WebDiscover is a browser that supposedly allows users to surf the Internet directly from the desktop and enables various features such as VPN, music streaming, media play, weather forecasts, etc. - "The WebDiscover browser seamlessly integrates your favorite Chrome features and settings into one convenient tool to search the web... all from the comfort of your desktop." Since this app is based on Google Chrome, and has the same User Interface, it may seem legitimate and useful, however, it is categorized as adware and a potentially unwanted program (PUP). WebDiscover often installs on systems without users' consent (one of the reasons for these negative associations). Furthermore, this app monitors Internet browsing activity, displays ads, and may cause unwanted browser redirects.
Once installed, WebDiscover positions a URL bar on the top of the screen that opens the browser once a website address is entered. If the user attempts to search the Internet, WebDiscover firstly redirects to the trovi.com website, and then to the Bing search engine. In addition, the bar at the top of the screen cannot be closed. WebDiscover may display various intrusive online advertisements including, for example, in-text links, and coupons. These commonly redirect to e-commerce websites such as online stores, however, they may also redirect to bogus websites, thereby causing high-risk computer infections. Furthermore, this application collects various Internet browsing-related information including websites visited, pages viewed, search queries, and other similar details that can contain personally identifiable information. This gathered information is later shared with third parties and could be misused. Therefore, having an information-tracking app installed on your system can lead to serious privacy issues or even identity theft. You are strongly advised to uninstall WebDiscover from your system.
To eliminate WebDiscover PUP our malware researchers recommend scanning your computer with Spyhunter.
There are hundreds of PUPs similar to WebDiscover - all adware-type apps offer features to significantly improve the Internet browsing experience. These claims are merely attempts to give the impression of legitimate and useful software. In fact, apps such as SpeedGuard, Best Price Ninja, and Kellystoys are designed to generate revenue for the developers by displaying advertisements and collecting personally identifiable information. Adware-type apps provide none of the features promised.
How did WebDiscover install on my computer?
WebDiscover has an official download website, however, it is also 'bundled' as a third party application with regular software. Many users rush the download and installation procedures and skip most steps, not realizing that bogus apps are usually hidden within the 'Custom' or 'Advanced' settings. By skipping these options, users often inadvertently install bogus apps.
Pay close attention when downloading and installing software. Follow each step of the software download procedure and ensure that only the chosen app is downloaded. Furthermore, when installing software, select the 'Custom' or 'Advanced' options, rather than 'Quick' or 'Typical' - this will reveal any bundled software listed for installation and allow you to opt-out.
STEP 1. Uninstall WebDiscover application using Control Panel.
STEP 3. Remove unwanted add-ons from Google Chrome.
STEP 5. Remove malicious extension from Safari.
In the uninstall programs window, look for "WebDiscover Browser 1.219.2", select this entry and click "Uninstall" or "Remove".
At time of research, WebDiscover did not install its browser plug-ins on Internet Explorer, Google Chrome, or Mozilla Firefox, however, it was bundled with other adware. Therefore, you are advised to remove all potentially unwanted browser add-ons from your Internet browsers.
If you continue to have problems with removal of the webdiscover pup, reset your Internet Explorer settings to default.
If you continue to have problems with removal of the webdiscover pup, reset your Google Chrome browser settings. Click the Chrome menu icon (at the top right corner of Google Chrome) and select Settings. Scroll down to the bottom of the screen. Click the Advanced… link.
Computer users who have problems with webdiscover pup removal can reset their Mozilla Firefox settings.
If you are experiencing problems while trying to remove webdiscover pup from your computer, please ask for assistance in our malware support forum.
If you have additional information on webdiscover pup or it's removal please share your knowledge in the comments section below.
THANK YOU!! THANK YOU SO MUCH!!
i was downloading some stuff earlier in the day and I downloaded a video converter (for those who are reading DO NOT download atube catcher!!) and suddenly this tab bar popped up and I started to panic. Thankfully it wasn't serious and I handle it ASAP. Thank you once more!!
I tried to remove WebDiscover after it crept in my system on the back of uTorrent by uninstalling, but it did not remove it. The way I removed this was to run a System Restore (takes about 15 mins) to a time before the program was downloaded, this will wipe any programs installed after that date. Control Panel/System/System Protection then run it from there. Then for good measure 'show hidden folders' and go to C:\Program Files and also C:\Users\%username%\AppData\Local and delete its folder from both locations. Horrible scam program WebDiscover.
Thanks a lot, you may need to include the fact that you need to full screen to get all of your desktop back, this was a problem with me, I couldn't get all of my desktop back until I full screened into that video, oh and why are you revealing everyone's full name?
Thank you for the details and pictures i was going to g crazy.
This honestly saved me from putting my fist through my computer screen. thank you so much for having this article written in detail enough to where even I was able to figure out how to get rid of this Disease of a program.
This was extremely helpful. I couldn't figure out how and why the bar suddenly appeared and why it wouldn't go away. I thought it was some of the recent downloads so i uninstalled everything to only realize it was something i unintentionally downloaded. But thanks to this everythings back to normal thanks :).
A QR code (Quick Response Code) is a machine-readable code which stores URLs and other information. This code can be read using a camera on a smartphone or a tablet. Scan this QR code to have an easy access removal guide of WebDiscover PUP on your mobile device.


