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Number One Zombie Wife, Chapter 104: Preparing him for the heartbreak
Mu Yifan drew his hand back and took the crystal from Zhan Beitian's pocket as well.
Looking at the colorful glow of the crystal, he couldn't believe how hard it was to retrieved it from the male protagonist.
Mu Yifan looked ahead at Zhan Beitian, got up and made it to the armrest and asked in a confirming tone, "Did you really give me back the crystal?"
"…" Zhan Beitian glanced at him with pursed lips, without making a sound.
Mu Yifan said again and said: "You're not going to return to me with the intention of dealing a fatal blow while I'm sucking the energy out of the core, are you? That would be fatal."
Zhan Beitian: "…"
"How? You're giving it away so fast, I'm worried."
Zhan Beitian's mouth twitched: "…"
"If you don't say something, I'll be wondering if you're going to come and screw me over every minute."
Zhan Beitian suddenly turned around and took back the crystal in Mu Yifan's hand.
Mu Yifan was stunned, the crystal was taken.
He came back to his senses and shouted, anxiously jumping over to Zhan Beitian and said: "Zhan Beitian, you've already given the crystals back to me, you can't snatch them back, you can't go back on your word~~~~~"
Mu Yifan was waving his arms around, trying to get the crystal back.
Zhan Beitian dodged left and right, quickly dodged the grabbing hand and then, holding the crystal, stuck his hand out of the window.
Mu Yifan almost knelt down and beg, "Brother, brother, I was wrong, I was wrong, isn't it enough? I know I shouldn't have doubted you, I shouldn't have doubted you as a loyal soldier."
Zhan Beitian's lips tickedup, his eyes flashed with amusement, finding it fun to tease the man.
He took his hand back.
Mu Yifan rushed over and slammed into Zhan Beitian's hand on the steering wheel.
The steering wheel skidded and the car took a sharp turn.
Zhan Beitian's face changed, glanced at the car that was about to hit the front, hastily held the person in his arms and quickly stepped on the brakes.
And then, with a bang, it hit a car.
Mu Yifan looked at a chilling Zhan Beitian with a guilty conscience and said: "I didn't mean to."
At that moment, the sound of footsteps was heard from the building and then, a group of more than a hundred people strode out of the building into the street.
They wore blue and blue uniforms, held submachine guns and as soon as they left the building, they pointed them around.
Mu Yifan immediately grabbed the crystal, got up and saw and said: "It's a soldier, you go out and see."
"…" Zhan Beitian helped him sit down, pushed the door open and walked out.
When the group heard a noise, they turned around and pointed their guns at the sound.
"Is it a human or a zombie?"
Someone in the building asked and then, someone came out with a short gun.
Zhan Beitian saw the senior officer coming out of the building, raised an eyebrow and said quietly, "Lieutenant Colonel Fan."
Fan Jinlong was stunned when he saw the cold and handsome man standing in front of the broken-down car who could call out his military position and immediately recognized him and said: "Major General Zhan."
Fan Jinlong walked towards Zhan Beitian with a surprised face and said: "God, I never thought I would meet you here, do you know that Military Commissioner Lao Zhan, before I came to G City, gave me a thousand orders, asking you to hurry back to B City after seeing you."
[1] Lao is just a title meaning Old man it is mostly used as endering term… like how is old man Zhan will become how is Lao Zhan
Zhan Beitian's eyebrows tightened a bit and said: "Back to B City? Did something big happen in B-City?"
"That's not true, it's just that after the zombie outbreak, Military Commissioner Lao Zhan hadn't heard from you and was very worried, so before the army sent teams out to burn the corpses in each city, they ordered several of their men to tell you to hurry back to B City after they saw you, so that his old man would feel relieved."
Fan Jinlong said here, smiling and said: "Who can't know, Military Commissioner Lao Zhan loves you the most as a grandson, if anything happens to you, Military Commissioner Lao Zhan will be very sad."
Zhan Beitian remembered his grandfather, who had loved him since he was a child and his cold face softened and said: "I don't want to go back to B City for the time being but when you go back, just tell him I'm safe and that I'll be back later." Zhan Beitian changed the subject at this point and said: "What are you doing here?"
Fan Jinlong turned to look at his team and sighed helplessly and said: "We are gathering supplies, supplies are very scarce right now, if the people in the army don't come out to collect some supplies back, the people in the safe zone will not be able to eat."
Zhan Beitian simply said and said: "The people in the safe zone should be allowed to come out and find supplies on their own."
Fan Jinlong sneered, "Let them out for supplies? Is this possible? However, the army can't support them forever, so it's only a matter of time before they're allowed to come out and find their own supplies."
He looked around "Major General Zhan, this is no place to talk, where are you going, I'll take you back."
"No, just get me a car, I live a bit far from here."
Fan Jinlong laughed, "If you want a car, there are plenty of them here, you can pick any one, I'll have the soldiers unlock it and start it for you."
Zhan Beitian bent over, called out to the car, "Get out."
Mu Yifan, who was busy running with the child, got out of the car and nodded apologetically to Fan Jinlong.
Fan Jinlong didn't think there was anyone else in the car, so he took a second look, even at the child in his arms.
It was amazing to see that the child looked so much like Zhan Beitian and he couldn't believe that he was not related to Zhan Beitian in any way.
However, he hadn't heard that Zhan Beitian was married, much less that he had a child with another woman.
Besides, if Zhan Beitian had a child, Military Commissioner Lao Zhan would have spread the news all over B City, showing off his grandson with the child.
Fan Jinlong couldn't contain his curiosity and asked, "Major General Zhan, is this your child?"
Mu Yifan felt a bit strange when he heard that, since the baby came out of his stomach.
Zhan Beitian looked at Mu Qingtian and said: "Yeah."
Then, thinking of something, he said, "Grandpa doesn't know about this yet."
Fan Jinlong laughed, "Military Commissioner Lao Zhan would be very happy if he knew he suddenly had a great-grandson."
Zhan Beitian thoughtfully said, "You go back and tell him so he's prepared."
"Sure, sure."
Zhan Beitian didn't talk much, picked a car at random, asks the soldiers to unlock it and start the engine and then drove away from G City with Mu Yifan, speeding up to the place where his team is currently staying.
This time, Mu Yifan didn't dare to mess around or talk to Zhan Beitian but if another car accident happened, he might not be as lucky as before.
It wasn't until eight hours later that Mu Yifan noticed that something was wrong with Mu Qingtian and immediately said worriedly, "Beitian, Qingtian hasn't woken up, is there something wrong with his body."
If it wasn't for the fact that the child was still breathing in his arms, he would have thought something had happened to him.
Zhan Beitian looked at him and reassured him, "Don't worry, he's not an ordinary child, his body doesn't get sick that easily, let me ask you, has he ever used his powers before?"
"Powers?" Mu Yifan looked at him quizzically.
Zhan Beitian pursed his lips and remained silent.
Mu Yifan thought back over the last few days and said: "Does taking a second or two to suddenly appear 50 meters away count as using powers?"
He thought the kid's powers would explain why he'd suddenly appeared fifty meters away, standing in front of an advanced zombie.
"Well, it's only been a few days since he was born and his body can't handle using his powerful abilities, so he's sleeping now because he's tired." Zhan Beitian explained.
Mu Yifan breathed a sigh of relief, thinking that the child was using his powers to help him get the crystals, his heart was both happy and sad.
No wonder the child didn't make a sound until Zhan Beitian showed up, only said three words, after which he was asleep.
Mu Yifan looked at the baby's sleeping face and couldn't help but lower his head and kiss the baby on the cheek.
It was two o'clock in the morning when the car pulled into a small village and the headlights on the front of the car soon attracted the attention of those patrolling the village.
When they saw a car enter the village, they even took a group over to see if it was Zhan Beitian returning and excitedly shouted to the people in the fence at the entrance of the village, "It's Major General returning."
That's a cry of joy from the men at the entrance to the village.
Zhan Beitian drove all the way into the village before stopping and immediately three men came out of the house quickly.
"Boss, boss, you're back at last."
Xiang Guo and Lu Lin were so happy to see Zhan Beitian getting out of the car that they couldn't sleep before.
Although they knew the boss was a man of his word, it was dangerous to find someone in G City, which was full of artillery shells, so how could they feel at ease?
Zhan Beitian got out of the car and said: "Nothing happened after I left, did it?"
Xiang Guo joked and said: "Nothing happened, not even a zombie, it's very peaceful here."
At that moment, Mu Yifan got out of the car.
Zheng Guozong, who came out with him, saw that Mu Yifan had returned safely and happily took the child in his arms, asking with concern, "Mumu, are you alright?"
Mu Yifan laughed and said: "Nothing."
Xiang Guo snorted, "If anything happens to him, it's his own fault. He knew the army was going to bomb G City but he still ran around with his child. If you want to leave, just say so, we won't stop you. Why did you sneak off with your child and put the boss at risk to find you? If anything happens to the boss, I'll be the first to kill you."
"Xiang Guo, stop it." Lu Lin said.
Mu Yifan looked apologetic and said: "I'm so sorry for worrying you."
Xiang Guo snorted, "Who would worry about you."
Zheng Guozong quickly said and said: "It's so late, don't even stand here chatting, let's go inside and talk."
Zhan Beitian said to Mu Yifan as soon as he entered the lobby of the house, "You and Dr. Zheng go upstairs to rest first, I have something to tell Lu Lin and the others."
Mu Yifan nodded and Zheng Guozong went up to the second floor.
Zheng Guozong led him to the last room and said: "This is your room with Major General Zhan, Major General said we'll stay here for half a month before heading north."
He pushed the door in, put the child on the bed and after tucking him in, he quickly asked, "Mumu, have you seen Jiaming?"
Mu Yifan shook his head and said: "I didn't see Jiaming, when I went to your apartment, Jiaming wasn't at home but I left him a note, so if he comes back home, he will definitely read my note. Don't worry, quack. Nothing will happen to Jiaming. Maybe he left G City early after hearing the army's broadcast."
Zheng Guozong was still frowning and expressing unease.
Mu Yifan changed the subject and said: "Quack, when did Zhan Beitian find out I left?"
Speaking of this, Zheng Guozong knocked on his head badly and said: "I'm not sure how much I'd have liked to scold you if I didn't know you had something important to do. Of course, it's impossible for him to show it on his face but I can tell from his restlessness how worried he is about you. But, the whole team was waiting for him to make the arrangements, so, after he brought them here and settled down, he drove back to G City to look for you without sleep, I don't know why he would do that except that he cares about you, do you think such a person really treats you as an enemy?"
Mu Yifan was speechless for a long time after hearing this.
Prev: Chapter 103: He's here
NUMBER ONE ZOMBIE WIFE CHAPTER HOME
Next: Chapter 105: Who is this man you care about?
Posted in Number One zombie WifeTagged 1v1, book transmigration, Number One Zombie Wife, post-apocalyptic, rebirth, rich, space, supernatural, zombies
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Cancer Aid & Research Foundation is working in the field of Cancer. We provide funds and services for treatment of poor cancer patients. We also create Cancer Awareness and give Cancer Education etc to the public in general.


