Student Health Center medical director, Dr. Steven Burdette, UD COVID-19 medical advisory panel chair, and Dr. Roberto Colon, Miami Valley Hospital associate chief medical officer. The virtual webinar event was moderated by UD associate vice president of audit, risk and compliance and chief risk officer Robin Oldfield.
UD announced via email to students and parents on May 5 the university's goal to vaccinate 70% of the student body this summer. The goal, which UD is calling the Build Immunity in Our Community challenge, hopes to reach this benchmark by July 1, according to the university's announcement.
"There is no magic number [for vaccinations] when it comes to this new virus," Buchwalder said. "We are looking for 70% documentation."
The 70% goal is lower than some expert recommendations, but Buchwalder predicts that a portion of vaccinated students will neglect to report their record to the university, leading to a greater number actually being vaccinated. The university is optimistic that the campus community will meet its goal, Oldfield said.
Last fall, all students were required to get their flu shot, but UD does not currently have plans to mandate the COVID-19 vaccine for students. It is highly recommended that all students get the shot in order to build community immunity. Oldfield said the current student vaccination level is at about 33%.
For students who choose not to get the Covid-19 vaccine, the university plans to continue its ongoing surveillance testing and contact tracing protocols.
Buchwalder, along with Burdette and Colon, also answered general questions about vaccinations and transmission of Covid-19.
For people concerned about the emergency authorization of the vaccine, Burdette explained that Pfizer, Moderna and Johnson & Johnson conducted three phases of testing with thousands of participants and produced very similar results across all three vaccines. The speed of the testing can be attributed to the massive waves of willing participants for the trials that typically take months to years to secure, Burdette said. He also confirmed people who were previously infected with the virus can shed non-infectious particles several months after recovering. This can lead to fully vaccinated people testing positive for Covid-19 without actively having the virus.
"The vaccine is proven safe, does not alter DNA and does not cause infertility," Colon said as he reassured parents and students attending the town hall. He also explained that those who have antibodies from contracting the virus still need to get vaccinated because it protects against more variants and lasts longer than natural immunity.
Another concern of the campus community is the use of aborted fetus cells in the manufacturing of the vaccine. All three of the approved vaccine companies have used fetal cell lines in testing or production, but Buchwalder explained that these cell lines are copies of fetus cells from decades-old abortions and no actual fetus cells are distributed through the vaccine. She assured that due to the ongoing health crisis and the remote connection to these abortions, getting vaccinated is morally justified.
Beginning on June 1, the UD website will display the percentage of students who have documented their vaccination. Progress towards the campus immunization goal will help set guidelines for the upcoming fall semester and contribute to loosening regulations for students on campus, Oldfield said. These plans are expected to be communicated to parents and students in July.
For more campus news, like Flyer News on Facebook and follow us on Twitter (@FlyerNews) and Instagram (@flyernews).
← Fjeldberg signs first professional contract with FC Cincinnati
Flyers men's basketball joins impressive field at 2021 ESPN Events Invitational →


text:
function sum(array){
  return array.reduce(function(sum, x) {
    return sum + x;
  });
};
// As a user, I want to know the total of all my numbers.

function mean(array){
  return (sum(array)/(array.length));
};
// As a user, I want to know the average of a group of numbers.

function median(array){
  array.sort(function(a, b){return a-b});
  var midIndex = array.length / 2;
  if (array.length % 2 === 0){
    return (array[midIndex] + array[(midIndex - 1)])/2;
  } else {
    return array[Math.floor(midIndex)];
  }
};

//As a user, I want to know the number that is exactly halfway in my dataset.

redpajama_set_name: RedPajamaGithub


Looking for the Best Roadside Assistance in Reklaw,Texas?
Reklaw, Texas – This post is about how to receive the best roadside service in Reklaw, Texas. Since you are a commuter in Reklaw, Motor Club of America would like to save you bucks on the roadside assistance that you're searching for. We also want to give you more than that.
Why pay upwards of $80 when you need a tow? Why should you have to find the closest gas station when you run out of gas? You shouldn't have to look for a locksmith when you lock your keys in the car. At Motor Club of America, we will control it for you.
Wouldn't it be terrific to be worry free on the road? Wouldn't it be perfect not to have to pay out of pocket when life decides to be difficult? Wouldn't it be heartening to have someone check on you until you get back on the road?
Be sure to read this entire post to learn how you (a Reklaw, Texas commuter) can save on roadside assistance without being stuck in a contract. This post will explain to you how you can be assured while driving throughout the USA and Canada.
You want reasonably priced, yet above average roadside service. As a Reklaw commuter, you are entitled to much more than getting left on the road or paying excess a high amount for everyday incidents. It's not your fault if your car stops in the middle of the road or if your battery goes out. However, as a Reklaw, Texas commuter, you deserve assistance 24/7. You need one less thing to worry about.
There's nothing more unfortunate than your vehicle not starting, running out of fuel, or locking your keys in the car. You don't want to get stuck in Reklaw. When you run into trouble while out and about, you have to find and if you don't know anybody that could help you then you will have to pay.
You need to feel safe on the road and the best way to feel safe while driving without paying a fortune is to have a Motor Club of America roadside assistance membership. Instead of paying out of pocket each time something happens, let us handle it. You can call us when you want assistance and we will send the best consultant for your needs to come assist you as soon as possible.
Motor Club of America loves the people of Reklaw,Texas. You won't to worry about trusting reviews for local service providers or being overly charged.
We are a roadside service company that delivers emergency coverage across the U.S. and Canada. No matter if you're in Reklaw, Texas, or out of town, you can give us a call at anytime of the day and we will help you. Our roadside assistance plans include: emergency towing (up to one hundred miles), battery jump start, gas delivery, and lock-out service.
Have you heard that our services are unlimited? Yes, we won't put a limit on the number of times you can ask for help. After all, life is unpredictable so we won't try to predict how many times that you will need roadside assistance.
MCA has provided roadside service since 1926. We like to consider our Company the original roadside service company. We partnered with the top respected businesses in the world like: Planet Hollywood, Ramada Inn, Hertz, Howard Johnson, JCP Optical, Enterprise, Avis, Walmart Vision Center, Lenscrafters, Motel 6, and more. We have a B rating with the BBB as well.
As we stated before, our plans aren't locked into an yearly contract. When you join, you are only required to pay your first and last month installment for your plan. For example, our Total Security Plan is $19.95. Upon joining, you will pay $39.10 for your first & last month installment. However, today is your lucky day. By being a driver in Reklaw, Texas and stumbling on this page, you can join at the $14.95 price tag directly from this page. That means it will only cost you $14.95 monthly and $29.90 to sign up today. You will get the same amazing discounts and service.
By joining the MCA family, you won't risk anything. Our memberships are contract free.. Your plan is on a month to month basis. If you aren't 100% pleased with your experience then you can give us a call and cancel your membership without a cancellation payment. If you cancel within the first thirty days, you will receive a partial refund.
MCA is affiliated with the most reliable across the U.S. and Canada. Reklaw, Texas is no exception. Seeing how Motor Club of America is way more than a roadside assistance company, we have partnered with the best in your region to bring you top quality service in each membership feature.
What does that mean? When you need your vehicle towed then you call our toll free number and we will get in contact with our nearest, most experienced, affiliate to assist you. We will pay them as well. It will be the same for battery jump, fuel delivery, etc..
Join today to make sure you get locked in at the $9.95 price. You will receive a introduction email from us soon with all of the details about your new membership plan. You will also be sent your discount card via postal mail within 7 to 10 business days.


