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text:
Q: How to toggle a feature enable or disable feature in terraform without modifying code In Terraform we need to implement a functionality to toggle the block of terraform code(From enable to disable) and redeploy without manually changing the terraform code using commenting the code lines. What is the best way without manually change the code?
Regards
Flashnightss
We tried to manually change the code for example disabling the feature(e.g storage replication disable from enable) using /* */ comment lines. But thats not the good idea for a novice users. Looking for a programmatically implement this without modifying the code manually.

A: One option is to introduce a feature flag, i.e., a variable that tells the code if a feature/module/block should be used, or not.
E.g., assuming you have a variable myfeatureflag declared in your terraform.tfvars and you want optionally use a resource block, you could write
resource "myresource" "myresourceid" {
  count = var.myfeatureflag == true ? 1 : 0

  <resource-specific code>
}

You could do it similarly for calling complete modules.

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One of the staples of night school and weekend classes, art classes for adults can be incredibly rewarding experiences that open up new bodies of technique, new connections, and new realms of creative possibility. They can, on the other hand, also be boring, pointless, and depressing - it all depends on how you go into the experience, who the instructor is, and how you interact with your classmates. Many of us artistic types are fairly introverted, and rarely ready to show off our first attempts at new styles or techniques to total strangers - but at the same time, showing total strangers as opposed to friends and family can be liberating. After all, if you choose, you never have to see any of those classmates again. It really does depend on what you put into the situation.
In order to make sure you don't waste your time (and maybe your money, depending on where the class is and what supplies you might need), take a bit of time to explore the program before you sign up. Naturally, looking at the instructor is essential. See if it's possible to speak with them before class, to get a sense of their teaching style, personality, and general skillset. Do they specialize in a medium you've always wanted to try? Don't just sign up after meeting the instructor, though. See if there are examples of the work the past students have created - if they were able to create something they were pleased with, they would no doubt take it home when the class ended, but the teacher would likely want to keep photographs or copies of digital files in order to showcase the works their students have completed under their tutelage.
If you go into the class with an open mind, ready to experiment and to learn, then you're going to have a much more rewarding experience than you would if you go in afraid of what might happen. Take it as an opportunity for growth, not an opportunity to show off how much you already know. Experiment with media that you otherwise wouldn't get a chance to use. Talk to people with an artistic inclination you otherwise wouldn't meet. Broaden your horizons, and you never know what could come of it. Maybe the person at the next easel over is starting up a gallery!