The Indiana War Memorial Museum is another major Indianapolis attraction. Set in the place of honor at the center of downtown Indianapolis, it is a tall, imposing shrine in the classical Greek style of architecture.
Outside this Indianapolis shrine is a startling array of sculpture and other works of art. The exterior of the Indiana War Memorial Museum building proudly displays six stone columns between its tower's five large windows, each of sculpted, Neo-classical Greek style figures symbolizing courage, victory, memory, liberty, peace and patriotism.
Inside this Indianapolis museum, visitors will find three separate levels to explore. On the main floor of the museum facility, there are several exhibits, meeting rooms, offices, and the Pershing Auditorium, which is available for rental. Hoosier veterans of the two Great Wars are immortalized on this level, as well as those who were M.I.A. or killed in Vietnam and Korea.
The upper floor of the museum is dedicated to the Shrine Room, a living symbol of world peace. Crafted using material brought from all around the globe, it has blood-red, marble support pillars all around it. The United States flag, still and proud, takes its perennial place underneath the Star of Destiny, which is suspended from the center of the vast ceiling. Below lies the Altar of Consecration, commemorating the patriotic fallen.
The Indiana War Memorial Museum is also home to a military museum collection of memorabilia from the Battle of Tippecanoe to the present. Visitors will find such fascinating artifacts as a Korean War helicopter, numerous authentic firearms and a nuclear missile.
This magnificent museum is a significant piece of Indianapolis culture, Indianapolis art and Indianapolis history. For more information on the Indiana War Memorial Museum, please visit the museum's homepage.


We have already posted here on the ever-mounting evidence questioning the efficacy of commonly used anti-depressant drugs in most cases, high-lighting the prevalence of side-effects and drug withdrawal issues/iatrogenic illness, and concerning the escalation in prescription.
From a person-centered perspective, we defer to each person on what they do or do not wish to put into their systems, and how they experience that. However, we feel deeply troubled by the weekly accounts we hear at this service of the readiness with which these drugs are offered – often with some pressure – and the apparent rarity with which doctors mention questions about efficacy, side-effects, withdrawal and the financial incentives for prescribing.
We would like everyone to have access to balanced information about these drugs – and other ways of making sense of the human condition than the medicalization of distress as 'disorder'. We see a cultural tendency in all of this to present and receive as 'reality' what is in fact opinion. This is an abnegation of rigorous thinking and respect for internal locus, which serves no-one.
This entry was posted in anti-depressants, cultural questions, ethics, external locus, iatrogenic illness, internal locus of evaluation, medical model, neuroscience, perception, political, power and powerlessness, psychiatric drugs, psychiatry, reality, research evidence, sadness & pain and tagged Aadil Bharwani, affordable counselling exeter, anti depressant, anti-depressants, antidepressants, chemical imbalance theory of depression, counselling exeter, counsellor Exeter, counsellors Exeter, depression, disorder model, evolutionary psychology, iatrogenic illness, J Anderson Thomson, Kyuwon Lee, low cost counselling exeter, medical model, medicalisation of distress, medicalization of distress, Molly Fox, Neuroscience & Biobehavioral Reviews, Palace Gate Counselling Service, Palace Gate Counselling Service Exeter, Paul Andrews, person centred counselling exeter, pharmaceutical, psychiatric drugs, psychiatric treatment, serotonergic, serotonin, serotonin re-uptake inhibitor, SSRI, www.palacegatecounselling.org.uk. Bookmark the permalink.


Argus is licensed under the GNU General Public License. A copy of the license is provided in both the client and server distribution software.
Other licensing agreements are available for commerical, governmental and educational users. For more information please contact info@qosient.com.


Biology 11 will inspire students in the complexity and beauty of God's creation. This course is founded on a Biblical worldview and applies it to the learning outcomes prescribed by the British Columbia government. Students will study our origins, where we are going as a species and how we fit in to the biosphere. Within the framework of the British Columbia Ministry of Education Biology 11 curriculum, students will have opportunities to engage with other students in dialogue. Students finishing the course will gain an appreciation for nature, be better prepared to contribute to the scientific community, and be better equipped to integrate a Christian view of biology into their lives and careers. The student will study current theories of evolution with critical, scientific discernment. Comparing ideas about of creation and evolution, students will develop a scientifically sound way of looking at our world that embraces a deep concordance between science and the Bible.
Prokaryotic and eukaryotic cells are differentiated. The basic structure of cell compounds is introduced.
Current ideas about origins are examined. Darwinism (natural selection), genetic variation, punctuated equilibrium, extinctions, and age of the Earth are explored. Evidences for evolution are examined.
Viruses, prokaryotes, protists, plants, and many animal phyla are introduced.
Relationships between living organisms and their environment are explored. Computer simulations are employed to model species interactions.
Science 10 is a pre-requisite. There is no textbook for this course. Students are required to stream videos contained within the course content, download and print assignments and note packages, scan (either by taking pictures or physically scanning) and upload their assignments within Moodle.


Capcom today announced that Megaman Legends 3 will be coming onto Nintendo 3DS. The details was reveal on the blog post from Capcom which said that this time gamers will be part of the development process like never before as they interact directly with the team.
The post also said that more details on the game will be reveal at New York Comin Con which kicks off next week.
"Hi everyone! This is Masakazu Eguchi, director of MEGA MAN LEGENDS 3!
As you can see, Inafune is very enthusiastic about this project. And that new development style that he said he would go into more detail about later, I'm sure you won't be disappointed by that. We think not only fans of the series, but anyone interested in Mega Man Legends will be like, "What? ...OMG!!!"
When I and the rest of the staff first heard that were that we were doing this, we were shaking in our boots. All of us were asking our bosses, "Are you guys serious?"
...Having said that, there are so many details about the project that I am dying to tell all of you... but you'll have to wait and let your imaginations run wild for just a little longer, until the Comic Con in New York next month!
Until then, I'll use this blog to introduce to members of my team, and tell you a little about what's going on here in the Dev Lab. I'll do my best to update it at least once a week, so check back often!
I'm also looking forward to hearing comments from all of you!


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678-964-7237 rcdpeb@gmail.com
Meet the Chairman
Democrat 2016
LEADERSHIP*INTEGRITY*ACCOUNTABILITY
Franklin D. Beauford was elected Chair of the Rockdale County Democratic Party on December 2016. Prior to being elected Chairman, Frank served six years in the United States Army. Afterwards worked with the Metropolitan Atlanta Rapid Transit Authorit(MARTA) for forty two years moving through the ranks from bus operator to Deputy General Manager/COO of Operations.
In 2008, Franklin retired from MARTA and then became a consultant with Clayton County as the Public Transit Coordinator until service ended in 2010. He is a past member of MARTA's Ride with Respect Appeal Board and is past Vice Chair Rockdale County Ethics Board, President of Lochinver Home Owners Association, member of Saint Peter Claver Catholic School Advisory Board, Field Commissioner of Hidden Valley Little League Baseball Association, and member of the Knights of Peter Claver, Court 313.
Franklin served as a member of several boards and committees, including Board President of the Atlanta Police Athletic League (PAL) , Athletic Director of Saints Peter and Paul Catholic Middle School for ten years, directed for ten years the Archdiocese Basketball League, and served on boards at several parks and recreation sites throughout the metro Atlanta area for the past twenty years. Franklin attends Saints Peter and Paul Catholic Church where he serves on several committees including the Building Committee.
Franklin has been married to Mildred Beauford for forty-four years. They have three daughters; Veda, Angelique and Monique and five wonderful grandchildren; Tyler, Damon, Mackenzie, Johnny and Franklin.
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Cognition Therapeutics is developing new drugs to treat and prevent symptoms in neurodegenerative disorders. CogRx's proprietary small molecule drugs are the first ever reported to target toxic receptors and pathways central to the pathology of Alzheimer's disease, reversing memory deficits and blocking disease progression. Founded in 2007, the Company is working to take these drug candidates to the next level with clinical trials.