text:
Twilight Zone (TZ) är ett flipperspel som tillverkades av Midway i 15 235 exemplar. Spelet släpptes 5 april 1993 och anses vara ett av världens bästa flipperspel genom tiderna. Spelet är av typen widebody, vilket innebär att det har en något bredare kropp än vanliga flipperspel.

Twilight Zone har väldigt djupgående spelregler men är kanske mest känd för sin speciella tuggummimaskin. När man startar Powerball Mode får man istället för en vanlig metallkula spela med en lättare keramikkula som får otroligt hög fart i jämförelse med de vanliga kulorna. Powerball Mode är dock inte värt så mycket rent poängmässigt utan bör oftast satsa på att starta Powerball Mania istället som är en multiboll.

Fotnoter

Flipperspel

redpajama_set_name: RedPajamaWikipedia


text:
ACCEPTED

#### According to
International Plant Names Index

#### Published in
null

#### Original name
Mammillaria humboldtii Ehrenb.

### Remarks
null

redpajama_set_name: RedPajamaGithub


text:
Jordy Ray Nelson (nacido el 31 de mayo de 1985) es un exjugador profesional de fútbol americano que jugó en la posición de wide receiver para los Green Bay Packers y los Oakland Raiders en la National Football League (NFL).

Biografía
Nelson asistió a Riley County High School en Riley, Kansas, donde jugó al fútbol americano para los Falcons. Allí jugó de quarterback durante su año sénior, donde completó el 62% de sus pases para 1,029 yardas y 8 touchdowns.

Tras su paso por el instituto, Nelson asistió a la Universidad Estatal de Kansas, donde jugó para los Wildcats de 2003 a 2005.

Carrera

Green Bay Packers
Nelson fue seleccionado por los Green Bay Packers en la segunda ronda (puesto 36) del draft de 2008. El 17 de julio, Nelson firmó su contrato con los Packers.

El 26 de julio de 2014, Nelson renovó su contrato 4 años más por un valor de $39 millones, con $11.5 millones de bonus por firmar, y $14.2 millones garantizados.

Con los Packers, Nelson ha logrado 5 títulos de división (4 consecutivos), ha jugado dos campeonatos de la NFC (ganando uno de ellos) y ha ganado la Super Bowl XLV frente a los Pittsburgh Steelers, por 31-25.

Oakland Raiders
El 15 de marzo de 2018, Nelson firmó un contrato de 2 años con los Oakland Raiders.

Referencias

Enlaces externos
Web oficial

Jugadores de Oakland Raiders
Jugadores de Green Bay Packers
Jugadores de fútbol americano de Estados Unidos
Deportistas de Kansas


text:
Le powiat de Łobez  est un powiat appartenant à la voïvodie de Poméranie occidentale dans le nord-ouest de la Pologne.

Division administrative

Le powiat de Łobez comprend 5 communes :
 4 communes urbaines-rurales : Dobra, Łobez, Resko et Węgorzyno ;
 1 commune rurale : Radowo Małe.