text:
My Criterion
An Anguish at Arm's Length: Supriya Choudhury in The Cloud-Capped Star
By Devika Girish
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Whenever I think of the iconic Bengali actor Supriya Choudhury, the first thing I recall is not her face—with its high cheekbones and large, kohl-rimmed eyes that often drew comparisons to Sophia Loren's—but her voice, disembodied, tearing through the hills in Ritwik Ghatak's The Cloud-Capped Star (1960): "Brother, I wanted to live; I want to live; tell me that I will live!" A beloved star of her time, Choudhury had a decades-spanning oeuvre that included another Ghatak film, E-Flat (1961); a string of commercial successes with her real-life partner, the Bengali superstar Uttam Kumar; and even a notable late-career cameo in Mira Nair's The Namesake (2006). But when she passed away in 2018 at the age of eighty-five, she seemed forever embalmed—in obituaries, remembrances, and cultural memory—in that primal scream she lets loose in The Cloud-Capped Star as Neeta, the dutiful daughter of a penurious refugee family who is ruined by her own selflessness.
It's a cry that endures in part because it strains against an inexorable fate. In The Cloud-Capped Star, Ghatak draws from the myths of the Hindu deity Durga to deliver a furious critique of the bourgeois values of post-Partition Bengal. Like the Mother Goddess whose deconsecration—ritualized through the yearly festival of Durga Puja—sustains the life force of the world, Neeta expends herself thanklessly for her family until tuberculosis seals her tragic destiny. She ends up at a hillside sanatorium (a twisted reference to the goddess's mountainous abode), where, in the film's final moments, she is visited by her brother Shankar (Anil Chatterjee). As he prattles nervously about their nephew, trying to keep her in good spirits, Neeta suddenly erupts, objecting desperately to the inevitable. She isn't dead yet, but Ghatak all but confirms her annihilation with Eisensteinian montage: he cuts jaggedly between angles, destroying all sense of perspective, while Neeta's voice seems to separate from her body and reverberate across the valleys, which are filmed in rapid pans that fade into each other.
That Choudhury's distinctive presence survives this scene of destruction, enduring and perhaps even engulfing Ghatak's formal frenzy, is a testament to the actress's astute melodramatic capacities—her ability to turn her character's abject victimhood into an unsettling moral force. It was Ghatak's inspired use of "lower" forms like melodrama that distinguished his work from the neorealism of Satyajit Ray and Mrinal Sen, his contemporaries in the Indian art cinema of the 1950s and 60s, also known as "parallel cinema." "I think a truly national cinema will emerge from the much-abused form of melodrama when truly serious and considerate artists will bring the pressure of their entire intellect upon it," Ghatak once wrote. This was precisely his project in works like The Cloud-Capped Star, Subarnarekha (1965), and A River Called Titas (1973). These transfixing, sometimes erratic films harness melodramatic excess in service of a radical indictment of liberal-capitalist society, deploying Indian mythology alongside Jungian archetypes and Brechtian alienation. Neeta in The Cloud-Capped Star represents a particularly ambitious effort at this synthesis: she invokes not just multiple avatars and symbols of the Goddess Durga, but also the Jungian mother-complex, the exploited proletariat, the soul of the partitioned nation, and, at the most immediate level, the figure of the refugee.
It's a crowded, overdetermined canvas within which to act, enclosed further by Ghatak's expressionist tendencies to externalize the psychic worlds of the characters in the soundtrack and the mise-en-scène. Where, one might wonder, is the room for performance? Choudhury, in her midtwenties at the time and with a couple commercial hits under her belt, could have responded with an emotional realism drawn from her lived experiences. The setting and the themes of the film were certainly familiar to her. She'd herself been a refugee as a child, fleeing Myanmar for Calcutta on foot in the midst of World War II; like Neeta, she too had begun working at a young age. Instead, Choudhury holds her own against Ghatak's tortured, stylized ironies with a performance that balances anguish with an unnerving estrangement. Even as the pathos of her heroine consumes the film, Choudhury's calibrated turn—at times excessive, at times jarringly effaced—keeps the viewer at an analytical distance.
The Cloud-Capped Star
In the first half of the film, as we're introduced to Neeta's family, Choudhury exudes an almost cloying goodness. An industrious college student, she moves through the squalid refugee colony with a benevolent sense of calm, in contrast to the flighty, discontented characters who surround her: her nagging mother and comically pompous father, who bemoan their demotion from a middle-class lifestyle; Shankar, the singer-in-training, always rapt in his fantasies of impoverished artistry; Geeta, the exaggeratedly superficial sister; and Montu, the younger brother who dreams of being a sportsman. They ply her with wants and demands—for clothes, books, food, bills, cash—so that the meager income she earns as a tutor is gone before she can buy herself a much-needed pair of sandals. But Neeta responds with endless generosity, often gazing soulfully into offscreen space, as if perceiving a higher dimension of reality invisible to the petty mortals around her. A beatific smile remains fixed on her face, troubled only occasionally by the jabs of her mother.
In these scenes, the "giving goddess" seems no longer an allegory but an embodiment in the figure of Neeta. Choudhury projects a mythic aura so hyperbolic that at moments it seems to rupture the narrative. This is particularly evident in an exchange between Neeta and her romantic interest, Sanat. Like everyone else around her, he takes advantage of her generosity even while protesting feebly against her exploitation. When she suggests that after they marry she can support his academic ambitions with her earnings, he balks at her: "You don't deserve any of this," he says, "this hardship, suffering, and responsibility!" Ghatak closes in on Neeta's face in profile as she responds. Continuing to smile, she turns slowly to face the camera, eyes gazing into the distance, and says coyly, "Then make a glass case and place me inside like a wax doll." Then she turns back to him and suggests they walk back home.
There's a curious falseness to this moment. Neeta's words suggest sarcasm, perhaps even resentment at Sanat's empty pretense of chivalry. Yet Choudhury's monotone delivery betrays no such sentiment, as if severed from the content of her speech. She seems to suggest that she's already a wax doll in the invisible prison of the screen: fetishized and hallowed, yet, like an idol, deprived of real, fleshful life. It's an obscene caricature of the trope of the self-sacrificial, divinely suffering woman, who in Indian melodrama routinely embodies an ideal, a focus of sympathy and identification. But Neeta's lack of all comprehensible human emotion comes off as a disconcerting, unrealistic aberration (or perhaps a "sin," as she later describes her own failure to protest the wrongs done to her). Choudhury commits so fully, so unreasonably, to the archetype that she undoes its spell.
From one extreme, Choudhury goes to the other. The turning point in The Cloud-Capped Star, initiating Neeta's devolution, arrives when she discovers that Sanat has betrayed her. She visits him in his new apartment, where he admits to having quit his research against her wishes and taken up a job. As she sits in his living room, dazed, she hears the clink of bangles from his kitchen. Wordlessly, with a deep inhale, she arises from her seat, her gaze still vacant but no longer sweet, and walks out of the apartment. As she descends the stairs, the world of feeling that she has so far kept at bay seems to take hold of her like a spirit. The camera approaches her at a low angle; on the soundtrack, one can hear the lashes of a whip. With each step down, Choudhury's wide-open eyes turn further upward, while her body convulses, as if experiencing a mild seizure. Finally, frozen in a close-up à la Renée Jeanne Falconetti's Joan of Arc, she clutches her neck, her face the image of hysteria in arrest. If before she had seemed like a wax doll, she now becomes pure flame. An abstraction yet again—not a person.
That moment presages Neeta's eventual death by consumption, that most melodramatic and tropic of illnesses. But in the few scenes before her fever begins, Neeta is extraordinarily brittle and alive, as if negotiating the brief gap that has opened up between her two states of abjection. She struggles to maintain her composure in the face of the revelation that Sanat is in fact marrying her sister, Geeta. It's around Shankar that her unbalanced turmoil is most apparent. He announces that he's leaving for Bombay in protest of the goings-on in their home; she responds by switching between grim stares and sudden, feigned bursts of cheer, asking him to teach her a song for Geeta's wedding. Aghast at her continued self-debasement, Shankar exclaims, demonstrating the same empty indignance as Sanat earlier in the film, "It's soft-hearted idiots like you who get hurt the worst." In response, Neeta repeats her line from before, "Then make a glass case and place me inside like a wax doll."
This time, however, Choudhury's inflections couldn't be more different. She snaps angrily at Shankar, her features bathed dramatically in shadows and moonlight, her eyes flashing and trembling. Emotion neither eludes nor exceeds her; instead, her fury is writ clearly on her face. That moment of perfectly pitched rage gives way to the euphony of sorrowful music, as the two siblings sing a Tagore song heavy with melancholy. The sequence ends with another repetition: Neeta's face in close-up, as lashes are heard on the soundtrack. Again she looks to the heavens and clutches her neck. But now, for the first time in the film, she collapses into sobs. These are the few instances in the film when Choudhury's performance suspends the veneer of alienation—when, breaking free of myth and trope, her feelings seem cut to the measure of human existence.
The gut-punch of her final scream comes from such moments of earthly suffering that Choudhury modulates with precision. By the end of The Cloud-Capped Star, Neeta is in the hills, which, earlier in the film, she dreams of visiting with Shankar once he becomes famous. ("And then, all my troubles will vanish," she says naively.) It's also the final destination of her mythical trajectory: one of the stories about Goddess Durga is that she was born out of a sacrificial fire, surrendering, as its smoke rises to the heavens, all mortal desires and aspirations. But having seen this arc to its very end, Neeta is gripped by the most basic human desire—to live. The promises of Brahminical tradition, the bourgeois family, and the modern nation have all proved hollow.
To some, that sudden reversion might seem contrived; Ghatak wrote that he had heard it described as "horribly forced." But the filmmaker's genius lay in this calculated dissonance. He invoked the cultural narratives that organize our lives only to make them strange, exposing their fundamental illogic. And in The Cloud-Capped Star, this method finds its muse in Choudhury. Straining within and against archetype, her performance opens up the chasm between human life and the idols and ideals foisted upon it by society. With her every gesture, she distils Ghatak's complex political critiques into a simple, searing truth: this world is broken, and the only way to live is to rail against it.
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Ritwik Ghatak's Pursuit of Truth Beyond Realism
Devika Girish is the assistant editor of Film Comment and a Talks programmer for the New York Film Festival. Her writing has appeared in the New York Times, the Village Voice, Sight & Sound, Field Notes, MUBI's Notebook, and other publications, and she has served on the selection committees for the Mumbai Film Festival and Berlin Critics' Week.
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Long Live the Microcinema
With the future of film exhibition more uncertain than ever, several small-scale organizations with highly personal curation are proving they have what it takes to survive against the odds.
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Before ringing in the new year, we're taking a look back at some of the most memorable essays and interviews we published in 2020.
On Film / Features — Dec 20, 2020
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With her contralto drawl, genius for innuendo, and fierce control behind the camera, this great Hollywood provocateur pioneered a sex-positive cinema far ahead of its time.
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text:
from colander import Invalid
from lark.redis import schemas
import unittest