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Home News National Two California Assembly Bills that Threaten Your Faith, Family, and Freedom
Two California Assembly Bills that Threaten Your Faith, Family, and Freedom
By Mary Mack
Two assembly bills have been introduced in Sacramento which seriously threaten our First Amendment rights and freedoms. This should concern Americans in every state, for California sets the standard for progressive laws that are usually adopted across the nation. AB 2119 and AB 2943 will be voted on by the California Senate when it returns from summer recess on August 6, 2018. If passed, these two laws will discriminate against Christians, Muslims, and Jews on the basis of their religious beliefs, and will deny them certain rights and freedoms guaranteed to all Americans by the First Amendment.
AB 2943 is sponsored by the California Legislative LGBT (Lesbian, Gay, Bisexual, and Transgender) Caucus in Sacramento and was introduced on February 16, 2018. (A caucus is a group within an organization or political party which meets independently to discuss strategy or tactics.) AB 2943 will amend the sections of the Civil Code relating to unlawful business practices. Violators will be prosecuted under the Consumer Legal Remedies Act, which "makes unlawful certain unfair methods of competition and unfair or deceptive acts or practices undertaken by any person in a transaction intended to result, or which results, in the sale or lease of goods or services to any consumer."
California sets the standard for progressive laws that are usually adopted across the nation. If AB 2119 and AB 2943 are passed, these two laws will discriminate against Christians, Muslims, and Jews on the basis of their religious beliefs, and will deny them certain rights and freedoms guaranteed to all Americans by the First Amendment.
Through enactment of AB 2943, the Legislature proposes to "include, as an unlawful practice prohibited under the Consumer Legal Remedies Act, advertising, offering to engage in, or engaging in sexual orientation change efforts with an individual."
The preamble to this bill contains the following declaration: "Contemporary science recognizes that being lesbian, gay, bisexual, or transgender is part of the natural spectrum of human identity and is not a disease, disorder, or illness." Then follows a list of quotes from various organizations which purport to support this arbitrary claim, but which contain no actual scientific findings. Therefore, the premise of this entire bill is faulty.
The danger to our rights and freedoms are very real, however. The California Family Council website has a plethora of reference materials and legal briefs from legal organizations around the country which have analyzed AB 2943 and found it to be unconstitutional. This bill impacts the commercial activities of Christians, Muslims, and Jews, making it illegal for anyone to express God's position on homosexuality wherever money changes hands. It will restrict the free expression of ideas in the marketplace. It will ban the sale of religious texts, muzzle Christian/Jewish/Muslim counsellors from helping clients change their homosexual orientation, shut down websites and newspapers that print or share blogs and articles that advocate God's view on homosexuality, ban conferences, classes, and novels that oppose homosexuality, as well as all advertising for such goods and events.
The text of AB 2943 is so vague that LGBT activists can sue for an infinite number of perceived offenses. Journalists will not be allowed to report objectively on the issue since they will be banned from printing the statements of defendants in the avalanche of lawsuits that are bound to follow such legislation. Not because Christians are defiant and lawless, but because this law will force them to practice their religion outside the law; in effect, AB 2943 will turn Christians into criminals. It will force us to choose between God's law and man's law.
The second bill being considered by the California Legislature is AB 2119, introduced on February 8, 2018, and sponsored by Todd Gloria of the LGBT Caucus. This purpose of this bill is to make taxpayer-funded "gender affirming health care and behavioral health services" available to children in foster care. The intent of the bill is to provide transgender or gender non-conforming (TGNC) children in the foster care system with "interventions to suppress the development of endogenous secondary sex characteristics" and "interventions to align the patient's appearance or physical body with the patient's gender identity."
Those interventions include dangerous hormone-suppressing drugs that will prevent children's bodies from developing normally during puberty, and sex-change operations to remove a child's sex organs and install fake ones to imitate those of the opposite sex.
AB 2119 allows for just about anybody to decide when a child should have those "gender affirming" medical and surgical interventions. Section 16501.31 (a) states that a child of any age can request a sex change. There are no age limits specified; an impressionable four-year-old can be convinced to trustingly agree with his/her "caregiver, attorney, Court Appointed Special Advocate, or social worker" that he/she wants to have a sex-change operation, and the county child welfare agency will then be obligated by this law to provide it without question.
What is perhaps even scarier is that a child's "caregiver, attorney, Court Appointed Special Advocate, or social worker" can make that decision on behalf of any child in the California Foster Care system.
It is our right and our sacred duty to vote in each election. But we must not vote blindly; it is imperative to be familiar with the issues, the candidates, and the measures. By abstaining from voting, we abdicate our rights and run the risk of those rights being taken away from us one at a time. By voting blindly, we can accidentally put major decision-making power into the hands of politicians who oppose our values.
Politicians who are elected to office are given control over countless laws that are passed daily, mostly without the public's knowledge. They don't have to announce what they are doing; winning the election is a carte blanche directive to represent the citizens of their district any way they see fit. Therefore, when we are represented by politicians who do not share our values, it is in our best interest to stay informed about the laws that are being debated by our elected officials. Our voices still can be heard. We still can call, visit, write, or email our representatives and object to certain bills, and if enough voices are raised in objection, our representatives will listen.
Stay abreast of these two bills as they progress through the Legislature. Become better informed by reading all the reference material and legal briefs on the California Family Council's website at http://www.californiafamily.org/.
If you live in California, go to http://findyourrep.legislature.ca.gov/ and locate the contact information for your State Representatives. Then call, email, write to, or visit your Senator and Assemblyman and tell them to OPPOSE AB 2943 and AB 2119.
If you live outside California, alert your friends and relatives in California, and share this article on all your Social Media outlets.
A list of the laws introduced by the California Legislature can be viewed at http://www.legislature.ca.gov/bill_index2.html
Mary Mack is an award-winning screenwriter (Table Read My Screenplay contest, Best Fantasy Screenplay, 2015) and has taught screenwriting workshops for the California Writers Club. Mary is the Editor of The Mohahve Muse, the official newsletter of the Mohahve Historical Society, and Assistant Editor of The Inkslinger, the newsletter of the California Writers Club (High Desert). As a freelance editor, Mary has earned a reputation among her clientele as an insightful story consultant and eagle-eyed proofreader. As a freelance graphic designer, she creates logos, book covers, business cards, letterhead, and promotional material for clients across the world.
Contact Mary at mary_mack@outlook.com
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Home Business Guides Brand Names That Have Become Everyday Words
Brand Names That Have Become Everyday Words
Tricia Drevets
At first thought, it sounds like the ultimate success story: the name of your product or service being used as a generic term. It can be exciting to think of your brand being so much associated with an item that it has become the name of the actual item in the minds of consumers.
This phenomenon of trademark erosion is not all that unusual. In fact, it even has a legal term of "genericide," which by definition is the process by which a trademark owner loses trademark rights because the trademark is used widely and indiscriminately to refer to a type of product or service. Many of the items we use in our everyday lives fall under the category. Some companies have done their best to fight for their trademarked names, and others have accepted it more or less as a compliment.
Here is an alphabetical list of brand names that have become everyday words. Some, like Xerox and Kleenex, will not surprise you, but we think a few others, like escalator and ping pong, will.
Here is list of brand names
Aspirin. Scientists with the Bayer Company began experiments investigating acetylsalicylic acid (ASA) as a pain reliever in 1897. Two years later, Bayer was marketing the medication under the name "aspirin."
First sold as a powder, aspirin was available in tablet form in 1915. Bayer, a German company, was forced to give up its trademark to the name (and interestingly enough to another product called Heroin) as part of the Treaty of Versailles in 1919.
Band-Aid. When you have a cut or skin abrasion to cover, do you call for an adhesive bandage? Of course not, you reach for a "band-aid." To help consumers recognize the brand name for its famous product, Johnson & Johnsons has added the word "brand" to the product name. It even changed its jingle in ads from "I'm Stuck on Band-Aid" to "I'm Stuck on Band-Aid brand," for instance.
Chap Stick. When we have chapped lips, we reach for a chap stick, not a lip balm, but "Chap Stick" is the brand name of the product created by Dr. Charles Browne Fleet in the late 1880s and manufactured today by Pfizer Consumer Healthcare.
Dumpster. This was a new one for me. The word dumpster for a large waste receptacle was coined by
Dempster Brothers, Inc. of Knoxville, Tenn. in 1936, and it was patented in 1940.
Escalator. The Otis Elevator Company gave the name "escalator" to its new moving stairs. The name comes from "escalade," which means to climb a wall by ladder. The word became synonymous with the idea of a moving staircase and therefore eventually lost its trademark protection.
Frisbee – Do you toss a flying disk or a Frisbee? Wham-O coined the catchy term for its popular toy from the Frisbie Baking Company of Bridgeport, Conn. Apparently college students used the bakery's empty pie tins to play an early version of the toss and catch game.
Google. The name of the world's largest search engine has become synonymous with the process of using a search engine. Don't believe me? Google it for yourself.
Hi-liter. Actors with a new script and students cramming for a text use a special pen to "Hi-lite" what they need to know. The name of any fluorescent marker as well as the act of using one is forever linked with the product sold by the Avery Dennison Corporation.
iPod. The catchy name for Apple's MP3 player has become a household word whether your music player is a real iPod or not.
Jacuzzi. In 1968, Candido Jacuzzi gave his family name to the first self-contained, fully integrated whirlpool bath with incorporating side jets, and the "Jacuzzi" became a status symbol for the rich and famous. Today, despite the fact that there are many hot tub manufacturers, many people call them all "Jacuzzis."
Kleenex. Kimberly Clark has tried very hard to keep their trademark name for tissue from genericide. One way is by using the phrase the Kleenex brand on all advertising and product placement. Despite their efforts, many Americans still reach for a Kleenex, however, despite the name on the tissue box.
Laundromat. The name we use for a coin-operated laundry facility was actually first the patented name Westinghouse used for a type of automatic washing machine that was popular after World War II. The machine featured coin chutes and timers for washing clothes.
Ping Pong. I admit it, I never thought about the origin of the name of the game "ping pong" before. Although the term for the game of table tennis was in use before the British manufacturer J. Jacques & Son Ltd trademarked it in 1901, it became widely known after Jacques sold the rights to the name to the American game company Parker Brothers. Parker Brothers tried to enforce its trademark for the name, but the popularity of "ping pong" won out over "table tennis" for most players.
Q-Tip. It just feels awkward to say cotton swab, doesn't it? But that's what a Q-Tip is. Invented in the early 1920s by Leo Gerstenzang, Q-Tips were originally called "Baby Gays." The Unilever company changed the product name to Q-tip (with the "Q" standing for quality) in 1926. Unilever still owns the brand today.
Rollerblades. Although they have come to stand in our minds as any type of inline skates, Rollerblade is a specific brand of inline skates owned by Nordica, which is part of the Tecnica Group of Italy.
Scotch tape. Legend has it that the Scotch brand of adhesive tape got its name when an annoyed customer told a 3M scientist to take the tape back to "your Scotch bosses" and to tell them to put more adhesive on it. Today, we use Scotch tape to mean any kind of transparent or invisible tape.
Thermos. The name "thermos" for a type of vacuum flask that keeps its liquid contents cool or warm is a registered trademark in 115 countries. That doesn't stop us from using it as a generic term for something in our cooler or lunchbox, does it?
Velcro – Swiss engineer George de Mastreal , of Velcro Industries, got the idea for the product known as Velcro when by observing how burrs stick to dog fur. Today, the hook and loop fastener system he designed is known the world over by its brand name.
Wite-Out. The BIC company first marketed this quick-drying correction fluid in 1966. Originally created and trademarked for use with photocopies, Wite-Out is the everyday term we use for any correction fluid we use to blot out our mistakes.
Xerox. The term "Xerox" is synonymous with photocopy. The Haloid Co. of Rochester, N.Y. first trademarked it name for a copying machine from the word "xerography," a photocopying technique invented by Chester Carlson in 1938. Despite initial strong objections from the Xerox Company, the word became a verb meaning to photocopy something and is an everyday part of our language today.
Yo Yo. Like the Frisbee, the yo-yo was the trademarked name of a toy. Thought to be derived from the northern Philippine Ilokano word "yóyo," the yo yo came to America in 1928 when Pedro Flores opened the Yo-Yo Manufacturing Company in Santa Barbara, Calif. When Donald F. Duncan bought the business in 182, he trademarked the name.
Zipper. What would you call a zipper other than a "zipper"? The B. F. Goodrich Company registered the name zipper as a trademark for a certain type of overshoes with fasteners. When the fasteners of these Zipper Boots came to be known as "zippers" and began to be copied in other forms of clothing, Goodrich tried to protect its name but was allowed to keep only the right to the name Zipper Boots.
Here are some honorable mentions to add to our list: bikini, tabloid, kerosene, trampoline, saran wrap, teleprompter, power point, granola and viagra. You may have noticed, we didn't have a "U" on our list. If you have one, be sure to let us know.
Updated on Feb 4, 2020, 12:41 am
http://valuewalk.com
Tricia Drevets has written for a variety of print and online publications. She specializes in education and communication topics.
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Tara Duggan July 20, 2018 Updated: Aug. 15, 2018 3:59 p.m.
Large-scale vertical farming, sometimes called indoor farming, uses LED lights and small doses of water and nutrients to grow leafy greens and herbs — and soon strawberries — year-round in otherwise unsuitable climates. Since the farming method can protect plants from the ravages of climate change, and may have the potential to recreate terroir for wine grapes or coffee, it's attracting big investors. In the Bay Area, Crop One's just-announced partnership with Emirates Flight Catering amounted to $40 million just to build the Dubai farm, and Plenty in South San Francisco, which will open a farm in the Seattle area this year, raised $200 million in funding last July.
Both companies are exporting two things the region is known for: technology and fresh-cut greens. Yet they both plan to also open facilities in Northern California as the Salinas Valley, known as America's Salad Bowl, copes with labor shortages, drought and high land prices.
Matt Barnard, CEO of Plenty, which will sell the greens to Bay Area customers in a few months from its South San Francisco farm, points out that the majority of the world's fruits and vegetables grow best in Mediterranean climates, of which there are just a handful around the world, including Salinas Valley.
"We've tapped out Salinas. There's not a way to add capacity," he said.
Barnard prefers to use the term indoor farming, not to be confused with growing in greenhouses, which use natural sunlight and dirt. In vertical farms, vegetables grow hydroponically — in a "soil-less medium" of water and nutrients. They sit on actual vertical walls, in the case of Plenty, or on stacked shelves with LED lighting overhead. The temperature- and humidity-controlled environment can be as simple as a shipping container within a larger warehouse.
Crop One of San Mateo grows leafy greens without soil or sunlight in hydroponic facilities using LED lights.
Vertical doesn't necessarily mean towering high, though; it does mean the plants are stacked closely and efficiently. The Dubai farm will be only about four or five stories tall, but at 130,000 square feet, it is large enough to produce greens for the 225,000 meals Emirates caterers produce daily for in-flight meals. Lo said she can produce the same amount on a single acre indoors that would normally require 400 acres of land, and that her company landed the deal because it has shown it can make vertical farming profitable.
But using LED lighting instead of "free energy" comes with high costs and a carbon footprint that can be comparable to shipping greens across the country. Running a 30,000-square-foot indoor farm in the New York City area would cost about $340,000 per year for power, lighting, heating and cooling, according to a recent report by Civil Eats. Because water can be filtered and reused in vertical farms, water use is only an estimated 1 percent of conventional farming.
Lo estimates that vertical farms cost one and a half times as much as traditional farms to operate, but that the cost to Emirates will be the same as what it currently pays for the vegetables shipped or flown from Spain, Italy or California. Plus, the greens will be available within 24 hours of harvest, she said, instead of the usual six weeks.
When it comes to the carbon footprint, a farm producing 1 ton of vegetables a day uses 3 megawatts of power a year, Lo said, or enough to power roughly 2,200 homes. Greens produced by the Boston area farm, which sells under the FreshBox label, are carbon neutral when compared with greens transported from California, Lo said; they haven't done a carbon analysis for Dubai yet. The company is planning to open three new farms in Connecticut and Texas soon, and is eyeing sites in Northern and Southern California as well as the Midwest, Georgia and Oklahoma.
One big advantage of vertical farming is that the sealed environment means no pesticides or herbicides are required, and the bacteria levels on the vegetables are much lower, which makes them safer as well as longer-lasting, reducing spoilage.
Then again, the same factors pushing vertical farming forward are also improving technology for traditional agriculture, such as remote sensors, software and drones that help farmers make irrigation more precise and improve soil health.
In November, the U.S. Department of Agriculture reaffirmed that hydroponic farms may use the USDA organic label, even though traditional organic farms and greenhouse growers fumed over that decision, arguing that soil is inherent to organic farming.
As for the future of vertical farming, proponents are counting on further improvements to LED lighting to make it possible to profitably grow larger plants such as strawberries and table grapes. Fruit trees are harder, because of the extra energy required to grow their inedible branches and leaves, whereas most of the plant is edible in leafy greens.
Lo has been approached by spice companies to try to produce endangered tropical plants like vanilla, a crop largely grown in Madagascar and recently decimated by cyclones. The shortages have spurred major price swings across the globe.
Even if vertical farms do one day grow vanilla, they won't replace the field-grown version, but rather, augment it. Still, that technology is likely years, if not decades, away, and would require huge investments from companies that depend on vanilla for their products.
That is, however, pretty much every major food company.