Powiat dans la voïvodie de Poméranie-Occidentale


49ers acquired offensive tackle Shon Coleman from the Browns on Friday in exchange for a 2019 seventh-round draft pick.
Coleman started all 16 games at right tackle for the Browns in 2017. He began last season competing to replace retired Joe Thomas at left tackle but wound up on the right side and eventually on the second unit.
The 6-foot-5, 310-pound Coleman must pass a physical with the 49ers for the deal to be finalized.
The 49ers are likely to use Coleman for depth on the offensive line. They have Joe Staley set to start at left tackle and rookie Mike McGlinchey, a first-round draft pick, on the right side.
The 26-year-old Coleman played in 32 games and started 25 in five years at Auburn. He was named second-team All-SEC as a senior in 2015.
The 49ers also cut 12 players on Friday: offensive linemen JP Flynn and Darrell Williams, running backs Ja'Quan Gardner and Joe Williams, guard Chris Gonzalez, quarterback Jack Heneghan, defensive lineman Chris Jones, punter Jeff Locke, offensive tackle Pace Murphy, wide receiver Aldrick Robinson, tight end Wes Saxton and defensive lineman Will Sutton.
Rosters must be trimmed to 53 players by 4 p.m. ET Saturday.


text:
'Smallfoot' and the Legend of Screenwriter Clare Sera and Her Unlikely Journey from Scotland to Hollywood (Part 1)
Posted in screenwriting, tagged Act One, Channing Tatum, Clare Sera, Ivan Menchell, Karey Kirkpatrick, SAK Theatre, screenwriting, Scriptnotes, Smallfoot, Wayne Brady on September 28, 2018|
"Smallfoot satisfyingly operates on multiple levels and is much deeper than it appears to be."
Adam Graham, The Detroit News
Smallfoot opens in theater today and so today as well I'm going to start Part 1 of an interview I did with Clare Sera who wrote the screenplay along with the movies' co-director Karey Kirkpatrick. Of the course of this interview (which will be 3 or 4 parts), you'll see the unlikely journey of Clare took on her way to writing a movie that has an eclectic mix of talent including Channing Tatum, James Corden, Zendaya, Common, Lebron James, and Danny DeVito.
I met Clare back in the '90s shortly before she moved to LA. If the movie she worked on does beat Night School in the box office this weekend it will be her first view from the top of the mountain. Just keep in mind, she arrived in LA 20 years ago. While everyone loves a good Diablo Cody story—FIRST TIME SCREENWRITER WINS OSCAR!—Clare's story is much more typical of working screenwriters in Hollywood.
Scott: So the title of this blog is Screenwriting from Iowa . . . and Other Unlikely Places and I think Scotland qualifies as an unlikely place for a Hollywood screenwriter to be from. Where were you born?
Clare: I was born in Glasgow but my parents immigrated to British Columbia—to Canada–when I was 4. My mom was pretty homesick so we would go back there at least every other summer which was great. So I did know my cousins growing up.
Scott: When did you first get involved in acting and writing?
Clare: Well definitely from childhood that was absolutely my thing. All the school plays and everything like that. After high school I went off to Europe backpacking — I didn't go to college right away. But when I got back I just ended up doing odd jobs, but doing theater all the time, so I finally sucked it up and said I want to do theater. So I went to college in Vancouver for theater and actually the same year that I finally made that decision SAK Theatre came to my town which is Vancouver B.C. SAK Theatre came there to perform for the summer and I got hired to be one of the performers and then I ended up meeting Will [Sera] and getting married and moving to Orlando and staying with Will and SAK Theatre as a performer and then started writing plays for SAK. And when we moved out to Los Angeles my friend who had been at SAK Theatre was now in Los Angeles—Karey Kirkpatrick— and working full time as a screenwriter. He had just finished Chicken Run and he was like, "Oh, you know you're a good writer you should you should try screenwriting." He just made it look so easy, 'cause he'd done James and the Giant Peach and Chicken Run and he was getting ready to do his next whatever it was, and I was like, "Oh wow, screenwriting, that seems cool. If Karey can do it…"[laughs] so I started. I've still never caught up to him. But he really mentored me, and I took the Act One writing program at the same time, which was at that time it was like a month-long intensive, to kind of learn the basics of the craft and Karey took me under his wing and got me my start really.