"""Unit tests"""
class SchemaTests(unittest.TestCase):

    def run_schema(self, schema, cstruct):
        # schema = schema_cls()
        schema.redis_prefix = 'awesome'
        return schema.deserialize(cstruct)

    def test_key_schema(self):
        cstruct = {'key': 'awesome'}
        self.run_schema(schemas.KeySchema, cstruct)
        cstruct = {}
        with self.assertRaises(Invalid):
            data = self.run_schema(schemas.KeySchema, cstruct)

    def test_value_schema(self):
        cstruct = {'value': 'awesome'}
        self.run_schema(schemas.ValueSchema, cstruct)

    def test_key_value_schema(self):
        cstruct = {'key': 'awesome', 'value': 'awesome'}
        self.run_schema(schemas.KeyValueSchema, cstruct)

        data = {'key': 'a', 'value': 'value'}
        schemas.KeyValueSchema.redis_prefix = 'awesome'
        to_redis = schemas.KeyValueSchema.deserialize(data)
        self.assertEqual(to_redis['key'], 'awesome:a')

    def test_set_schema(self):
        cstruct = {'key': 'awesome', 'value': 'awesome'}
        self.run_schema(schemas.SetSchema, cstruct)

        cstruct['px'] = 1000
        self.run_schema(schemas.SetSchema, cstruct)

        cstruct['nx'] = True
        self.run_schema(schemas.SetSchema, cstruct)

        cstruct['nx'] = 1
        self.run_schema(schemas.SetSchema, cstruct)

    def test_bit_op_schema(self):
        cstruct = {'operation': 'awesome', 'destkey': 'cool', 'key': ['blah']}
        self.run_schema(schemas.BitOpSchema, cstruct)

        cstruct = {'operation': 'awesome', 'destkey': 'cool', 'key': 'blah'}
        with self.assertRaises(Invalid):
            self.run_schema(schemas.BitOpSchema, cstruct)

    def test_redis_reference_type(self):
        node = DummySchemaNode(None)
        node.redis_prefix = 'awesome'
        typ = schemas.PrefixedRedisReferenceType()
        result = typ.deserialize(node, 'test')
        self.assertEqual(result, 'awesome:test')
        result = typ.serialize(node, 'awesome:test')
        self.assertEqual(result, 'test')

    def test_lark_string_type(self):
        node = DummySchemaNode(None)
        typ = schemas.LarkString()
        # Normal strings
        result = typ.deserialize(node, 'test')
        self.assertEqual(result, 'test')
        # Empty strings
        result = typ.deserialize(node, '')
        self.assertEqual(result, '')

        # Even strings that look like numers
        result = typ.deserialize(node, '1')
        self.assertEqual(result, '1')

        # Integers can be strings too
        result = typ.deserialize(node, 1.0)
        self.assertEqual(result, '1.0')

        # Integers can be strings too
        result = typ.deserialize(node, 1)
        self.assertEqual(result, '1')

    def test_redis_value_type(self):
        node = DummySchemaNode(None)
        typ = schemas.RedisValueType()
        # Normal strings
        result = typ.deserialize(node, 'test')
        self.assertEqual(result, 'test')
        result = typ.serialize(node, result)
        self.assertEqual(result, 'test')

        # Empty strings
        result = typ.deserialize(node, '')
        self.assertEqual(result, '')
        result = typ.serialize(node, result)
        self.assertEqual(result, '')

        # Even strings that look like numers
        result = typ.deserialize(node, '1')
        self.assertEqual(result, '1')
        result = typ.serialize(node, result)
        self.assertEqual(result, '1')

        # Integers can be strings too
        result = typ.deserialize(node, 1)
        self.assertEqual(result, 1)
        result = typ.serialize(node, result)
        self.assertEqual(result, 1)

        # Floats can be strings too
        result = typ.deserialize(node, 1.0)
        self.assertEqual(result, 1.0)
        result = typ.serialize(node, result)
        self.assertEqual(result, 1.0)

        h = {'a': 'b'}
        result = typ.deserialize(node, h)
        self.assertEqual(result, '{"a": "b"}')
        result = typ.serialize(node, result)
        self.assertEqual(result, h)

class DummySchemaNode(object):
    def __init__(self, typ, name='', exc=None, default=None):
        self.typ = typ
        self.name = name
        self.exc = exc
        self.required = default is None
        self.default = default
        self.children = []

    def deserialize(self, val):
        from colander import Invalid
        if self.exc:
            raise Invalid(self, self.exc)
        return val

    def serialize(self, val):
        from colander import Invalid
        if self.exc:
            raise Invalid(self, self.exc)
        return val

    def __getitem__(self, name):
        for child in self.children:
            if child.name == name:
                return child

if __name__ == '__main__':
    unittest.main()