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;
using System.Threading.Tasks;
using Himmelsk.Social.Api.Core.Common;
using Himmelsk.Social.Api.Core.Facebook.Results;
using Himmelsk.Social.Api.Core.LinkedIn.Commands;

namespace Himmelsk.Social.Api.Core.Facebook.Commands {
    class GetAccessTokenCommand : AbstractFacebookCommand<string> {
        public string AppId { get; set; }
        public string AppSecret { get; set; }

        public override CommandVerb Verb {
            get { return CommandVerb.Get; }
        }

        public override void RegisterParameters(LinkedIn.Commands.IParameterRegisterer registerer) {
            registerer.RegisterGet("client_id", this.AppId);
            registerer.RegisterGet("client_secret", this.AppSecret);
            registerer.RegisterGet("grant_type", "client_credentials");
        }

        public override string BaseUrl {
            get { return "https://graph.facebook.com/oauth/access_token"; }
        }
    }
}


text:
/*
 *    GtkMapPlotter.cpp
 *
 */
#include "GtkMapPlotter.h"

#include "MC2SimpleString.h"
#include <stdio.h>
#include "PixelBox.h"
#include "GdkPixbufImageSpec.h"
#include <algorithm>
#include "MC2Point.h"
#include "Utility.h"
#include "TrigUtil.h"

#include "FontSpecInternal.h"

using namespace isab;

/// for debug
ostream &operator << (ostream &out, const isab::Rectangle &rect) {
   out<<"( "<<rect.getX()<<", "<<rect.getY()<<", "<<rect.getWidth()<<", "<<rect.getHeight()<<" )";
   return out;
}

/**
 * Get UTF-8 substring from an UTF-8 string
 * @param str utf-8 string
 * @param start start index
 * @param length of sub string
 * @return allocated utf-8 sub string
 */
char *subStringUTF8(const char *str, int startIdx, int length) {

   gchar *start = g_utf8_offset_to_pointer( str, startIdx );
   gchar *end = g_utf8_offset_to_pointer( str, startIdx + length );

   char *subText = new char[end - start + 2]; // +2 for some extra safety :P
   memset(subText, 0, end - start + 2);
   return g_utf8_strncpy( subText, start, length);

}
/**
 *
 */
static void getTextSize( PangoLayout *layout,
                         const char *str,
                         int &width, int &height )
{
   if(layout == NULL){
      return;
   }
   // std::cout << "GET_TEXT_SIZE" << std::endl;
   pango_layout_set_text( layout, str, -1 );
   pango_layout_get_pixel_size( layout, &width, &height );
}

GtkPointVector::GtkPointVector(int size)
{
   m_points.reserve(size);
   m_allocatedSize = size;
}

GtkPointVector::~GtkPointVector()
{

}

void
GtkPointVector::addPoint(int x, int y)
{
   GdkPoint p;
   p.x = x;
   p.y = y;
   m_points.push_back( p );
}

class ToGDKPointConverter {
public:
   GdkPoint operator()( const pair<int, int>& inpair ) const {
      GdkPoint p;
      p.x = inpair.first;
      p.y = inpair.second;
      return p;
   }
};

void
GtkPointVector::setPoints( const vector<MC2Point>& points)
{
   m_points.clear();
   m_points.reserve( points.size() );
   GdkPoint p;
   for( vector<MC2Point>::const_iterator it = points.begin();
        it != points.end();
        ++it ) {
      p.x = it->getX();
      p.y = it->getY();
      m_points.push_back(p);
   }

}

int
GtkPointVector::getSize() const
{
   return m_points.size();
}

int
GtkPointVector::getAllocatedSize() const
{
   return m_allocatedSize;
}

void
GtkPointVector::reset()
{
   m_points.clear();
}

const vector<GdkPoint>&
GtkPointVector::getPoints() const
{
   return m_points;
}

// --- The GtkMapPlotter

GtkMapPlotter::GtkMapPlotter(GtkWidget* widget)
   : m_widget( widget),
     m_window( NULL ),
     m_gc( NULL ),
     m_pixmap( 0 ),
     m_plotCoordinates( false )