Scott: Our paths crossed in your SAK Theatre era back in the mid-'90s. It's interesting because Scotland has the huge fringe festival now but you weren't a part of that. And Vancouver, British Columbia is now popular for movies and TV but that probably wasn't happening when you were out there. Then you were in Orlando in the '90s when it had a minor Hollywood East film movement and you missed that, too. But you were in Orlando as Wayne Brady as he was coming up as a teenager. Did you mentor him?
Clare: He very sweetly gave Will and I props for his improv career. But I met Wayne actually doing an industrial in Orlando and we just hit it off immediately. He was maybe 17 at the time. And I said you have to come to SAK and do improv. And he didn't know improv. So I guess I did introduce him to it. I mean I think he probably did three workshops and I said come play. His talent was all there but yes, SAK was the first place that he that he first improvised.
Scott: So that's so that's kind of like the movie Don't Think Twice where you have this tight group of performers that are all struggling and trying to make it and somebody breaks out. Was Wayne that guy?
Clare: It was exactly that story, because we all we knew each other in Orlando and then we all moved out to L.A. at the same time to improvise together. The main group that was at SAK which was Joel McCrary, Danno Sullivan, Dave Russell and Matt Young. And Wayne was here and so Wayne hooked up with us again. So we started improvising out here in Los Angeles. We called ourselves Houseful of Honkeys. And it was exactly like Don't Think Twice out of our whole group the producers from Whose Line Is It Anyway? came to see a show and then Wayne and I were invited to come and do Whose Line? And I mean it's so— except that Wayne and I were not together romantically— like Don't Think Twice. But it was it was the black guy and the girl that both got invited to Whose Line? And then after the rehearsal process which is kind of bad process, and I did not do well in that atmosphere. And Wayne actually didn't do great. Actually, nobody did, but he's such a killer song improviser they decided to take a chance on him with one taping and, of course, once he was in front of an audience he was just fantastic. And that was the at the end of Wayne being able to be a part of our company and it was tense. It was just like in Don't Think Twice. [Where the core group breaks up.] I mean it's hard.
A 1999 LA Times article on Houseful of Honkeys
Scott: Was there the discussion where people in the group were like "Why did he get chosen? He's the new guy?" Was there any of that talk?
Clare: No, there was never that because Wayne's talent is amazing. So there was never like I don't know why they picked Wayne. It's quite obvious why they picked Wayne.
Scott: At the same time there's a line in "Don't Think Twice" where they kind of say you can't do improv forever and they kind of realize that. Did you have that moment where you realized you needed to maybe go in a different direction creatively?
Clare: Yeah I did. Definitely. I mean it's not true you can't do improv forever because all the Whose Line? guys— that's what they do. But I had actually felt that before we had the full kind of breakup of our group, because I realized that I didn't really want to pursue an acting career. I loved improvising with those guys but I wasn't interested in pursuing acting. But I really loved writing at SAK, so [screenwriting] seemed like the next obvious step for me.
Scott: So then you had your Wayne Brady breakout moment where you got writing assignments to work on Curious George and Blended. Can you summarize the baby steps you took in your writing career?
Clare: Yeah, I basically became Karey's writing assistant for a couple of years, which was really wonderful because I got to go to studio meetings with him and I got introduced to the world. I watched him get notes and saw kind of how brutal [the business could be]. So it made it much easier for me to transition into it. And from that I became a writing partner with him for a while, and then he got me the interview for Curious George, but we came in separately as writers and then he left the project quite early to go and do something else and I stayed on Curious George and that was the start sort of my career separate from Karey. I met on that project another fellow named Ivan [Menchell] that I ended up writing Blended with. [That film starred Adam Sandler and Drew Barrymore.] But I kind of continued to do both writing solo projects and writing with Ivan and now I feel like I've been writing more again on my own. And it is a bit of a tough time. Mike [Birbiglia] was talking about this on [the podcast] Scriptnotes, All of my work has been for studios which has been amazing. I have ended up writing either myself or with Iven features for every studio in town. I think I've written a script for every studio in Hollywood which has been a wonderful experience and pays well but they don't always make them. They want to make family films, but when it comes time to pull the trigger they choose their project that's got a bigger IP. It's got a bestselling book attachment. Or it's got a superhero.