redpajama_set_name: RedPajamaGithub


text:
SunMar 5
AwarenessEnvironment
Clean Up Australia Day – March 5, 2023
Clean Up Australia Day is an annual event observed on the first Sunday of March as part of Australia's efforts to conserve the environment, and this year, it falls on March 5. The idea is to encourage and empower communities to clean up the parks, bushland, water reserves, and other parts of Australia. For over 30 years, residents, schools, individuals, communities, and businesses have volunteered in their thousands to clean up and get rid of plastic and glass. The focus is equally on preventing waste and removing it from the environment. Let us get our cleaning shoes on and find out more about Australia's biggest community-based environmental event.
History of Clean Up Australia Day
As the largest community-based environmental event, Clean Up Australia Day has been in existence since 1990. Founder Ian Kiernan had a simple idea to make a difference in Sydney Harbour after his lifelong dream of sailing around the world came about. As a passionate sailor, he competed in the BOC Challenge Solo Round-the-World Yacht Race in his yacht, "Spirit of Sydney." During this adventure, he was exposed to and shocked by the pollution and rubbish he constantly saw in certain areas.
Once he returned, he started making concerted efforts to clean Australia up. With the support of his friends, he organized a community event called Clean Up Sydney Harbour in 1989. It received enormous public support, with more than 40,000 people in attendance who donated their time and energy to the environmental effort.
The following year, Clean Up Australia was born due to the belief that if people in Sydney could be mobilized into action, so could the whole of Australia. Almost 300,000 people showed up during the first Clean Up Australia Day in 1990. For the past three decades, people have devoted their time helping to collect and clear trash from their environments. To take their concept and make it a global initiative, Clean Up Australia gained the support of the United Nations Environment Programme in 1993, and Clean Up the World Day was born, which has involved about 80 million people in 80 countries.
Clean Up Australia Day timeline
Founder Ian Kiernan Sails from Australia
Ian Kiernan competes in the BOC Challenge Solo Round-the-World Yacht Race and sees a lot of pollution and rubbish in the Sargasso Sea.
Clean Up Sydney Harbour Day
Ian Kiernan organizes Clean Up Sydney Harbour Day with over 40,000 people in attendance.
First Clean Up Australia Day
The first event is held in 1990 and almost 300,000 people turn up to volunteer their time and energy to collect and clear the rubbish around Australia.
Thirty Years of Clean Up Australia
Clean Up Australia celebrates 30 years of environmental efforts in Australia.
Clean Up Australia Day FAQs
Where was Clean Up Australia Day held?
The now annual event first took place in the Sydney Harbour.
What can I wear during a clean-up?
It is best to wear loose-fitting and comfortable clothing as there will be a lot of movement during the cleanup activities.
What kind of gloves should I wear?
Household or garden gloves are best as they are thick, but do not use latex gloves because they tear easily due to being too thin.
How to Observe Clean Up Australia Day
Donate your time to clean up your environment. If you can, make donations to organizations committed to fighting for the environment by giving monetary donations so they can continue educating and issuing the materials needed.
Contribute to the recycling efforts in your own country by recycling as much as you can and reducing waste around you. Educate those around you about the benefits of recycling and the harmful effects that not recycling has on our planet.
Join a Clean Up
A great way to get involved is to join a Clean-Up operation and be a part of the environmental initiative. Invite a couple of friends along and join others in cleaning Australia up to make a difference and keep Australia tidy.
5 Necessities For Picking Up Trash
Hand in glove
When picking up trash, always make sure you wear gloves, especially when removing sharp objects like glass.
Always have your phone charged and with you in case of an emergency.
Biodegradable bags are best
These bags are incredibly useful for storing trash and they don't contribute to the environmental waste that's being cleaned up.
Covered and closed shoes
It is important to wear closed and covered shoes as there might be sharp objects along the paths to clean up.
Take backup
Other supplies to take along are a wide-brimmed hat, sunscreen, antibacterial hand sanitizer, a first-aid kit, and water bottles.
Why Clean Up Australia Day is Important
It's a day to educate
It is a great day to educate everyone, including children, about the waste humans produce and the negative effects of discarding it anywhere. It is a good time to focus on recycling and environmental topics with children. We can also highlight how waste impacts animals.
It promotes recycling initiatives
As much as this day is about clean-up, it is also an opportunity to think up creative ways to encourage people to recycle. People can start campaigns, go to schools, add recycling bins in their communities, and do other things to get people to recycle.
We protect the animals
On Clean Up Australia Day, pieces of plastic, both small and large, are picked up. This effectively reduces the amount of plastic that can be eaten by animals, birds, and sea creatures.
Clean Up Australia Day dates
2022 March 6 Sunday
Celebrate Your Name Week
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Fairtrade Fortnight
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World Glaucoma Week
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Arrival Of The First Missionaries
Cinco de Marcho
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Dissociative Identity Disorder Awareness Day
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International Open Data Day
Kyrgyzstan National Hat Day
Multiple Personality Day
Namesake Day
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National Scott Day
Reel Film Day
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World Information Architecture Day
View all March holidays


text:
Die United Progressive Alliance (UPA, englisch "Vereinigte Fortschrittliche Allianz") ist ein Parteienbündnis in Indien, das die mit der indischen Kongresspartei verbündeten Parteien umfasst. Politisch sind diese Parteien im gemäßigten bzw. eher linksgerichteten politischen Spektrum angesiedelt. Einige vertreten regionalistische oder Partikularinteressen (z. B. Muslim-Parteien).

Die Allianz wurde nach der für die UPA-Parteien überwiegend erfolgreich verlaufenen Parlamentswahl in Indien 2004 gegründet, zum Teil auch als Gegenreaktion gegen die 1998 gegründete Parteienkoalition der National Democratic Alliance unter Führung der Bharatiya Janata Party (BJP).

In den Jahren 2004 bis 2014 wurde Indien von Koalitionsregierungen der UPA unter Premierminister Manmohan Singh regiert (Kabinett Manmohan Singh I 2004–2009 und Kabinett Manmohan Singh II 2009–2014).
UPA-Vorsitzende ist seit 2004 die Vorsitzende der Kongresspartei, Sonia Gandhi.

Die folgende Tabelle listet die wichtigsten Mitgliedsparteien der UPA auf. Weitere nicht aufgeführte kleine Regionalparteien sind bzw. waren ebenfalls Mitglieder der UPA. Schon vor der für die Kongresspartei so desaströs verlaufenen Parlamentswahl 2014 war die UPA ziemlich zusammengeschrumpft. Nach der Wahl verließen fast alle noch verbliebenen größeren Parteien die UPA.

Einzelnachweise

Parteienkoalition (Indien)
Gegründet 2004

redpajama_set_name: RedPajamaWikipedia


text:
use actix_web::{HttpRequest, Json, Path};
use regex::Regex;

use AppData;

static PLUGIN_SET: &str = "statistics:plugins";

lazy_static! {
    static ref MINECRAFT_VERSION_RE: Regex =
        Regex::new("\\(MC: ([0-9]\\.]+)\\)").expect("compile-time valid regex");
}

/// Type set(plugin_version)
fn plugin_version_list(name: &str) -> String {
    format!("statistics:live:{}:versions", name)
}

/// Type zset(server_guid => expiration_time)
fn version_server_hash(plugin_name: &str, server_guid: &str) -> String {
    format!(
        "statistics:live:{}:version:{}:servers",
        plugin_name, server_guid
    )
}

/// Type hash("players" => player_count, "server" => server_version)
fn server_data_set(plugin_name: &str, record_time: u64) -> String {
    format!(
        "statistics:live:{}:server:{}:data",
        plugin_name, record_time
    )
}

/// Type list(record_time)
fn record_list(plugin_name: &str) -> String {
    format!("statistics:{}:record-list", plugin_name)
}

/// Type hash(plugin_version => plugin_count)
fn record_plugin_version_plugin_counts(plugin_name: &str, record_time: &str) -> String {
    format!(
        "statistics:{}:record:{}:version-counts",
        plugin_name, record_time
    )
}

/// Type int
fn record_total_players(plugin_name: &str, record_time: &str) -> String {
    format!(
        "statistics:{}:record:{}:total-player-count",
        plugin_name, record_time
    )
}

/// Type set(plugin_version)
fn record_plugin_versions(plugin_name: &str, record_time: &str) -> String {
    format!("statistics:{}:record:{}:versions", plugin_name, record_time)
}