{
   if (m_widget != NULL && m_widget->window != NULL) {
      m_window = m_widget->window;
      m_gc = gdk_gc_new(m_window);
   }

   m_defaultFont = new GtkPlotterFont(getFontName());

   m_cgc = NULL;
   m_layout = NULL;
}

GtkMapPlotter::~GtkMapPlotter()
{
   delete m_defaultFont;
   releaseFonts();

   g_object_unref( m_layout );
   if (m_gc) {
      g_object_unref( m_gc );
   }
   g_object_unref( m_pixmap );
}

void GtkMapPlotter::prepareDrawing()
{
   m_window = m_widget->window;
   // Create the pixmap
   gint width, height;
   gdk_drawable_get_size( m_window, &width, &height );
   gint depth = gdk_drawable_get_depth( m_window );

   // note: do we really need to recreate pixmap/gc each time?
   // seem like it could be done once in constructor and then
   // recreate if window size != pixmap size
   if(m_cgc) {
      g_object_unref(m_layout);
      cairo_destroy(m_cgc);
   }

   if (m_pixmap != NULL) {
      g_object_unref( m_pixmap );
   }
   m_pixmap = gdk_pixmap_new( m_window, width, height, depth );
   MC2_ASSERT(m_pixmap != NULL);

   if (m_gc != NULL) {
      g_object_unref( m_gc );
   }

   m_gc = gdk_gc_new( m_pixmap );
   MC2_ASSERT(m_gc != NULL);

   m_cgc = gdk_cairo_create(m_pixmap);
   MC2_ASSERT(m_cgc != NULL);

   m_layout = pango_cairo_create_layout (m_cgc);
   MC2_ASSERT(m_layout != NULL);

   // set front
   pango_layout_set_font_description( m_layout,
                                      m_defaultFont->m_fontDesc );
}

void GtkMapPlotter::triggerApplicationRedraw()
{
   m_window = m_widget->window;
   GdkRegion* region = gdk_drawable_get_visible_region( m_window );

   gdk_window_invalidate_region( m_window, region, true );

   gdk_window_process_all_updates();
}

void GtkMapPlotter::renderTo( GdkGC* gc, GdkRectangle* rect ) {
   m_window = m_widget->window;
   if ( m_pixmap != NULL ) {
      gdk_draw_drawable( m_window, gc, m_pixmap,
                         0, 0, 0, 0, // no offset
                         -1, -1); // draw entire pixmap

   }
}

void GtkMapPlotter::clearScreen()
{
   // If m_gc is NULL, then we can not draw anything
   if(m_gc == NULL) {
      return;
   }
   gdk_gc_set_foreground( m_gc, &m_backColor );
   gdk_draw_rectangle( m_pixmap, m_gc,
                       true,  // filled
                       0, 0, -1, -1 );
   gdk_gc_set_foreground( m_gc, &m_penColor );

}

bool
GtkMapPlotter::isVisible() const
{
   const_cast<GtkMapPlotter*>(this)->m_window = m_widget->window;
   if (m_window == NULL) {
      return false;
   }

   // This macro only seems to work on device.
   // It always returns true for simulator.
   return GTK_WIDGET_VISIBLE(m_widget);

   // For simulator, this method seems to work:
//   return gdk_window_is_visible(m_window);
}

void
GtkMapPlotter::allocColor(GdkColor &theColor,
                          unsigned int red,
                          unsigned int green,
                          unsigned int blue)
{
   if(m_pixmap == NULL) {
      return;
   }
   // transform range from 0-255 to 0-65535
   theColor.red = static_cast<int>(red/ 256.0 * 0xFFFF);
   theColor.green = static_cast<int>(green / 256.0 * 0xFFFF);
   theColor.blue = static_cast<int>(blue / 256.0 * 0xFFFF);

   // allocate color
   GdkColormap *colormap = gdk_drawable_get_colormap( m_pixmap );
   gdk_colormap_alloc_color( colormap, &theColor,
                             true, // color is writable, can be changed with gdk_color_change
                             true ); // try to match the color if allocation failed

}

void
GtkMapPlotter::setBackgroundColor( unsigned int red,
                                   unsigned int green,
                                   unsigned int blue )
{
   // If m_gc is NULL, then we can not draw anything
   if(m_gc == NULL) {
      return;
   }
   allocColor(m_backColor, red, green, blue);
   gdk_gc_set_background(m_gc, &m_backColor);
}

void
GtkMapPlotter::setFillColor( unsigned int red,
                             unsigned int green,
                             unsigned int blue )
{
   allocColor(m_fillColor, red, green, blue);
}

void
GtkMapPlotter::setPenColor( unsigned int red,
                            unsigned int green,
                            unsigned int blue )
{
   allocColor(m_penColor, red, green, blue);
}

void
GtkMapPlotter::setFont( const STRING& fontName, int size )
{
   m_fontName = fontName;
}

const char*
GtkMapPlotter::getFontName() const
{
   // override default font

#ifdef __linux__
   static const char font[] = "Times Slant 10";
#else
   static const char font[] = "Times Slant 8";
#endif
   return font;
   //return m_fontName.c_str();
}

STRING*
GtkMapPlotter::createString( const char* text)
{
   char** ptr = new char*[1];
   ptr[ 0 ] = new char[ strlen( text ) + 1 ];
   strcpy( ptr[ 0 ], text );
   return ptr;
}

void
GtkMapPlotter::cropString(STRING& text, unsigned int maxWidth)
{
   char* start = text;
   // We assumes that the characater period is one byte in utf8
   int numChars = g_utf8_strlen(text, -1);
   if (numChars <= 3) {
      // To small to crop
      return;
   }
   char* lastChar = g_utf8_offset_to_pointer(text, numChars - 1);
   char* end = NULL;

   // Go back two chars
   char* prev = g_utf8_prev_char(lastChar);
   prev = g_utf8_prev_char(prev);