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Crossroads' team of esteemed caterers and Culinary Chefs have created a dynamic menu that is sure to impress everyone. Planning a special event? Reserve our private dining room and allow our professional planners to assist you with all the details. Crossroads also hosts a variety of events including Easter Sunday and Mother's Day buffets.


Manchester United is all set to make Monaco forward Anthony Martial the most expensive football teenager after his transfer dealings at Old Trafford.
Monaco has reportedly granted permission by France Coach Didier Deschamps to sign the contract with Manchester United.
The fee is expected to be 36 million pounds for the 19-year-old who has played only 29 games, news.com.au reports.
With the appointment, Martial will surpass Paris Saint-Germain's Lucas Moura to become the most expensive teenager in the history of the football.
Martial had earlier joined Monaco from Lyon in 2013 for five million Euros.


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text:
Q: jQuery detect singlepage navigation I am accessing a web page and I am trying to write a jQuery script to detect whenever the page loads a new content. The problem is, When the page first loads it throws an on('load') event, but every subsequent navigation seems to be within the page and I cannot figure out how to catch those.
This is what I did. Navigate to the below link. Open up Google Chrome devtools console. Try to add a jQuery event listener as below.
$(document).on('click',function(){console.log("click");})

This works for all the clicks. I tried the load, reload, change event, but that does not work all the time. How do I catch an event when the user navigates to another "page" (or section) within this demo site.
http://www.emc.com/microsites/vipr-demo/index.htm#/vdc/1/admin/dashboard/admin-dashboard

A: Since your url gets changed when a different section of the web page gets loaded, you can use hashchange event.
See https://developer.mozilla.org/en-US/docs/Web/API/WindowEventHandlers/onhashchange and On - window.location.hash - Change?

redpajama_set_name: RedPajamaStackExchange


How can we protect young children from the dangers of social media"
Why is it that young people use social media as their main form of communication ? rather than face-to-face dialogue ? in the belief that ?group chat? is more profitable" On the contrary, it is more superficial with potential for realities to be distorted and misinterpreted. So how can we educate our children and keep them safe online"
Firstly, we need to educate ourselves. Finding out about new social media platforms, privacy settings, parental controls and the latest online scams will help us help them ? there are plenty of tips online, and Parent Zone is a good starting point.


It is well known that it can be difficult to be profitable with any business that involves horses. The infrastructure costs are high and areas of the sport are not as focussed on commercial gain as some other sports, e.g. TV coverage, sponsorship, prize money etc.
However there are profits to be made from a well run equine business. A livery business for example must always try and control costs below livery charges and a stud business must be able to sell stock over and above production costs. That sounds an over simplification but the harsh reality is there must always be a focus on profit.
One of the current areas of attack by HM Revenue & Customs (HMRC) in their attempt to deny Business Property Relief (BPR) for Inheritance Tax (IHT) is to question commerciality. In order to achieve BPR there must not simply be a business but a business carried on for commercial gain. In the case of equine business, for example, there must be a profit or evidence that a profit would be achieved.
Questions will be asked by HMRC about the original business plan, the quality of the books and records and the, correct PAYE application re staff etc. Good record keeping is not just a requirement for income tax purposes but also supports a claim for Inheritance Tax (IHT).
It has been said that there are three things certain in life – death, taxes and that on the question of commerciality HMRC will always ask for the original business plan. How can it ever be proven that an unprofitable business was to be of commercial design if there was no original business plan? It is not enough just to take in a few liveries and hope there is a net profit.
An essential part of both income tax and IHT protection is that every proposed equine business has a business plan. There would be income tax losses (HMRC allow a stud has the first eleven years to produce a profit) and in order to protect the claim against total income there must be proof of commerciality. The ultimate test is that a formal business plan was produced to show a profit can be achieved and was compared to the actual results as they progress through the years. Obviously the one point of greater importance than the business plan, is a profit itself that always proves commerciality.


Give Ronita a call, send an email or SMS. You can contact us at any time including weekends. If Ronita is working with a client you may reach Bessie our friendly personal assistant. She will make sure Ronita calls you back.
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Ronita also presents the Davis Dyslexia, ADD, ADHD and other programs internationally travel can be arranged to Namibia, Botswana, Lesotho, Madagascar, Malawi, Mauritius, Mozambique, Seychelles, Swaziland and other countries.


text:
Q: create mail template with $compile in angularjs I have a large html file with some css in it. This html forms the body for follow up email after filling in a form. The way it is implemented now, is by string concatenation, which I don't like. The new html email body is also larger. I figured I could do it using angulars $compile function but I cant get it to work correctly.
This is the link to the plunk. I have tried this (which is the current state of the plunk) and also the answer of this question.
The completed and 'interpolated' (whatever that means) string is a parameter for a REST call to the server, which will send the actual email. So I would like to keep the creation of the template in a function which the user can execute with for example a ng-click. This is what I mean:
composer.$inject = ["$http", "$compile", "$scope", "$templateRequest", "$timeout"];
         function composer($http, $compile, $scope, $templateRequest, $timeout) {

           $scope.person = {
             firstname:"jonny",
             lastname:"Bravo"
           };

           compose();

          function compose() {
            $templateRequest("template.html").then(function(html){
              var template = angular.element(html);
              console.log(template);
              $compile(template)($scope);
              console.log(template);

              $timeout(function() {
                $scope.htmlitem = template.html();
              });

           });
          }

I really wonder why it doesn't work.

A: You need to append complied result to document before get template.html().
Fixed plunker.
With a little trick by using directive to complie template and provide the value back to your controller. Hope it works, any problems let me know plz.
.directive("htmlBuilder", htmlBuilder);

htmlBuilder.$inject = ["$http", "$compile", "$templateRequest", "$timeout"];

  function htmlBuilder($http, $compile, $templateRequest, $timeout) {

    return {
      restrict: 'EA',
      require: 'ngController',
      link: function(scope, $elements, attrs, ctrl) {

        $templateRequest("template.html").then(function(html) {
          var template = angular.element(html);
          $compile(template)(scope);

          //Apend to document before get innerHTML
          $elements.append(template);

          $timeout(function() {
            var res = $elements.html();
            ctrl.setResult(res);
          });
        });
      }
    }

  }


COD Minimum Orders: $50.00 plus shipping charges.
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Credit Card Orders: For your convenience, we accept VISA, MasterCard and American Express. You will be billed for mechanize and freight when parts are shipped.
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Thank you for taking the time to look around. This is a list of my books currently for sale.
You can find my books and eBooks for sale on sites like lulu.com, Amazon, and Barnes & Noble.
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Monday Nights @ 7 Mile House!
"Davey....you are a treasure to the community where you live.
"Dave... You have a beautiful, warm, clear voice"
"What a great human being you are and so professional and dedicated... such a great sense of enjoyment on the bandstand, with all the human playfulness one can imagine. My honor to know you and be part of your great musicianship!!! Thank you kind sir!!!"
Bassist for Freddie Hubbard, Sonny Stitt, Art Pepper, Art Blakey, George Shearing, Cal Tjader, Kenny Dorham, and Rahsaan Roland Kirk.


Born 1886 in Pirmasens, Hugo Ball studied German literature, philosophy, and history at the universities of Munich and Heidelberg (1906-1907). In 1910, he moved to Berlin in order to become an actor and collaborated with Max Reinhardt and worked as a director and stage manager for various theater companies in Berlin, Plauen, and Munich. He also started writing, contributing to the expressionist journals Die Neue Kunst and Die Aktion, both of which, in style and in content, anticipated the format of later Dada journals.
Soon after the outbreak of World War I he and Emmy Hennings, a cabaret singer whom he had met in Munich and whom he would marry in 1920, emigrated to Zurich, Switzerland. In February 1916 he founded the 'Cabaret Voltaire' in the Spiegelgasse. There he met with Hans Arp, Marcel Janco, Tristan Tzara, and later Richard Huelsenbeck and Walter Serner.
In July 1916 Ball left the Dada circle in Zurich in order to recuperate in the Swiss countryside. He returned in January 1917 to help organize Galerie Dada, an exhibition space that opened in March 1917. Events at the Galerie included lectures, performances, dances, weekend soirées, and tours of the exhibitions. Although Ball supported the educative goals of the Galerie, he was at odds with Tzara over Tzara's ambition to make Dada into an international movement with a systematic doctrine. He left Zurich in May 1917 and did not again actively participate in Dada activities.
Hugo Ball died in Sant' Abbondio, Switzerland, 14 September 1927.
More extensive is Amanda L. Hockensmith, 'Hugo Ball', published in Leah Dickerman (ed.), Dada. Zurich, Berlin, Hannover, Cologne, New York, Paris (National Gallery of Art : Washington DC 2005) 462-463 and online available at Dada biographies: Hugo Ball, an exhibition at the National Gallery of Art.
Hugo Ball in 'cubist costume' reciting his poem 'Elefantenkarawane' at the Cabaret Voltaire, 23 June 1916. Hugo Ball/Emmy Hennings Estate, Robert-Walser Archiv, Zürich.