/// Type hash(server_version => plugin_count)
fn record_server_version_plugin_counts(
    plugin_name: &str,
    record_time: &str,
    plugin_version: &str,
) -> String {
    format!(
        "statistics:{}:record:{}:version:{}:server-version-counts",
        plugin_name, record_time, plugin_version
    )
}

fn trim_server_vesion(version: &str) -> &str {
    MINECRAFT_VERSION_RE
        .captures(version)
        .and_then(|c| c.get(1))
        .map(|m| m.as_str())
        .unwrap_or(version)
}

#[derive(Debug, Deserialize)]
pub struct StatisticsPostRequest {
    instance_uuid: String,
    plugin_version: String,
    server_version: String,
    online_players: u32,
}

pub(crate) fn post_statistics(
    (path, info, req): (
        Path<(String,)>,
        Json<StatisticsPostRequest>,
        HttpRequest<AppData>,
    ),
) -> String {
    let (plugin,) = path.into_inner();
    let StatisticsPostRequest {
        instance_uuid,
        plugin_version,
        server_version,
        online_players,
    } = info.into_inner();

    let server_version = trim_server_vesion(&server_version);
    let plugin = plugin.trim().to_lowercase();

    "".to_owned()
}


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Department Description: Expanding operations for a growing Interventional Radiology Service Line. RNs will be exposed to emergent complex cases and to minor procedures in a multimodality setting.
Procedural care of patients in all sections of radiologic imaging. Pre and post procedural care for both inpatient and outpatient populations.
Job Summary: The BIDMC Nursing Mission is to build on a legacy of nursing excellence by caring with compassion, advancing the art & science of nursing, and advocating for the health of patients, families, and communities. The Clinical Nurse II utilizes the nursing process as the frame of reference for practice as a professional registered nurse and provides direct nursing care to patients and families. Training, evaluation and competencies for this role are overseen by a Nurse Leader to the department.


Luxurious foaming cleanser gently removes dirt and oil without over-drying, leaving skin clean and refreshed with renewed vitality. Moisture-rich formula is packed with mango and bamboo leaf extracts that enhance skin clarity while giving it a bright and luminous finish. Paraben- and mineral oil-free formula makes it safe to use on all skin types.


A medical report about the danger of rolling up your sleeves is featured in the December 2012 issue of mini-AIR.
mini-AIR is an email newsletter— a tiny supplement to the un-tiny magazine Annals of Improbable Research.
You can subscribe to the newsletter (it's email, that comes once a month) for free.
You can subscribe to the magazine (meaty, juicy PDFs—six new ones every year) for just a few bucks.
Posted by Marc Abrahams on Monday, December 18th, 2017 at 7:41 pm under Arts and Science, mini-AIR, Research News.