   // Get a pointer to the prev
   char* tmp = NULL;

   isab::Rectangle strRect;
   do {
      prev = g_utf8_prev_char(prev);
      if (prev == start) {
         // We are already on the first char in the string, cant continue.
         return;
      }
      tmp = prev;

      *tmp++ = '.';
      *tmp++ = '.';
      *tmp++ = '.';

      // Set the end to point to three chars after prev and add null terminator
      end = prev + 3;
      *end = '\0';

      // Get the new width of the string and see if it is small enough
      strRect = getTextDimensions(text);
   } while (strRect.getWidth() > maxWidth);
}

void
GtkMapPlotter::deleteString( STRING* str )
{
   delete [] *str;
   delete [] str;
}

int
GtkMapPlotter::getStringLength( const STRING& text )
{
   return g_utf8_strlen( text, -1 );
}

isab::Rectangle
GtkMapPlotter::getStringAsRectangle( const STRING& text,
                                     const MC2Point& center,
                                     int startIdx,
                                     int nbrChars,
                                     float angle )
{

   if( nbrChars == -1 ) {
      nbrChars = getStringLength( text );
   }

   MC2_ASSERT( nbrChars!=0 );

   // get sub string from utf-8
   char *subText = subStringUTF8(text, startIdx, nbrChars);

   int width, height;
   getTextSize( m_layout, subText, width, height );

   int safeSize =
      static_cast<int>( sqrt( width * width + height * height ) + 0.5 );

   delete[] subText;

   return isab::Rectangle( center.getX() - safeSize / 2,
                           center.getY() - safeSize / 2,
                           safeSize, safeSize );
}

int
GtkMapPlotter::getStringAsRectangles( vector<isab::Rectangle>& boxes,
                                      const STRING& text,
                                      const MC2Point& center,
                                      int startIdx,
                                      int nbrChars,
                                      float angle )
{

   if( nbrChars == -1 ){
      nbrChars = getStringLength( text );
   }

   MC2_ASSERT( nbrChars!=0 );

   // Get pixel size of substring
   char *subText = subStringUTF8( text, startIdx, nbrChars );
   int widthOfString, heightOfString;
   getTextSize( m_layout, subText, widthOfString, heightOfString );

   delete[] subText;

   int halfWidthOfString = widthOfString >> 1;
   // waruns angle goes ccw and we wants it cw so thats why we do -.
   angle = -angle;

   double radAngle = ( angle / 180.0 ) * M_PI;
   double xDiff = cos( radAngle ) * halfWidthOfString;
   double yDiff = sin( radAngle ) * halfWidthOfString;
   int p1x = (int)(center.getX() - xDiff );
   int p1y = (int)(center.getY() - yDiff );
   int p2x = (int)(center.getX() + xDiff );
   int p2y = (int)(center.getY() + yDiff );
   for ( int i = startIdx; i < startIdx + nbrChars; i++ ) {
      double diffFactor =
         ( ( i - startIdx + 0.5 ) / (double)nbrChars );
      mc2dbg4 << "diffFactor " << diffFactor << endl;
      MC2Point posOfSubString(
         (int)(p1x * (1 - diffFactor) + p2x * diffFactor),
         (int)(p1y * (1 - diffFactor) + p2y * diffFactor) );

      boxes.push_back( getStringAsRectangle( text,
                                             posOfSubString, i, 1, angle ) );
   }
   return nbrChars;
}

void
GtkMapPlotter::drawText( const STRING& text,
                         const MC2Point& center,
                         int startIdx,
                         int nbrChars,
                         float angle )
{
   // If m_cgc, m_gc or m_layout is NULL, then we can not draw anything.
   if(m_cgc == NULL || m_gc == NULL || m_layout == NULL) {
      return;
   }

   int char_length = 0;

   int startIndex = startIdx;
   int endIndex = startIdx + nbrChars;

   if( startIndex == endIndex || endIndex == -1) {
      char_length = g_utf8_strlen( text, -1 );
      pango_layout_set_text( m_layout, text, - 1 );
   } else {
      // text iterator, get start
      char *text_i = g_utf8_offset_to_pointer( text, startIndex );

      const char *endOfString = g_utf8_offset_to_pointer( text_i,
                                                          endIndex - startIndex );
      // length of first utf-8 character
      char_length = g_utf8_strlen( text_i, endOfString - text_i );

      pango_layout_set_text( m_layout,
                             text_i,
                             endOfString - text_i );
   }

   int width, height;

   cairo_save(m_cgc);
   // cairo_set_source_rgb (m_cgc, 0.0, 0.0, 0.0);
   cairo_set_source_rgb (m_cgc,
                         double(m_penColor.red) / 65535,
                         double(m_penColor.green) / 65535,
                         double(m_penColor.blue) / 65535);
   pango_cairo_update_layout (m_cgc, m_layout);
   pango_layout_get_pixel_size (m_layout, &width, &height);

   cairo_identity_matrix(m_cgc);

   cairo_translate(m_cgc, center.getX(), center.getY());
   cairo_rotate(m_cgc, TrigUtil::deg2rad(-angle));
   cairo_translate(m_cgc, -width/2, -height/2);

   pango_cairo_show_layout (m_cgc, m_layout);
   cairo_restore(m_cgc);
}

bool
GtkMapPlotter::returnsVisibleSizeOfBitmaps() const
{
   // Actually, the visible size of bitmaps are not used,
   // however we really want the tip of the bitmap to be pointing at
   // the correct spot, at the expense of using too large overlap boxes.
   return true;
}

void
GtkMapPlotter::plotCoordinates( vector<MC2Point>::const_iterator begin,
                                vector<MC2Point>::const_iterator end )
{
   // If m_gc is NULL, then we can not draw anything
   if(m_gc == NULL) {
      return;
   }
   GdkColor red;
   allocColor(red, 0xFF, 0, 0);
   gdk_gc_set_foreground( m_gc, &red );

   int offset = 2;
   int rectSize = offset << 1;
   for ( vector<MC2Point>::const_iterator it = begin;
         it != end;
         ++it ) {
      gdk_draw_rectangle( m_pixmap, m_gc,
                          true, // filled
                          it->getX()-offset,
                          it->getY()-offset,
                          rectSize, rectSize );
   }

   gdk_gc_set_foreground( m_gc, &m_penColor );
}

#define QUICK_AND_DIRTY

void
GtkMapPlotter::drawPolySomething( vector<MC2Point>::const_iterator begin,
                                  vector<MC2Point>::const_iterator end,
                                  bool filled)
{
   // If m_gc is NULL, then we can not draw anything
   if(m_gc == NULL) {
      return;
   }
   int npoints = end - begin;