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Catalog > Photo & Video > Adobe Photoshop > Adobe Photoshop Cc Bootcamp > Basic Selection Tools
Adobe Photoshop CC Bootcamp
Lesson 44 of 118
Basic Selection Tools
This is a handy-dandy image that's just gonna help us look at the selection tools and see what these selection tools do. And what we've done when we set up our toolbar is we made all of our selection tools comfortably sit right here on the left-hand side, in one grouping. So we have our rectangular tool, we have our elliptical tool, we have our lasso tool, we have our polygonal lasso tool and we have a magnetic lasso tool. Of all of these tools, I think that they're important to know, but you probably will find yourself using them less when you see some of the other selection tools. But we have to know how these tools work because there might be an instance where you need this tool as opposed to just the quick selection tool that people seem so quick to jump to. So the marquee tool is exactly what it is. If you click and hold and move it around, it will make a selection in a restricted rectangular marquee. If you press and hold shift, it will maintain a square. So if I wanted to select...
that square, I can press and hold shift and I've got that square selection maintained. Now if we look up here, we can see, what is this trying to do? We can make multiple selections within one layer. So right now we have this set to make its own layer, that's a new selection, making its own new selection. But we can say, maybe wanna add another selection to this or subtract a selection from this or intersect it with a selection. Now, while we can use these different tools up here to do that, we can also use hot keys to do that as well. For instance, if I wanted to subtract an area from this with the same marquee tool, if I press the alt or option key and then drag in pressing and holding shift, you can see that I've now made what looks more like a block piece, like a Tetris piece or something like that. So, if I wanted to add to that selection, I would just press and hold shift and I can add to that selection and make that selection a little bit larger. So yeah, you can revert to these tools up here, or you can press alt or option as you use that tool. Now notice when I press and hold shift, it adds a plus sign next to there, telling me that anything I do with this selection tool is going to add to this selection. Now this doesn't just work with this selection tool, it works with all the selection tools. So it's important to know these shift and alt keys. And also notice that when I press and hold shift, it's automatically selecting that add the selections. If I press alt, it's going to minus the selection and subtract from that selection. If I press shift and alt, it's going to allow me to alternate them. So notice how I've always told you, if you're working with a tool and you wanna see if it does something different, press shift and look at that tool, press alt and look at that tool, try shift-alt and look at that tool, try shift-alt-control and then try to bend over backwards at the same time while you're doing all that, and you might get a different variation on that tool. So if I go ahead and just clear this out and make that selection again, press and hold shift, making that selection with the marquee tool, you can see here that I have something called feather. Now I haven't done anything with this tool yet at all. All I've done is made a selection. But what I can do with that selection is if I add a new layer here and I press something like shift-F5, I can now fill that selection with any color that I want and it's restricting it just to that selection. So I made the layer, I made the selection, made a new layer, and I can fill that with whatever I have selected. If you've already made the layer and then you make a selection, you can use something like a mask to block that out. For instance, if I go ahead and delete this and I make a new layer here, press shift-F5, fill it with black, I can actually turn this layer off, make a selection with that marquee tool, go back to this layer, and if I make a mask on there, notice how it automatically makes the mask for that selection. So that's important to know also, that if a layer does not have a mask yet and you put a mask on it, if you already have a selection made, it will automatically default that to that mask. So I can go ahead and delete that. Next over here you're gonna see something called feather. So if I change the feather on this to something like, let's do something big like 50 pixels, and I press and hold shift and drag here, notice how my racing ants that I get around here now have a radius edge around it. What's happening is, it' giving me, even though I made a square, it's giving me a visual representation of what it's gonna look like with a 50 pixel feather. So if I were to add a new layer, press shift-F5 and fill with black, notice how now that selection has that faded and feathered edge to it. Now that's gonna be a strict feathered edge for that layer. I can't go back at that point. So if I needed to make a strict rigid square, I would have to change that feathering back and go ahead and delete this layer. So I'll go ahead and change this back to zero pixels on the feather. If I press control and space bar, that's how I'm zooming in and out, control and space bar, right click, I can say fit on screen to get me back to where I was. Now alternatively, you also have the elliptical tool here. If I press and hold shift on the elliptical tool, it's gonna make a perfect circle. If I just use the elliptical tool freeform, it's gonna allow me to move it around like this. So press and hold shift, gives me the elliptical tool and then I can move that around and make a selection for an area. Not ideal when you're trying to make a perfect selection for this circle at that point. So I'm gonna go ahead and look at another tool in here and look at the lasso tool. Now the lasso tool is a freeform selection tool all by itself. It doesn't do anything with squares, it doesn't do anything with circles. It just allows you to, whatever you click and whatever you select, it's going to make. So, some people have a lot more steady hands than others and can find this tool to be very successful to make a circle around here. But as you can see, I can't draw that very well with a mouse, nor can I probably do that with a pen. But it makes a freeform selection of exactly what I choose. Now what you'll notice here is that I made a complete circle all the way around and it went ahead and made this connection for me. If I were to go right around here and then unclick, it's going to make that half circle selection. Basically when I unclick from that lasso tool, it's automatically gonna snap back to the starting point and make that my selection. So a lasso tool, in terms of making things exact and precise, is not exactly the best thing to use, but it can be very useful when you wanna select a certain area and make a mask and then maybe feather that out. So we talked about custom vignettes before, correct? If I were to go ahead and make a selection around this area like this, just like that, and then go ahead and make a new layer, and we're gonna go ahead and invert this selection. So to invert a selection, you press control, shift and I, and it's going to invert your selection. So my main selection was the circle in the middle. By pressing control-shift-I, it will invert it so that my selection is no longer that selection circle in the middle. If I press shift-F5, it's going to fill that with black. And now I have that freeform selection set to black. It doesn't have a very beautiful cut edge in the center, but if you use that in conjunction with things like the feathering, you can create your own vignette using the lasso tool. If we look at the next tool which is the polygonal lasso tool, this tool makes straight lines. It's designed to make strictly straight lines. So if I were to zoom in to this area right here, click on right here, click and you see that there's a little circle next to it, click right here. When I first started, it needed me to start somewhere, and I can click on each of these points, and that makes a selection using a polygonal lasso tool. If I press and hold shift while I'm using the polygonal lasso tool, it will ensure that I'm only moving straight up and down or at 45 degree angles. You see that, how I'm rotating around? If I were to do this freeform, I can use any angle I want. Pressing and holding shift will restrict me to 45 degree angles, so I can make a more precise selection as I go around this square and make an actual square selection by clicking around. And again, this is the same concept. If I were to double click right here, it's automatically gonna snap me back to where I started. The next tool we have in the selection tools is the magnetic lasso tool. And this magnetic lasso tool, in years past, was something that we used quite a bit, before Adobe came up with all these really incredible selection tools. This was the way that we would select a person in an image, because it would magnetically find pixels within the image that you could trace around. It has a couple of settings that are gonna be a little bit different than what you're used to seeing for the other selection tools that we've already looked at. But if I were to zoom in to this area of this test image, click right here, start going around, notice how it magnetically is going to that area on the image. If I go up too high, though, it's gonna start making its own points all over the place. So these settings up here that you see along the top for this tool are really helpful to keep and restrain that magnetic lasso tool from going too far. So if I adjust the width to something like 50 pixels, that gives me a little bit more leeway to go a little bit higher, up to 50 pixels higher as I go around with the magnetic lasso tool before it's gonna start trying to make other points for me. See that? It went 50 pixels out before it started making other points. So if I were to change this to something like 100 pixels or, yeah, 100 pixels, it allows me to go really far before it starts making its own points for me. But those points are important because as it makes those points it's trying to make those points for me. If I click, I tell it to basically reset itself and go from that point. If I don't click, it's not gonna anchor itself and it's gonna go all over the place. So this is a tool that we used a lot in the past. I still use it a little bit to this day because I'm used to using it. The other setting that you're gonna see here is the frequency, and that's the frequency of how many points it's gonna put down automatically by itself before you click on the trigger. So if I make this five as a frequency, you're gonna see that it's gonna start, it's gonna make less points here. I'll go ahead and change it to something like 100. And now it's gonna start making a lot more points. You see that? A lot more anchor points before it allows me to go too high, which makes that selection a lot easier, and it's really restricting this tool from going outside of the bounds of that area. So while the magnetic lasso tool is a