text:
Love + Radio returns for a 7th season, as shimmering and uncategorizable as ever
An artistic interpretation of Love + Radio, this week's Podmass Series Spoltight
Photo: iStock (Getty Images Plus)
Last month saw the start of Love + Radio's seventh season. Nick van der Kolk's podcast is known for its in-depth and expertly produced interviews that cover "an eclectic range of subjects, from the seedy to the sublime." Even before it found a permanent home at Radiotopia in 2014, Love + Radio was an award-winning podcast, recognized by Third Coast International Audio Festival in 2011, 2013, and 2015 for "The Wisdom Of Jay Thunderbolt," "Jack And Ellen" and "The Living Room," respectively. It was also the first podcast to win Third Coast's Gold prize for best documentary, with "The Wisdom Of Jay Thunderbolt."
"The Wisdom Of Jay Thunderbolt" reveals the man behind a rather strange business card, which simply reads "Thunderbolt—Party Naked," with an accompanying phone number. The episode focuses on an interview with the stay-at-home strip club manager responsible for the card, and Love + Radio's engrossing storytelling is buoyed by high production value. Thunderbolt's opening reflection that being white has allowed him special reprieve from law enforcement will pique listeners' curiosity.
The curiosity continues with 2013's twist-heavy "Jack And Ellen," which essentially offers step-by-step instructions on pedo-baiting, or catfishing pedophiles for the purpose of blackmailing them. (Unsurprisingly, it involves faking an interest in the work of J.D. Salinger.) Jack and Ellen navigate the emotional and moral consequences of their highly lucrative actions as the microphones follow along.
"The Living Room," meanwhile, is a meta experience. Diane's obsessive—and one-sided—relationship with her new neighbors, who are in the habit of leaving their curtains open, reflects listeners' own voyeurism. This intimate portrait of life and death showcases what Love + Radio continues to do best: It finds where the everyday merges with the extraordinary, and how that can transform the lives of others into remarkable vignettes. [Becca James]
Black A$$ Podcast
Cancelled AF
"Listen, nobody has gone to Donald Trump and gotten anything done besides taking a picture and looking stupid." Hadiyah Robinson always begins Black A$$ Podcast bursting with things to get off her chest, and listeners need only buckle up and start nodding in agreement. Robinson, a seasoned stand-up, eschews guest hosts to take center stage with her confident soliloquy, prodding at the tragic and the frustrating. She starts out "Cancelled AF" addressing a largely overlooked aspect of Starbucks' recent diversity training: Must we patronize Starbucks in the first place? With her apt comparison of Starbucks sandwiches (on their "scalding-hot, dry-ass bread") to a piece of biscotti, she has one hell of a point. Robinson makes herself laugh, sometimes hysterically, like her observations are just catching up with her, and catching her by surprise; other times, she almost runs out of breath finding metaphor after metaphor to underpin her thoughts, charging forward to the conclusion at lightning speed. She never lets her righteous anger rob her of opportunities for humor; instead, she remains resolutely herself, the one you come to the table for. She's venting, but for all of us. And listeners will feel like they've enjoyed their own catharsis, too. [Marnie Shure]
Hampton High
Parker the Jock (w/ Brady O'Callahan)
Created and performed by Brooklyn-based comedian and performance artist Tim Platt, Hampton High is a podcast run by "high school junior Hampton McKelvey." Each episode, the fictional teenager interviews various students and staff at Rockville Prep; Platt's Hampton is joined this week by a football player named Parker (fellow improviser Brady O'Callahan). The comedy of Hampton High is far more grounded than one might expect, finding humor in the subversion of whatever expectations listeners might have about the archetypal characters being interviewed. When Parker "the jock" discusses his concerns regarding the risk of brain damage among football players, and proceeds to criticize capitalism, it's funny not only because it's an unexpected perspective coming from this character, but because O'Callahan juxtaposes these thoughts with jarring youthful vocalization. In a world where it's becoming increasingly clear that young activists have important and well-informed voices and are actual agents of much-needed change, a subtle and hilarious criticism arises from these adult performers playing what could be considered caricatures of teenagers—but infusing them with opinions that give them unexpected breadth and dimension. [Jose Nateras]
Back To The Future, 1985
The hosts of Saturday Night Movie Sleepovers are excited and admittedly nervous whenever they tackle one of "the big ones." This week, Dion Baia and J. Blake go back in time to 1985 to discuss Robert Zemeckis and Bob Gale's Back To The Future, arguably the funniest film about implied incest. There's lots of gushing on this episode but, c'mon, it's Back To The Future! The centerpiece of the discussion is the script, which J. Blake describes as "tight as a drum," providing setups and payoffs around every corner. Of course the unused Eric Stoltz footage is a topic of discussion, as well as Dean Cundey's smart use of photography to differentiate the '80s from the '50s, and the proposed casting of Ralph Macchio and John Lithgow as the leads, but some of the most fun comes when the hosts explore the relationship between Doc Brown and Marty McFly. [Mike Vanderbilt]
If you thought This American Life's "Five Women" (which Podmass previously recommended) was good, settle in for She Says. Taking a similarly honest and enlightening look at the #MeToo movement, reporter Sarah Delia of WFAE (Charlotte, North Carolina's NPR station) supports female voices in this eight-episode series that tries to understand the case of "'Linda,' a Charlotte-area woman who was sexually assaulted by a stranger in 2015… and is still struggling to find answers." Over the course of a year, through interviews with Linda, detectives, forensic scientists, and other survivors, She Says offers a closer look at the criminal justice system's approach to sexual assault cases. "The Winding Road" takes listeners back to the beginning, back to the night of Linda's assault—from Linda's perspective only. That's important, and sets the tone for believing women, which Linda discovers isn't necessarily the default position in the law enforcement community that repeatedly lets her down. [Becca James]
Native Child And The Full Moon, Parts 1–4
The third season of beloved CBC podcast Sleepover is an object lesson in how to dramatically evolve a show's impact with only minor tweaks to its core concept. Over the show's previous two seasons, host Sook-Yin Lee's winningly idiosyncratic approach has been to engender empathy among a disparate trio of strangers through the series' titular overnight where they attempt to solve one another's problems. This time around, a fourth member is added in the form of the location itself, as Lee and her team seek to connect Canadian institutions with the people directly affected by them. It is a rather brilliant move, making it suddenly a work of site-specific audio while also giving a brand-new level of depth to its already rich discussions. The first four episodes of the new season focus on Toronto's Native Child and Family Services, with three young people whose lives have each been impacted by the institution sleeping over inside of it. One of the more interesting aspects of the new format is that listeners start by getting an inside look at the mission of the institution, which is later contrasted with the anecdotes of the people it is meant to help. [Ben Cannon]
Side Effects of White Women
There are a lot of difficult truths to discuss in 2018, but doing so doesn't have to be dreary: Amanda Seales uses her upbeat energy to make tackling issues like problematic white women entertaining and engaging. In this episode, Seales calls out the subtle (and not so subtle) offensive behaviors of white women, gives advice to people of color on how to preserve their energy and thrive in oppressive environments, and offers examples of how people can use their privilege to confront problematic behavior and uplift others who aren't given the same opportunity. While answering listener questions, Seales touches on interracial relationships and how people of color are often respected for their work and talents but aren't given the same respect in intimate friendships. This series not only analyzes the problem from a variety of perspectives, but suggests actions so that it's no longer just about repeating talking points, but actually putting change in motion. Those actions can be as simple expanding what you read or watch on television in order to expose yourself to a different culture. Small Doses is all about the tiny changes that can be made to create a healthier world for everyone. [Brianna Wellen]
The Nod
I Am A White Woman
Though it has all the trappings of the Gimlet Media formula—introductory segments that hover between scripted and conversational; systematized music cues; strategically placed and executed ad breaks—The Nod continues to set itself apart from the current spate of "fun fact" programming across the podcast landscape, defying categorization. This week's episode is a shining example of hosts Brittany Luse and Eric Eddings pulling on whatever threads intrigue and delight them most, betting (correctly) that listeners will feel the same way. In this case, Luse presents her formal treatise on why the oft-maligned 2004 Wayans Brothers film White Chicks deserves its place in the Criterion Collection of "important classic and contemporary films." What begins as a joke eventually morphs, by Reason #3 of Luse's outline, into a very cogent defense of the screwball comedy's approach to racism and its surprising transmutation of the "black men in drag" trope. Eddings is captivated and highly amused by these arguments, starting out skeptical but prepared to be convinced. Whether or not Luse can convert him is almost beside the point; listeners will be shocked by their own shifting perspective on a movie many of us wrote off years ago. [Marnie Shure]
The RFK Tapes
Depending on your mindset, we're living in either the zenith or nadir of conspiracy theories. Tales of the "deep state" and artificially created gay frogs are at meme-level awareness on social media, and our current president spent a good chunk of the start of this decade questioning the authenticity of his predecessor's birth certificate. Into this milieu drops a new show about the Kennedy assassination—the other Kennedy assassination. The killing of JFK's brother Robert, who died 50 years ago last week on the eve of an important electoral victory. Assembled by the same team responsible for the hit podcast Crimetown and the HBO documentary series The Jinx, The RFK Tapes is driven by researcher William Klaber, who's studied case files for decades. There are a lot. Law enforcement, clearly thinking about the nagging doubts surrounding the outcome of the last Kennedy assassination, amassed a mountain of evidence pointing at gunman Sirhan Sirhan, who not only survived to go to trial but testified in his own defense. Klaber's alternative explanation hinges on "hypno-programming" and "robot assassins." It's enough to exhaust most patient skeptics, yet Klaber is operating on a wavelength similar to that of RFK's own son. Who fucking knows? [Zach Brooke]