#ifdef QUICK_AND_DIRTY
   MC2Point* tmpPtr = const_cast<MC2Point*>(&(*begin));
   GdkPoint* gdkPoints = reinterpret_cast<GdkPoint*>(tmpPtr);
#else
   GdkPoint* gdkPoints = new GdkPoint[npoints];
   int i = 0;
   GdkPoint tmppoint;
   for ( vector<MC2Point>::const_iterator it = begin;
         it != end;
         ++it ) {
      tmppoint.x = it->getX();
      tmppoint.y = it->getY();
      gdkPoints[i++] = tmppoint;
   }
#endif

   if ( ! filled ) {
      gdk_draw_lines( m_pixmap, m_gc, gdkPoints, npoints );
   } else {
      gdk_draw_polygon( m_pixmap, m_gc,
                        true, // filled
                        gdkPoints, npoints );
   }

#ifndef QUICK_AND_DIRTY
    delete[] gdkPoints;
#endif

   if ( m_plotCoordinates ) {
      plotCoordinates( begin, end );
   }

}

void
GtkMapPlotter::drawPolyLine( vector<MC2Point>::const_iterator begin,
                             vector<MC2Point>::const_iterator end )

{
   // If m_gc is NULL, then we can not draw anything
   if(m_gc == NULL) {
      return;
   }
   gdk_gc_set_foreground( m_gc, &m_penColor);

   drawPolySomething( begin, end, false );
}

void
GtkMapPlotter::drawPolygon( vector<MC2Point>::const_iterator begin,
                            vector<MC2Point>::const_iterator end )
{
   // If m_gc is NULL, then we can not draw anything
   if(m_gc == NULL) {
      return;
   }
   gdk_gc_set_foreground( m_gc, &m_fillColor);

   drawPolySomething( begin, end, true );
}

void
GtkMapPlotter::getMapSizePixels(isab::Rectangle& size) const
{
   const_cast<GtkMapPlotter*>(this)->m_window = m_widget->window;
   if (m_window == NULL) {
      // note: Investigate when and if this happens
      size = Rectangle( 0, 0, 300, 300 );
      return;
   }
   gint width, height;
   gdk_drawable_get_size(m_window, &width, &height);

   size = Rectangle( 0, 0, width, height );
}

isab::PointVector*
GtkMapPlotter::createPointVector(int size)
{
   // Must implement
   return new GtkPointVector(size);
}

void
GtkMapPlotter::deletePointVector(isab::PointVector* vect)
{
   // Must implement
   delete static_cast<GtkPointVector*>(vect);
}

void
GtkMapPlotter::setLineWidth( int width )
{
   // If m_gc is NULL, then we can not draw anything
   if(m_gc == NULL) {
      return;
   }

   // get old attributes and change the width
   // Set the line width and other properties.
   gdk_gc_set_line_attributes( m_gc,
                               width,
                               GDK_LINE_SOLID,
                               GDK_CAP_ROUND,
                               GDK_JOIN_ROUND);
}

void
GtkMapPlotter::setCapStyle( capStyle_t capStyle )
{
   // If m_gc is NULL, then we can not draw anything
   if(m_gc == NULL) {
      return;
   }
   // get old attributes and change the cap style.

   GdkGCValues gcv;
   gdk_gc_get_values( m_gc, &gcv);

   GdkCapStyle gdkCapStyle = GDK_CAP_BUTT;
   GdkJoinStyle gdkJoinStyle = GDK_JOIN_MITER;
   switch (capStyle) {
      case (NO_CAP):
         gdkCapStyle = GDK_CAP_BUTT;
         gdkJoinStyle = GDK_JOIN_MITER;
         break;
      case (ROUND_CAP):
         gdkCapStyle = GDK_CAP_ROUND;
         gdkJoinStyle = GDK_JOIN_ROUND;
         break;
      case (FLAT_CAP):
         gdkCapStyle = GDK_CAP_PROJECTING;
         gdkJoinStyle = GDK_JOIN_MITER;
         break;
   }

   gdk_gc_set_line_attributes( m_gc,
                               gcv.line_width,
                               gcv.line_style,
                               gdkCapStyle,
                               gdkJoinStyle );

}

isab::BitMap*
GtkMapPlotter::createBitMap(isab::bitMapType type,
                            const uint8* bytes,
                            int nbrBytes,
                            int dpiCorrectionFactor )
{

   GtkBitMap* bitMap = new GtkBitMap;
   // Make temporary file to store the bitmap in
   char tempTemplate[1024];
   sprintf(tempTemplate, "/tmp/tmpbitmapXXXXXX");
   int tmpDesc = mkstemp(tempTemplate);

   FILE* file = fdopen(tmpDesc, "w");
   if ( file ) {
      if ( fwrite( bytes, nbrBytes, 1, file ) == 1 ) {
         fclose(file);

         // Get "transparent" color
         mc2dbg << "[GTMP]: Filename is " << MC2CITE(tempTemplate)
                << endl;

         GdkColor white;
         allocColor(white, 0xFF, 0xFF, 0xFF);

         bitMap->m_pixMap = gdk_pixmap_create_from_xpm(
                           m_pixmap,
                           &(bitMap->m_bitMap),
                           &white,
                           tempTemplate);