tool of the past, it's one of those tools that we often overlook because we don't understand what those other settings are. And those other settings just help us select the area a little bit better without going too far out of our bounds. So you notice I'm going pretty far out of the bounds here and it's making more selections now. So you do have to be a little bit careful with this tool if you're gonna use this tool. But more importantly, there is another tool in here that we use a little bit more frequently now than the magnetic lasso tool or the polygonal lasso tool, and that would be something like the magic wand or the quick selection tool. I'm gonna start with the magic wand first, because the quick selection tool is the new way of making selections very quickly and very easily, whereas the magic wand is an older way of doing it. Before the quick selection tool came out, the magic wand was a tool that we used. And the magic wand has a couple points here that we need to take into consideration. That's the tolerance, the contiguous, or sample all layers. If there were multiple layers in here, it would be smart enough to know what to make the selections from if we were to click sample all layers, but the tolerance is what I'm concerned with now. So the magic wand tool, if we just click right here when it's set to contiguous, it's only going to select the pixels that look like that color gray that I told it to select. This is actually a pretty powerful tool that, if we use it in conjunction with that contiguous, we can make a selection for certain areas in our image that we might not have been able to make without it. So I'm gonna press command or control D, to deselect. Command or control D will always deselect whatever selection you have set, and that will change us to contiguous. Or unclick contiguous. When I click that, notice how now, with that unchecked, it's selecting any like gray pixels to what I told it to select. Turn contiguous off, so you can see that again. It's not selecting the grays that are inside this circle. Same thing would happen here if I select this purple. It's only selecting that purple now because contiguous is checked. If I uncheck contiguous, it's gonna select anything that's purple. But notice how right here inside that little center one right here, how we got a whole bunch of selections that we're not quite sure what it's selecting? What that's saying is that it's selecting anything that's purple within a tolerance of 32. So if we change that tolerance down to five and then click on that purple, we get less of a selection. If we change that tolerance to something like 100, and then click, it's gonna give me anything that is remotely close to that purple and even go even farther outside of that because it's selecting darker colors because the tolerance is set so high. So this is a varying way that you can make selections on your image for a specific color pixel. That's what it's looking for, it's looking for pixels that look like that pixel that you've selected. If we were to check this gray block now, look at the tolerance as we look at these shaded corners at the top. It's selecting anything that's that color gray, plus expanding even further into the dark shadowy areas. So I'll press command or control D to get out of there. And now I'll go to my tolerance and set that to five and click on that gray. Notice how now it's much different. Because there is, you don't even see it but there's a slight feathered edge that's happening here. So it's not selecting those areas. So this tool, well, we typically don't use the magic wand as much as we used to. This is a tool that we would use to select the background, to get the subject away from the foreground. It's still a very valid tool to this day. I use it when I'm trying to select a certain color pixel within my image that I might wanna make a mask from that and then feather it out, and I can make some really nice selections from that. Now, let's go ahead and go to the magic, the quick selection tool actually. The quick selection tool, this is the new, I guess I can't say the new tool, it's been around for quite a while, but it's new to me 'cause I've been doing Photoshop since like 1998. So this tool is, to me is a new tool that is very helpful for making selections that, really, of all the tools that I use for making selections, this is probably the one I'm gonna use primarily. So I'm gonna go ahead and reduce the size of this brush a little bit so you can see this. This allows me to make selections based on the size of the brush that I'm using. So if I use a very large brush, it's gonna make a very large setting. So notice how we still have brushes even here in something like a selection. While this brush is not necessarily the brush that we would think of as making a stroke to actually fill in with color, this is a brush to select certain sizes. So if I make a very small brush and I start clicking around here, notice how the selection that it's making is not like the magic wand tool. It's not saying, I'm gonna select everything that's gray. It's just saying, you made a small brush and you made a very small stroke, so that's what I'm gonna select. But it's very smart in that if we make a very large brush, and then we click and make that stroke, look at how it selects a whole area now. So this tool can be very frustrating if you make a very big brush with it and then you start clicking on your image, and you're just gonna be like, aghhhh, because it's selecting so much stuff with one big stroke. I tend to use this brush rather small and use it with something like a size like that. As I click and I drag, it's going to select more areas that are like it. Now this, unlike the other tools where you had to press and hold shift to ensure that it was making the selection, you don't have to press and hold shift. By default, if you look at the top, it's already got the plus sign selected for it, so I can go anywhere else in my image and start making selections. And I don't just have to select the gray. I can even select the blue at this point too. And I can select all around my canvas and it's automatically adding to it. If I press alt or option though, notice how the inside of that circle now goes from a plus sign to a minus sign. And now I can restrict what I'm gonna make that selection from. So just press alt or option, click around, and now I can pull that blue away. Press alt or option, start painting inside this gray, and it's gonna start pulling that area away as well. Get rid of that area. So then if we were to add a new layer here, press shift-F5 and fill this, shift-F5, not shift-F6, and fill this with, let's just make a different color here. Yellow is okay. That's the selection that we actually made.
Adobe® Photoshop CC® is a valuable tool for photographers, but it can also be intimidating. In this all-inclusive 20 lesson course, you'll go from opening the program for the first time to creating images that really stand out. Join Blake Rudis, Photoshop expert and founder of f64 Academy, as he shows you how to maximize your use of Photoshop.
Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
Smart Objects, Transforming, Actions, Filters, and Editing Video
Custom Creative Effects, Natural Retouching, Portrait Workflow, Landscape Workflow, and Composite Workflow
Don't let the many aspects of Photoshop prevent you from maximizing your use of this amazing app. Blake will help you develop the confidence to use your imagination and create the images that you will be proud to share with your clients.
Bootcamp Introduction
The Bridge Interface
Setting up Bridge
Overview of Bridge
Practical Application of Bridge
Introduction to Raw Editing
Setting up ACR Preferences & Interface
Global Tools Part 1
Local Tools
Introduction to the Photoshop Interface
Toolbars, Menus and Windows
Setup and Interface
Adobe Libraries
Saving Files
Introduction to Cropping
Cropping for Composition in ACR
Cropping for Composition in Photoshop
Cropping for the Subject in Post
Cropping for Print
Perspective Cropping in Photoshop
Introduction to Layers
Vector & Raster Layers Basics
Adjustment Layers in Photoshop
Organizing and Managing Layers
Introduction to Layer Tools and Blend Modes
Screen and Multiply and Overlay
Soft Light Blend Mode
Color and Luminosity Blend Modes
Color Burn and Color Dodge Blend Modes
Introduction to Layer Styles
Practical Application: Layer Tools
Introduction to Masks and Brushes
Brush Basics
Brush Mask: Vignettes
Brush Mask: Curves Dodge & Burn
Brush Mask: Hue & Saturation
Mask Groups
Clipping Masks
Masking in Adobe Camera Raw
Practical Applications: Masks
Introduction to Selections
The Pen Tool
Masks from Selections
Selecting Subjects and Masking
Color Range Mask
Luminosity Masks Basics
Introduction to Cleanup Tools
Adobe Camera Raw
Healing and Spot Healing Brush
The Clone Stamp Tool
The Patch Tool
Content Aware Move Tool
Content Aware Fill
Custom Cleanup Selections
Introduction to Shapes and Text
Text Basics
Shape Basics
Adding Text to Pictures
Custom Water Marks
Introduction to Smart Objects
Smart Object Basics
Smart Objects and Filters
Smart Objects and Image Transformation
Smart Objects and Album Layouts
Smart Objects and Composites
Introduction to Image Transforming
ACR and Lens Correction
Photoshop and Lens Correction
The Warp Tool
Perspective Transformations
Introduction to Actions in Photoshop
Introduction to the Actions Panel Interface
Making Your First Action
Modifying Actions After You Record Them
Adding Stops to Actions
Conditional Actions
Actions that Communicate
Introduction to Filters
ACR as a Filter
Helpful Artistic Filters
Helpful Practical Filters
Sharpening with Filters
Rendering Trees
The Oil Paint and Add Noise Filters
Introduction to Editing Video
Timeline for Video
Cropping Video
Adjustment Layers and Video
Building Lookup Tables
Layers, Masking Video & Working with Type
ACR to Edit Video
Introduction to Creative Effects
Black, White, and Monochrome
Matte and Cinematic Effects
Gradient Maps and Solid Color Grades
Glow and Haze
Introduction to Natural Retouching
Brightening Teeth
Clean Up with the Clone Stamp Tool
Cleaning and Brightening Eyes
Advanced Clean Up Techniques
Introduction to Portrait Workflow & Bridge Organization
ACR for Portraits Pre-Edits
Portrait Workflow Techniques
Introduction to Landscape Workflow & Bridge Organization
Landscape Workflow Techniques
Introduction to Compositing & Bridge
Composite Workflow Techniques
Landscape Composite Projects
Bonus: Rothko and Workspace
Bonus: Adding Textures to Photos
Bonus: The Mask (Extras)
Bonus: The Color Range Mask in ACR
Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.
Esther Gambrell
WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!
Sonya Messier
I'm been using Bridge, Adobe Raw and Photoshop for 12 years. I thought I knew those programs until I started to follow Blake and do this Photoshop CC Bootcamp. This course is AMAZING. I love the way Blake teach, brakes down concepts and tools... excellent teaching qualities! I'm half way in this course and I change all my workflow already. Much better results and better use of what Adobe offer me. This course is an investment! When I will be done, I will listen it again. Great job and congratulations on your success Blake!