Note: This interview was done before Clare got the writing assignment on Smallfoot. And every once in a while a family film gets made. Go see Smallfoot this weekend (and when it opens in Scotland) and help Clare have one of those rare feats for any screenwriter of having a movie be both well received by critics (65/72/92% on Rotten Tomatoes) and at the top of the box office.
In Parts 2 and 3 of this interview, we'll learn what Clare discovered working with legendary director Garry Marshall, and her words of encouragement to up and coming writers and filmmakers.
New Storytelling Tools: Trint, Vyond . . . and Kodak Film
Posted in Miscellaneous on September 27, 2018| 1 Comment »
"Trint is the best all-around automatic transcription tool for journalists."
Ren Laforme, Poynter Institute
Tomorrow I'll start a run of posts based on an interview I did with screenwriter Clare Sera—one of the credited writers on Smallfoot, which opens in theaters tomorrow. But today I'm going to share with you a new piece of AI software that helped me pull off editing that interview.
Transcribing an interview has traditionally involved either a lot of time typing it out sentence by sentence or has taken a fair amount of money. But in reading the article The best automatic transcription tools for journalists by Ren Laforme, I decided to try cloud-based Trint for this interview.
I signed up Monday for Trint and uploaded a 40-minute .wav file and I was soon editing the interview. The translation was not 100%, but it was pretty solid and gave me a track to run on. It even tried to break up who was talking. Again, not perfect— but it all seemed magical to me since I'd done it old school before. (That's where you play a tape at a sentence or two at a time. Very laborious.)
A super feature on Trint is the audio somehow tracks where you are on the transcription. So you hit play on the audio and allows you to type in changes on the fly.
Then when you're done you have a variety of ways to export the content. I used Microsoft Word, but I can see editing it for "Project" would allow you to drop it into your Adobe Premiere or Apple Final Cut Pro 7 project for purposes of adding closed caption to videos.
I'm sure it does other stuff, but I've only been using this software for a few days. I still remember clearly 15 years ago when I was producing a broadcast Tv program and we'd shoot some interviews in Nashville, and the cameraman would take the DigiBeta tapes back to the office in Chicago and someone would send them off to have VHS window dubs made, then they'd have those tapes transcribed by hand, and about two weeks later they'd arrive to be to begin a paper edit.
I imagine that process is still being done somewhere in the world, but it seems primitive by today's standards. The cost of Trint on the pay as you go basis is $15 an hour. Well worth it for me. I have shied away of doing interviews because they are so labor intensive. In fact, I have a few that I've never gotten around to transcribing including one with screenwriter Dale Launer (Dirty Rotten Scoundrels).
Hopefully, Trint will help me get caught up this year on shelved interviews, and better position me to do more interviews in the future.
This must be the week for learning new tools, because I also started a short animation project using Vyond. Keep in mind that I've never done an animation project, and only have a working knowledge of After Effects.
For those of you who've never wrapped your head around the complexity of any animation software, Vyond is something you can be up and using in the first hour. Granted it's not Pixar-animation, but super for communicating many concepts and ideas (especially for producing promos and micro learning videos).
More in line with the animatics that advertising agencies (or even Pixar) use to test a concept. I can't imagine how good animation is going to look—and be easy to use—in five years. I can see screenwriters using Vyond to develop their stories today. Here's what Pixar's development looked like 12 years ago.
And lastly, just a few days ago Kodak announced it was bringing back Ektachrome film. As someone who made their film on Kodak 8mm film, I find this pretty exciting.
Where Did the Idea for 'Gilmore Girls' Come From?
Posted in screenwriting, tagged Amy Sherman-Palladino, Gimore Girls on September 25, 2018|
"If you're gonna throw your life away, he'd better have a motorcycle."