      } else {
         fclose(file);
         delete bitMap;
         bitMap = NULL;
      }
      // Remove the temp file.
      remove(tempTemplate);
   } else {
      delete bitMap;
      bitMap = NULL;
   }

   return bitMap;
}

void
GtkMapPlotter::getBitMapAsRectangle( isab::Rectangle& size,
                                     const MC2Point& origCenter,
                                     const isab::BitMap* bmp )

{

   const GtkBitMap* gtkBitMap = static_cast<const GtkBitMap*>(bmp);
   assert(gtkBitMap);
   assert(gtkBitMap->m_bitMap);

   int x = origCenter.getX();
   int y = origCenter.getY();
   int width, height;
   gdk_drawable_get_size(gtkBitMap->m_pixMap, &width, &height);

   size = isab::Rectangle( x - ( width >> 1), y - ( height >> 1),
                           width, height );

}

void
GtkMapPlotter::drawBitMap( const MC2Point& center,
                           const isab::BitMap* bitMap )
{
   // If m_gc is NULL, then we can not draw anything
   if(m_gc == NULL) {
      return;
   }
   const GtkBitMap* gtkBitMap = static_cast<const GtkBitMap*>(bitMap);

   isab::Rectangle rect;
   getBitMapAsRectangle(rect, center, bitMap);

   gdk_gc_set_clip_origin( m_gc, rect.getX(), rect.getY() );
   gdk_gc_set_clip_mask( m_gc, ((GtkBitMap*)gtkBitMap)->m_bitMap );

   gdk_draw_drawable( m_pixmap, m_gc,
                      gtkBitMap->m_pixMap,
                      0, 0,
                      rect.getX(), rect.getY(),
                      rect.getWidth(), rect.getHeight());

   // clear clip origin and mask
   gdk_gc_set_clip_origin( m_gc, 0, 0);
   gdk_gc_set_clip_mask( m_gc, NULL );

   // Draw center coordinate
   if ( m_plotCoordinates ) {
      vector<MC2Point> points;
      points.push_back(center);
      plotCoordinates(points.begin(), points.end());
   }

}

void
GtkMapPlotter::deleteBitMap( isab::BitMap* bitMap )
{
   GtkBitMap* gtkBitMap = static_cast<GtkBitMap*>(bitMap);

   delete gtkBitMap;
}

void
GtkMapPlotter::enableLowQualityDrawing( bool on )
{
#if 0
   // Debug stuff to see what's going on.
   mc2dbg << "GtkMapPlotter::enableLowQualityDrawing" << on << endl;
   m_plotCoordinates = on;
#endif
}

void
GtkMapPlotter::drawImageSpec(const WFAPI::ImageSpec* spec,
                             const MC2Point& point)
{
   // If m_gc is NULL, then we can not draw anything
   if(m_gc == NULL) {
      return;
   }
   const GdkPixbufImageSpec* pbuf = static_cast<const GdkPixbufImageSpec*>(spec);

   if( m_pixmap ) {
      gdk_draw_pixbuf( m_pixmap,
                       m_gc, pbuf->m_pixBuf,
                       0, 0,
                       point.getX(), point.getY(),
                       pbuf->m_width, pbuf->m_height,
                       GDK_RGB_DITHER_NONE,
                       0, 0);
   }

}

void GtkMapPlotter::setClippingRectangle(int x, int y,
                                         int width, int height)
{
   // If m_cgc or m_gc is NULL, then we can not draw anything.
   if(m_cgc == NULL || m_gc == NULL) {
      return;
   }
   GdkRectangle clip_rect;
   clip_rect.x = x;
   clip_rect.y = y;
   clip_rect.width = width;
   clip_rect.height = height;

   gdk_gc_set_clip_rectangle(m_gc, &clip_rect);
   cairo_new_path(m_cgc);
   cairo_rectangle(m_cgc, x, y, width, height);
   cairo_clip(m_cgc);
}

void GtkMapPlotter::resetClippingRectangle()
{
   // If m_cgc or m_gc is NULL, then we can not draw anything.
   if(m_cgc == NULL || m_gc == NULL) {
      return;
   }
   gdk_gc_set_clip_rectangle(m_gc, NULL);
   cairo_reset_clip(m_cgc);
}

void GtkMapPlotter::resetFontStyle()
{
   setFontStyle(m_defaultFont);
}

void GtkMapPlotter::setFontStyle(isab::Font* font)
{
   if(m_layout == NULL) {
      return;
   }
   GtkPlotterFont* plotterFont = static_cast<GtkPlotterFont*>(font);
   pango_layout_set_font_description( m_layout, plotterFont->m_fontDesc );
}

isab::Rectangle GtkMapPlotter::getTextDimensions(const STRING& text)
{
   int width, height;
   getTextSize( m_layout, text, width, height );

   return isab::Rectangle( 0, 0, width, height);
}

isab::Font* GtkMapPlotter::createFont(WFAPI::FontSpec* fontSpec)
{
   const WFAPI::WFString& fontName = fontSpec->getFontString();
   m_fonts.insert(fontSpec);
   fontSpec->addReference();

   if(fontName.empty()) {
      return new GtkPlotterFont(getFontName());
   } else {
      return new GtkPlotterFont(fontName.c_str());
   }
}

void GtkMapPlotter::deleteFont(isab::Font* font)
{
   delete font;
}

GtkPlotterFont::GtkPlotterFont(const char* name)
{
   if(name) {
      m_fontDesc = pango_font_description_from_string( name );
   } else {
      m_fontDesc = pango_font_description_from_string( "" );
   }
}