The Snowman Cannon is an upgraded version of the Rocket Launcher dropped from Ice Queen during the Frost Moon event. It fires Rockets which home in on nearby targets and explode on impact. The projectiles are re-skinned to look like miniature snowmen. Rockets shot by the player using this weapon will not damage them, even if they explode at point blank range.
It uses Rockets as ammo, namely Rocket I, II, III, and IV.
The best prefix this weapon can get is Unreal.
This is the only homing launcher in the game, also one of the few launchers that will not cause friendly fire.


text:
Cameron Molloy
Cameron Molloy and The Drivin' Wheel
Cam's Birthday Party
Cameron Molloy, singer songwriter.
Cameron Molloy, Westwind Rider
Cameron Molloy , The Drivin' Wheel
New world wide song release set for early March
Early March will see the release of my 7th single release through Triplestrand Production out of Minnesota. The last 6 releases have all done exceedingly well on international radio from New Zealand and Australia, Western Europe and the South western United States.
My new release is a song call " Ten More Miles" from an album recorded in 1982! The song, performance and production still stands up after all these years. " Ten More Miles" has been in the top three songs played on my Reverbnation page as well as on my Soundcloud account. I wrote "Ten More Miles" in the summer of 1971 while working on Kinbasket forestry lookout up on the Big Bend of the Columbia River. The tune was influenced by "the Brand New Tennessee Waltzl by the late Jesse Winchester, "Dire Wolf" by the Grateful Dead" and "the Cremation of Sam McGee" by the Canadian poet Robert Service.
Needless to say, I was quite pleased when Triplestrand picked "Ten More Miles" for this release. The song Canadiana in its heart and soul!. Folks in Mountain View and Menlo Park California thanks for playing this song on SoundCloud and thanks to my peers and contemporaries on Reverbnation for the attention given to the song also. Cheers, Cameron. Hey if you visit the page, leave a message, I really appreciate each and every visit it would just be nice to no your name and have an email address too.
Ten More Miles
Subscribe with iTunes RSS feed Download


Junya Watanabe presents a sculptural spin on the classic shirtdress. It's crafted from white, sky-blue and black pinstriped woven cotton, disrupted with ruched pintucks along the bell sleeves, side seams, and in a fan across the back yoke. Channel the designer's avant-garde spirit with a statement shoulder bag and mules.