Upon arrival in Bali International airport, our staff will meet on arrival gate by sign board of passengers name or party. After check all passengers documents our staff will transferred to the hotel for accommodation or direct to the local restaurant for lunch/dinner. Then check in Hotel.
After breakfast at hotel, our staff will pick up passenger about 09.30 am at lobby hotel and starting tour with beginning to visit Tanjung Benoa Water Sports is a Marine Adventure at Tanjung Benoa beach, is wet water activity by provide wide range of selection water activity you can try with professional water sports instructor such as : parasalling, banana boat, glass battom boat, jetski, sea walker, diving. Lunch or dinner at local restaurant. Continue Uluwatu Temple Located at the top of rocky cliff at pecatu village, badung regency.this temple built in 11th century by priest mpu kuturan. This temple located at up to the blue sea cliff approximately 80 meters high.on 16th century danghyang niratha visit this temple and add more building. He was used to release from the cycle of life and death (moksa) in Balinese called ngeluhur. This temple is often used by mystics to practice meditation. Then back to Hotel.
After breakfast at hotel, our staff will pick up passenger about 09.30 am at lobby hotel and starting tour with beginning to visit Taman ayun Temple, was built in 1634 by I gusti agung anom, the king of mengwi, to become the central temple of the kingdom. In its inner most courtyard, has nine multi tiered roofed merus ( pagodas). Two of the four tiered reefed merus are for the lords of mount agung and batukaru, while the only one seven tiered roofed meru enthrones the majapahit deity. Continue Ulun Danu beratan Temple, a temple dedicated to the goddess of the lake is Ida Batari Dewi Ulun Danu on the edge of a huge crater. The dominant shrines are Meru's (pagodas) dedicated to the lake goddess and the gods of Mount Batur and Mount Gunung Agung. The temple was built 17th century in worship of the main hindu trinity, brahma-vishnu-shiva, as well as the lake goddess dewi danu. Lunch at Local Restaurant. Later then we going to Tanah lot temple located in the village of braban, Kediri, tabanan regency.this temple located in the a huge black rock. This is the image of Balinese temples on the rock facing the wide open ocean, perched high above the crashing waves below, with as background the colorful sky at dusk, lit by the slowly disappearing setting sun.the temple buil. The temple was built in 16th century when dang hyang niratha made a long trip to the south part of bali island. Located in the sea some 300 meters from shore, the huge rock of Tanah Lot is reachable overland at low tide. On its northern side stand two Balinese temples built on an overhanging cliff which connects the islet to the shore. Underneath the rock are caves that are inhabited by sea snakes, believed to be the guardians of the temples. Then back to hotel.


text:
America's Funniest Home Videos The New America's Funniest People Lois & Clark: The New Adventures of Superman The ABC Sunday Night Movie
60 Minutes Murder, She Wrote The CBS Sunday Night Movies
Townsend Television Martin Living Single Married... with Children Daddy Dearest Local Programming
I Witness Video seaQuest DSV NBC Sunday Night Movie
Day One ABC's Monday Night Football
Evening Shade Dave's World Murphy Brown Love & War Northern Exposure
Fox Night at the Movies Local
The Fresh Prince of Bel-Air Blossom NBC Monday Night Movie
Full House Phenom Roseanne Coach NYPD Blue
Rescue 911 The CBS Tuesday Night Movies
Roc Bakersfield P.D. America's Most Wanted Local Programming
Saved by the Bell: The College Years Getting By The John Larroquette Show The Second Half Dateline NBC
Thea Joe`s Life Home Improvement Grace Under Fire Moon Over Miami
Hearts Afire The Nanny The CBS Wednesday Night Movies
Beverly Hills 90210 Melrose Place Local Programming
Unsolved Mysteries Now with Tom Brokaw and Katie Couric Law & Order
Note: On ABC, the sitcom Thunder Alley, starring Ed Asner, premiered at 8:30 on March 9, 1994. Also on ABC, the news program Turning Point premiered in 1994 at 10:00. On CBS, the first casualty of the season, The Trouble with Larry, was replaced by the return of Hearts Afire in October, while The Nanny did not debut till November. As well, South of Sunset aired only once, on its debut date of October 27th, and was replaced by movies till January. Also on ABC, The Critic premiered at 8:30 on January 26,1994.
Missing Persons Matlock Primetime Live
In the Heat of the Night Eye to Eye with Connie Chung Angel Falls
The Simpsons The Sinbad Show In Living Color Herman's Head Local Programming Local Programming
Mad About You Wings Seinfeld Frasier L.A. Law
Family Matters Boy Meets World Step By Step Hangin' with Mr. Cooper 20/20
The CBS Friday Night Movies Picket Fences
The Adventures of Brisco County, Jr. The X-Files Local
Against the Grain NBC Friday Night at the Movies
Note: On CBS, Good Advice was to have returned on this night at 9 p.m., followed by Bob at 9:30 p.m. Late changes resulted in Bob beginning at 9 p.m., Family Album moving to 9:30 p.m. in mid-October, It Had to Be You being cancelled at the same time, and Good Advice not returning till the following May. Additionally, Diagnosis: Murder premiered in late October to fill the 8-9 p.m. hour.
George Where I Live The Paula Poundstone Show The Commish
Dr. Quinn, Medicine Woman Harts of the West Walker, Texas Ranger
COPS COPS Front Page Local Programming
The Mommies Café Americain Empty Nest Nurses Sisters
Note: On ABC, George debuted in November.


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TORONTO, ON – On Wednesday, it was all eyes on both Premier Ford and Your Creepy Uncle at a Queens Park press meeting to justify their recent actions.
Your Creepy Uncle, 67, offered a word-for-word identical statement but in reference to the new much-younger girlfriend he's been seeing since way too soon after the divorce.
In their closing remarks, both Ford and Your Creepy Uncle reassured our sources that their decisions, though surprising and uncomfortable, were still "technically legal". They told the press that they were in no way motivated by a vague sense of revenge, least of all against Mayor Tory or Your Literal Harpy of an Aunt.


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text:
US, Canada closing in on Guatemalan massacre suspects
Guatemalan soldiers of the Kaibiles Unit (AFP Photo / Jose Cabezas) © AFP
After nearly 30 years, US and Canada authorities are closing in on some of the alleged perpetrators of a Guatemalan military force which raped and slaughtered residents of a small village.
The recent arrest of four former soldiers in the past year has brought hope to victims' families and advocates that justice will prevail and at least one of the accused will stand trial. That one man may be Jorge Sosa Orantes. Orantes was arrested in January in Canada on US charges. He stands accused of lying on his citizenship application about ties to the Guatemalan military. Human rights advocates are hoping for his prosecution in relation to the massacre. However, Orantes is currently only charged in the US with immigration violations, not the massacre itself. Activists in Canada are calling on the Canadian government to try him on crimes against humanity before he is tried in the United States."I'd like to see a conviction for mass murder, for genocide," said Naomi Roht-Arriaza, a law professor at University of California, Hastings College of the Law. "But it's a big improvement over what used to happen." The Guatemalan massacre took place in December 1982 when members of an elite military unit. Court papers show the group known as the "kaibiles" raided the small village of Dos Erres in search of stolen weapons, but instead killed the men with a sledgehammer and threw them into a well and raped the women and girls before killing them. The case against the kaibiles stretches back to 1994, when, the Guatemalan government opened an investigation into the matter and found the skeletons of the people of the village. Officials then issued warrant for the members of the kaibiles, but the case never went forward and arrests were never made by Guatemalan authorities. In Spain however Nobel Peace Prize recipient Rigoberta Menchu who once lived in Guatemala filed a lawsuit against former top Guatemalan officials accusing them of terrorism, genocide and torture and included the massacre at Dos Erres. Since then international human rights activists have continually sought to bring the group to justice since little was done internally within Guatemala. The family members of the victims took the case before the Organization of American States, which prompted an investigation by the Inter-American Court of Human Rights. Thus far, there kaibiles have been arrested. Adding to the matter is former US support of the Guatemalan government and military in the 1980's, during which time the US provided training, weapons, and other aid to military forces like the kaibiles.Activists now hope US and Canadian involvement will now propel authorities to act more quickly and make the case a greater priority, both internationally and within Guatemalan courts. Thus far the US has only charged those suspected of involvement with immigration violations, however Canadian laws allow for the prosecution of individuals for war crimes, crimes against humanity, and genocide."There has to be full accountability here," Matt Eisenbrandt, legal coordinator for the Canadian Centre for International Justice said. "Just sending him to the United States on fraud charges, even if he got the maximum sentence, would not be a sufficient punishment."
Guatemalanews
UK extradition policies spark debate
America's human rights hypocrisy
Democracy promotion: America's new regime change formula
Inside the dark legacy of the US 'School of Assassins'