GtkPlotterFont::~GtkPlotterFont()
{
   if(m_fontDesc) {
      pango_font_description_free(m_fontDesc);
   }
}

void
GtkMapPlotter::releaseFonts()
{
   set<WFAPI::FontSpec*>::iterator it = m_fonts.begin();
   set<WFAPI::FontSpec*>::iterator itEnd = m_fonts.end();

   for(; it != itEnd; it++) {
      if((*it) != NULL) {
         static_cast<FontSpecInternal*>((*it))->releaseData();

        (*it)->removeReference();
      }
      m_fonts.erase(it);
   }

}


The Northern Cape is an outdoor enthusiast's haven.
Much of life and adventure is dependent on the sweeping tide of the Orange River, a 2000km stretch of natural magnificence.
The arid territory feeds on the River and here you will find unique flora, endless horizons and teeming wildlife on the "islands of splendour" formed by the River as it cuts through the dry veld.
And the Kalahari Desert is like a colossal river of another kind. Its red shifting sands form part of the unspoilt Kgalagadi Transfrontier Park. Here you will feel the silence – an emotion that few have the privilege of experiencing. The Kgalagadi is home to the black-maned Kalahari lion. It's roar, or the call of the fish eagle are haunting sounds that break the silence and solitude.
The silence is also reflected in the koppies and plains of the Karoo and Namakwa where hardy succulents bring gashes of colour to the browns and greens of the veld.
The Namakwa flowers from August through September are a tapestry of brilliant colours which entice butterflies, birds and long-tongued flies.
The shooting stars of the clear icy night skies silhouette the gigantic quiver trees and enormous granite outcrops.
The Northern Cape is a destination of real experiences and it waits for you to explore its wonder. This is The Creator's playground!
The Northern Cape ... the land of really big, really blue skies.
South African Astronomical Observatory in Sutherland.
The Karoo – Highlands Route.
When the first rains come to Namaqualand, the earth shakes off its dull clothes and explodes into a riot of colour. Your senses will be overloaded by the beauty of this extraordinary experience.


Crack the Lens: The Armoury. Turn it up.
The Armoury is about strength, change and is meant to be turned up. This third album by Crack the Lens represents the band's musical evolution and drive to produce a more powerful sound. What began as a shy guy, an acoustic guitar and some simple songs played for friends has grown into a 4 piece dedicated to volume, grit and rhythm - lead by a voice that floats at the surface of your favourite whiskey. The album is broadly influenced. There are songs about lives wasted and well-lived, songs about northern lore, songs about dark bars and great comrades and songs about war and tragically repeated history. If driving guitars and drums that have been beaten senseless are your thing, join us in The Armoury.
Going back, in June 2014, the band released "The Cannon". In that same month, the band was chosen as a winner of X92.9FM's 2014 Xposure contest, gaining inclusion on a compilation album with proceeds going to the Canadian Music Therapy Trust Fund.
The band has received attention both locally and beyond. In late 2012 they received regular rotation on X92.9FM as part of the Dailies, and were integrated into the station's regular rotation. They also charted on CJSW 90.9 FM with their first release, and performed live on air there in the fall of 2012. In addition, they have also received airplay on radio shows and podcasts across North America, most notably on Radio Crystal Blue in Philadelphia, Quebec City's CKRL 89.1 FM "Illusions Auditives", and Windsor, Ontario's CJAM 99.1 FM.
Through WiFi PR Group based in California, Crack The Lens was added to a compilation distributed at Lollapalooza in Chicago, with the song "Tip Your Hat To Broken Crowns." In February 2014, IMVERYAPE.COM featured an article on the Xposure-winning song, "The Jig Is Up." The song also appeared on a 2014 best-of list, and a ten-year Calgary retrospective. In June 2014, the band was interviewed for an upcoming documentary on Canadian music, "Between Rock and a Hard Place", and in December "The Cannon" received an Album of the Year nomination from a worldwide Celtic music site. In August 2015, the band's song "Sugar" was used as the intro music for Season 2 of the Calgary-made "BScene TV"


text:
The Stechkin or APS (Avtomaticheskiy Pistolet Stechkina = Автоматический Пистолет Стечкина) is a Soviet selective fire machine pistol chambered in 9×18mm Makarov and 9×19mm Parabellum introduced into service in 1951 for use with artillery and mortar crews, tank crews and aircraft personnel, where a cumbersome assault rifle was deemed unnecessary. Seeing service in a number of wars such as the Vietnam War, Russo-Ukrainian War and Syrian Civil War. The APS was praised for its innovative concept and good controllability for its size. However, the high cost of the weapon, complex and time-consuming machining, combined with a limited effective range, large size and weight for a pistol, and fragile buttstock have been mentioned as a reason to phase it out of active service in favour of assault rifles such as the AKS-74U. The pistol bears the name of its developer, Igor Stechkin.

Adoption and service
Submachine guns such as the PPSh-41 or the PPS-43 were declared obsolete shortly after the adoption of the AK47 assault rifle. A new self-defence weapon was requested for artillery and mortar crews, tank crews and aircraft personnel, where a cumbersome assault rifle was deemed unnecessary.

Igor Yakovlevich Stechkin, recently graduated in 1948 from the Tula Mechanical Institute, began work on this new automatic weapon concept, competing against other prolific designers such as Vojvodin and Kalashnikov. Stechkin designed a select-fire pistol capable of accurate fire up to 200 meters, with the possibility of attaching a combination holster/shoulder stock. Field-testing of the first prototypes was undertaken from April to June 1949. A 20,000 round endurance test against an Astra machine pistol and a PPS-43 submachine gun proved that Stechkin's design was promising. However, the testing board showed flaws of the prototype, such as the lack of adjustability of the rear sight, the high weight (1.9 kg with holster), short sight radius, and the recoil spring located under the barrel.

A large redesign effort was made by Stechkin. He took several innovations from the Makarov pistol, such as the general silhouette, slide rails, extractor. The gun was lightened, the trigger mechanism redesigned and simplified, and the trigger guard reshaped. After successful military tests, the APS was formally adopted on December 3, 1951.