I was working on this project during last summer. It was an experiment, where I tried to make a speaker with very simple crossover. Lower frequencies were filtered out with capacitors and higher frequencies were filtered with foam of varied thickness. The benefits of this design are low cost(no expensive inductors) and flat impedance (easy load for an amplifier).
This speaker still needs a separate powered subwoofer, because lower woofer is in bandpass enclosure and it's frequency response drops sharply at around 100hz.
I don't have photos of finished speakers yet.
The Cirrus series consists of four, five, and six-string bass guitars. These bass guitars are noted for their bodies and necks that are made from exotic woods.


Tax audits got you down? Try some of these relaxing scandal-free activities in our nation's capital.
1.Visit the National Gallery of Canada and the Canadian Museum of Contemporary Photography.
4. Try a downtown boutique hotel such as Hotel Indigo or stay at the Brookstreet Hotel for the excellent food,outdoor pool, spa, and golf. Golf on site at The Marshes or at the Stonebridge Golf Course.
5. Check out the underground museum, The Diefenbunker, for a look into Canada's secret cold war past.
6. While in the area, hike the Gatineau Park trails and brunch at Cafe Soupe'Herbe.
7. Cycle the Rideau Canal.
9. Stop at the historic ByWard Market for the best and cheapest maple syrup in the country.
10. Visit the Parliament buildings.
For more info, contact Ottawa Tourism at: 1.888.OTTAWA8 (1-888-688-2928) http://www.ottawatourism.ca.
From Toronto, take the relaxing four-hour Via Rail trip, book early for substantial savings.
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Obama and his administration can't give any kind of coherent explanation of what went wrong at Benghazi, but they tell us that they know definitively that their as-of-yet unrevealed strategy in Syria will work. John Boehner and Eric Cantor may have already buckled at the knees, but Republican Congressman Jeff Duncan (R-S.C.) wants a few answers about Benghazi before he gives the thumbs up to any new military adventures.
Duncan then produced a small photo of U.S. Navy SEAL Tyrone Woods, one of the four Americans killed Sept. 11, 2012 at the U.S. diplomatic outpost in Benghazi, Libya.
"America deserves answers before we send another man or woman the caliber of Ty Woods in harm's way especially in another country's civil war," the congressman said.
Only in D.C. do people pretend that past performance is completely unrelated to the present. Obama and his administration are habitually incompetent and dishonest, they've done a terrible job in Iraq, Afghanistan, Egypt, and Iraq and they can't answer the most basic questions about what they've done wrong. Maybe it's worth grilling them about their past failures before we greenlight this gang of bullsh*tters and send them into another China shop.


text:
Q: Rest-framework ID issue on React frontend to display data in a "color yes, color no" mode I am trying to build an API server with Django and React as frontend.
I'm having an issue with the id I'll be using to display the publications on my React page. My goal is to display a "color yes, color no" background (black, white, black, white ... for instance).
In React I have this so far:
{news && news.list.map((item) => {

    return(

        <NewsPiece
            key={item.id}
            title={item.title}
            active={item.id % 2 === 0 ? true : false} #when active, white, otherwise black
        />
    )
})}

This is my modal in Django.
class Publication(models.Model):
    title = models.CharField(max_length=250, blank=False, null=False)
    subTitle = models.CharField(max_length=500, blank=True, null=True)
    author = models.CharField(max_length=100, blank=True, null=True)
    inter = models.BooleanField(default=False, null=True) #if my publication is in english or not
    created_at = models.DateTimeField(default=timezone.now)

And below is my serializer:
class PublicationMiniSerializer(serializers.ModelSerializer):
    newsPaper = NewsPaperSerializer(many=False)
    columnist = ColumnistSerializer(many=False)

    class Meta:
        model = Publication
        fields = ('title', 'id', 'created_at')

And this is a short example of what my DB look like:
------
id: 1 #display color would be black as id % 2 === 0 is false
Title: esse é o título #(this is the title in pt-br :))
inter: false

------
id: 2 #display color would be white
Title: this is the title
inter: True

------
id: 3 #display black
Title: esse é o título #(this is the title in pt-br :))
inter: False

------
id: 4 #display white
Title: this is the title
inter: True

If I try to display this on both types (when inter is false and true) it works fine. The id is sequential and I can make react use black and white according to my condition (id % 2 === 0 ? true : false).
But my goal is to have the option to filter publications by international parameter. So if the filter equals "inter == True" I would have this.
------
id: 2 #display color would be white
Title: this is the title
inter: True

------
id: 4 #display white
Title: this is the title
inter: True

In this scenario, I would have white and white.
Test 1:
I tried first to change the behave of my React component. Instead of passing the Id, I use the loop number.
{news && news.list.map((item, i) => {

    return(

        <NewsPiece
            key={item.id}
            title={item.title}
            active={i % 2 === 0 ? true : false} #when active, black, otherwise white
        />
    )
})}

This would work, but it is not a good way because when I change something on this component (for instance, add a new element in the beginning) it would reload everything again.
Test 1 (the furthest I went by myself up to now):
I changed the behave of my modal and append two fields: inter_id and national_id.
class Publication(models.Model):
    title = models.CharField(max_length=250, blank=False, null=False)
    subTitle = models.CharField(max_length=500, blank=True, null=True)
    inter = models.BooleanField(default=False, null=True)
    created_at = models.DateTimeField(default=timezone.now)

    inter_id = models.IntegerField(null=True)
    national_id = models.IntegerField(null=True)

    def __str__(self):
        return self.title

    def save(self, *args, **kwargs):
        top = Publication.objects.order_by('-id').filter(inter=self.inter)[0]
        if self.inter:
            self.inter_id = top.inter_id + 1
        else:
            self.national_id = top.national_id + 1

        super().save(*args, **kwargs)

When I save the Publication item, the save method is called. Then I create a "fake id" for international and for national. The id would be set according to the "inter" field (true or false). I think this part is kind of self-explanatory.
And follow my serializer.
class PublicationMiniSerializer(serializers.ModelSerializer):
    newsPaper = NewsPaperSerializer(many=False)
    columnist = ColumnistSerializer(many=False)
    id = serializers.SerializerMethodField()

    class Meta:
        model = Publication
        fields = ('title', 'id', 'headLine', 'newsPaper', 'columnist', 'created_at')

    def get_id(self, obj):
        if obj.inter:
            return obj.inter_id

        return obj.national_id

In this code, I overwrote my id so it would represent my inter_id or national_id based on the condition "if inter == true". I'm glad to achieve this. This way, the "id" would be a representation of the nationa_id and international_id (and both variables would be "counting" the position on the database).
My issue is:
With my solution, I would have to make another query every time I add a Publication to find the last inter or national id. I didn't like this so much... I think I can do better.
Question:
I was wondering if there is a way to pass to the serializer the current position of the object in the serializer query.
For instance.
My query has 20 items. From 0 to 20. The first element will have the id 0 and the last, the id of 20. On the next page, 21 to 40, the first would have the id of 21...
Is there a way of doing this?
Do you guys have an even better approach?
Hope that I made myself understood.
If you have any doubts, please let me know and I try to explain in other words.
Thanks a lot!

A: After some research, I found a much easier way. I was overthinking the issue and forgot to use the most obvious way: CSS
Instead of trying to use the id to define the color of the line, I use the even and odd options in CSS. So it is not necessary to handle all that stuff in django-rest-framework or mix up with my react code.
This is my react element:
{news && news.list.map((item) => {

    return(

        <NewsPiece
            key={item.id}
            title={item.title}
            #####active={item.id % 2 === 0 ? true : false} #when active, white, otherwise black
        />
    )
})}

NewsPiece was created with styled-components
To handle odd and even, I created another element Section and wrapped NewsPiece in it. My NewsPiece element, in fact, is a "li" with the title inside.
And this is my section.
import styled from 'styled-components';

const Section = styled.section`

    li:nth-child(even){
        background: black;
        border-radius: 10px;
    }
    li:nth-child(odd){
        background: white;

    }

`;

This way I can achieve what I want without the need to change even a line in my backend and frontend react code.