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Western Global looks to expand international cargo routes
Western Global Airlines (WGA) has applied to US authorities to expand its scheduled cargo operations beyond its current flights between the US and China/Hong Kong.
In documents seen by Air Cargo News and filed with the US Department of Transport, the Florida-headquartered airline applied for permission to operate flights between the US and countries with existing open skies agreements with the country.
The application also asks for permission for flights to transit intermediate countries and countries that in the future sign open skies agreements with the US.
"WGA anticipates expansion of its scheduled international all-cargo service beyond the US-China/Hong Kong scheduled authority currently exercised," the application said.
"The open-skies authority requested here is ideally suited to that purpose since it will maximise WGA's flexibility and competitiveness.
"Issuance of such authority would eliminate the need for multiple applications for noncontroversial authority, conserving the Department's and WGA's time and resources."
It added: "Grant of the authority requested by WGA would be pro-competitive and consistent with the public convenience and necessity.
"Issuance of such authority would promote US realisation of bilateral rights for which the United States has exchanged value, and would contribute to the variety of price and service options available to international shippers."
WGA said it would operate any new services utilising its fleet of 11 MD-11 and two B747-400F freighters.
WGA, which has until recently been mainly known as an ACMI and charter operator, won permission to start scheduled operations to China in July last year.
News/ Picture Source:http://www.aircargonews.net/news/airline/freighter-operator/single-view/news/western-global-looks-to-expand-international-cargo-routes.html


text:
Back to Rumor Mill >
It's official: Hipgnosis Song Management has acquired the catalog of Justin Bieber.
Hipgnosis has secured a 100% interest in Bieber's publishing copyrights (including the writer's share of performance), recordings and neighboring rights for the 290 titles released before 12/31/2021. The acquisition has been made on behalf of Hipgnosis Songs Capital, a partnership between Hipgnosis Song Management and funds managed by Blackstone. The original recordings, we're told, will continue to be owned by UMG in perpetuity.
"The impact of Justin Bieber on global culture over the last 14 years has truly been remarkable," Hipgnosis chieftain Merck Mercuriadis said: "At only 28 years of age, he is one of a handful of defining artists of the streaming era that has revitalized the entire music industry, taking a loyal and worldwide audience with him on a journey from teen phenomenon to culturally important artist. This acquisition ranks among the biggest deals ever made for an artist under the age of 70. Such is the power of this incredible catalog, which has almost 82m monthly listeners and over 30b streams on Spotify alone. Scooter Braun has helped Justin build a magnificent catalog, and it's a pleasure to welcome Justin and his incredible songs and recordings to the Hipgnosis family."
Said Braun: "I want to thank Merck and his entire Hipgnosis team and all of the partners involved for working so hard to make this historic deal happen. When Justin made the decision to make a catalog deal, we quickly found that the best partner to preserve and grow this amazing legacy was Merck and Hipgnosis. For over a decade now, Justin Bieber has entertained us and moved us with some of the biggest songs in the world. I'm so proud of him and all those involved over the years in helping amass this incredible body of work. Justin is truly a once-in-a-generation artist, and that is reflected and acknowledged by the magnitude of this deal. For 15 years I have been grateful to witness this journey, and today I am happy for all those involved. Justin's greatness is just beginning."
Bieber was represented by Braun, CEO of HYBE America and Bieber's manager of 15 years; Aaron Rosenberg and Audrey Benoualid at Myman Greenspan Fox Rosenberg Mobasser Younger & Light LLP; David Bolno at NKSFB; and Michael Rhodes at Cooley.
TAGS: Justin Bieber | Hipgnosis Song Management | Scooter Braun | Merck Mercuriadis | Aaron Rosenberg | Audrey Benoualid | Blackstone
NEAR TRUTHS: LOOSE AFFILIATIONS
A DEAL FOR JUSTIN'S RIGHTS? BELIEB IT
BACK TO RUMOR MILL


text:
Q: Python - pygithub If file exists then update else create Im using PyGithub library to update files. Im facing an issue with that. Generally, we have to options. We can create a new file or if the file exists then we can update.
Doc Ref: https://pygithub.readthedocs.io/en/latest/examples/Repository.html#create-a-new-file-in-the-repository
But the problem is, I want to create a new file it if doesn't exist. If exist the use update option.
Is this possible with PyGithub?

A: I followed The Otterlord's suggestion and I have achieved this. Sharing my code here, it maybe helpful to someone.
from github import Github
g = Github("username", "password")

repo = g.get_user().get_repo(GITHUB_REPO)
all_files = []
contents = repo.get_contents("")
while contents:
    file_content = contents.pop(0)
    if file_content.type == "dir":
        contents.extend(repo.get_contents(file_content.path))
    else:
        file = file_content
        all_files.append(str(file).replace('ContentFile(path="','').replace('")',''))

with open('/tmp/file.txt', 'r') as file:
    content = file.read()

# Upload to github
git_prefix = 'folder1/'
git_file = git_prefix + 'file.txt'
if git_file in all_files:
    contents = repo.get_contents(git_file)
    repo.update_file(contents.path, "committing files", content, contents.sha, branch="master")
    print(git_file + ' UPDATED')
else:
    repo.create_file(git_file, "committing files", content, branch="master")
    print(git_file + ' CREATED')

A: If you are interested in knowing if a single path exists in your repo you can use something like this and then branch your logic out from the result.
from github.Repository import Repository

def does_object_exists_in_branch(repo: Repository, branch: str, object_path: str) -> bool:
    try:
        repo.get_contents(object_path, branch)
        return True
    except github.UnknownObjectException:
        return False

But the method in the approved answer is more efficient if you want to check if multiple files exist in a given path, but I wanted to provide this as an alternative.