The APS was issued to Soviet Army vehicle operators, artillery crews, and front-line officers and law enforcement, and was used in conflicts in Angola, Libya, Mozambique, Romania, Tanzania and Zambia. The APS was praised for its innovative concept and good controllability for its size. However, the high cost of the weapon, complex and time-consuming machining, combined with a limited effective range, large size and weight for a pistol, fragile buttstock, frequent stoppages and subpar ergonomics, led to the APS being gradually phased out of active service. However, the weapon found a new niche among special forces such as the Spetsnaz or FSB, who needed a more effective sidearm than the Makarov PM. The Stechkin APS was eventually replaced by the AKS-74U compact assault rifle in 1981, offering more firepower due to its much more powerful 5.45×39mm M74 rifle ammunition, acceptable accuracy at moderate distances, and greater magazine capacity.

A contemporary derivative of the Stechkin, the OTS-33 Pernach, is also chambered for the 9×18mm Makarov cartridge.

Design details

The APS is a straight-blowback, select-fire, magazine-fed machine pistol. The weapon is fed through 20-round double-stack staggered-feed detachable steel box magazines. The APS shares features with the Makarov service pistol, such as a heel-mounted magazine release, slide-mounted safety lever, and field-strip procedure. The rear sight is adjustable from 25, 50, 100 to 200 meters through an eccentric rotating drum-dial. The serrated front sight may be drifted for windage. The slide features a textured strip on top to reduce aim-disturbing glare. The chrome-lined barrel serves as the recoil spring guide. The slide stop lever also acts as an ejector blade. The trigger guard pivots down for stripping and detents in position through a spring-loaded plunger. The checkered or serrated grips' panels are made from wood (early models), reddish-brown bakelite or black plastic.

The Stechkin features a combination safety-decocker-fire selector lever on the slide. The three-position lever, when pointed forward in the "PR" or safe position, decocks and locks the hammer, locks the slide to the frame and prevents forward travel of the free-floating firing pin. When pointed downwards to the "OD", or single-shot position, the safety lever deactivates the auto-sear and rate reducer to allow semi-automatic fire. Finally, the rearmost "AVT" position puts the APS in fully automatic mode.

The trigger mechanism of the APS is of a simple construction and features a double/single-action fire mode. It comprises a trigger and trigger bar, disconnector, sear and hammer. The rebounding hammer, when in resting state, has an intermediate safety intercept notch that does not allow forward travel of the hammer unless the sear is raised. Disconnection is achieved through a cam in the slide.

To make controllable automatic fire possible through such a system, designer Stechkin employs several mechanical solutions. Firstly, the slide has a very long stroke (three times the length of the cartridge). This allows time to slow the slide down and reduce felt recoil by minimising the jolt produced through the collision of the slide with the frame. Secondly, the rate-reducer lever offers extra resistance to the opening stroke of the slide, further slowing down the cycling process. Finally, the primary inertial rate reducing plunger delays the dropping of the hammer after the slide closes. The slide has a large cam that strikes a lever downwards. This lever transfers that energy to a spring-loaded weight located in the grip. The weight travels down, compressing its spring, then slams back up into the trigger bar, tripping the sear and firing the gun. Effectively, the rate reducer, which reduced the automatic rate of fire from 1,000 RPM to 750RPM, also acts as the auto-sear.

The machine pistol may be fitted with a wooden (early), brown bakelite or steel wire shoulder stock (for the APB variant); otherwise, the weapon becomes difficult to control on full auto. The stock is attached via a T-slot cut into the rear strap of the pistol frame. The stock is hollowed out and can act as a holster, accepting the machine pistol inside, similar to the Mauser C96 pistol. A Leather sling and ammunition pouch were also supplied with the weapon.

APB

The APB (Avtomaticheskiy Pistolet Besshumniy, meaning automatic silenced pistol) version was a version of the APS optimized for silent operations. Developed in the early 1970s by A.S. Neugodov (А.С. Неугодов) under the factory name AO-44, it was officially adopted in 1972 under the service name APB and given GRAU index 6P13. Approximately 2,000 APS pistols were converted to APB variants by the Vyatskie Polyansky Machine-Building Plant from 1972 to 1973. Muzzle velocity reportedly dropped to 290 m/s in this variant. Instead of the holster-stock of the APS, the APB comes with a detachable stock made of steel wire. Its barrel is longer than that of the APS; it protrudes from the slide and is threaded for the attachment of an eccentric sound suppressor. When not in use, the detachable sound suppressor can be clipped to the stock.

During the Soviet–Afghan War, the APB was used by Soviet Spetsnaz team leaders as an extra weapon; they usually carried on a sling with the suppressor and stock mounted. It was used by radio operators and even by some heavy gun crews. Special forces units of the Ministry of Internal Affairs (MVD) such as the OMON and the SOBR have also used the pistol.

Users

 : People's Armed Police Force

 : State Courier Service

 : People's Movement for the Liberation of Azawad
 : Manufactured variant known as Dracula md. 98
 : Used by various police forces and security guards of the Central Bank of The Russian Federation
 : Used in limited amounts in the Kobre anti-terrorist unit.

See also
 List of Russian weaponry
 PB (pistol)
 Škorpion
 FB PM-63

References

External links

 Modern Firearms - Stechkin APS pistol
 Modern Firearms -  APB / 6P13 silenced pistol
 APB Silenced Machine Pistol
 Юрий Пономарёв, АПС, Kalashnikov magazine 2005/1, pp 34–43; has some APS diagrams
 Photos of APS and APB in service
 APB photo gallery; disassembled photo showing the expansion tube and drilled barrel

9×18mm Makarov machine pistols
9mm Parabellum submachine guns
Cold War firearms of the Soviet Union
Silenced firearms
Pistols of the Soviet Union
Police weapons
Vyatskiye Polyany Machine-Building Plant products
Weapons and ammunition introduced in 1951