The concerned mother (Lauren Graham) to her teenage daughter (Alexis Bledel) in the pilot for Gilmore Girls
One of the fringe benefits to the success of The Marvelous Mrs. Maisel winning seven Emmy Awards is its given new recognition to the Gilmore Girls. Amy Sherman-Palladino, the creator of both shows said that when Gilmore Girls first aired in 2000 it was up against two of the biggest shows at the time (Survivor, Friends) and she didn't know if her show would find an audience. The WB moved it to another day where it went up against another popular show, American Idol.
But they did find an audience and ran for seven seasons. And it continues to find an audience. Part of its evergreen content is there are always going to be a new crop of teenage and early 20-something girls and their mothers trying to help them navigate through life.
Google "best mother-daughter relationships on TV" and the Gilmore Girls is sure at or near the top of the list. The relationships, the struggles, and the banter and humor all resonate with a core audience. In an interview with Danielle Nussbaum, Sherman-Palladino said that DVDs brought the Gilmore Girls a new audience, and Netflix has brought the show a new binge-friendly audience—many who were under 10 years old when the show originally went off the air in 2007.
Sherman-Palladino is now fresh off her two Emmy wins for both writing and directing The Marvelous Mrs. Maisel and pleased Gilmore Girls is getting more exposure to her show that was once described as "where the banter is fast, but the journey is slow." Here's how she explained the origins of the Gilmore Girls and the world she created in fictitious Stars Hollow, CT:
"The idea actually came from me just walking into the WB. I really wanted to work with Susanne Daniels, who was head of the WB at the time. I pitched her a bunch of ideas, quite a few that were actually a lot more worked-out than this one. I had been there about 45 minutes, and eyes were glazing over. Everybody was thinking about their lunch, and whether they had calls to return. At the very end, I threw in this one idea about a mother and daughter who are more like friends than mother and daughter, and they're like, "That's what we want!" [Laughs.] I didn't have a show, mind. I had a relationship. I left, and once I verified that they were actually going to pay me to write something, then I had to come up with something.
"Okay, it's a mother and daughter, and they're best friends. I was going to put them in a city area, but then I went on vacation to Connecticut, because I wanted to see Mark Twain's house. I stayed at an inn, and it was very charming, in a tiny town, and everybody seemed to know each other, and there was a pumpkin patch across the street. I went to a diner, and people kept getting up to get their own coffee. No one was there to be waited on. It seemed like a fun environment to put [the characters] in. It happened over a two-day period, as far as place and where they would live. If they were going to live in a small town in Connecticut, the parents needed to be big-city, which–in Connecticut, Hartford is about as big as you're going to get. Hartford is the insurance capital of the world, so insurance… It all sort of fell into place over that two-day period."
Gilmore Girls creator Amy Sherman-Palladino
2005 A/V Club interview with Scott Tobias
Where Did the Idea for The Marvelous Mrs. Maisel Come From?
Where Did the Idea for 'The Marvelous Mrs. Maisel' Come From?
Posted in screenwriting on September 20, 2018| 1 Comment »
"We wanted this journey, even though it was 1958, to feel energized and vibrant and for an 18-year-old to look at it and go, 'I get that. And that is my story, too.'"
Amy Sherman-Palladino on The Marvelous Mrs. Maisel
After The Marvelous Mrs. Maisel won seven Emmy Awards on Sunday on Sunday (including Outstanding Comedy Series) I decided to check it out. I carved out time at 5:30 Wednesday morning and watched the pilot (which the show's' creator—Amy Sherman-Palladino— won two Emmys for writing and directing).
The rapid banter between actors and 1950s world the production team created somehow has a retro-contemporary feel. Sort of like Joan Rivers meets Mad Men meets Amy Schumer. I wondered what the origins were for the show and found this excerpt:
'My dad was a stand-up comic. So I grew up with a bunch of Jews sitting around trying to make each other laugh. And I knew Lenny Bruce's mother when I was a kid, because she was sort of the godmother to all the comics. And I worked at the Comedy Store. So the show was not so much a conscious homage to any particular comic as it was something that was in my zeitgeist. I was having a meeting with the guys over at Amazon, and we were just kind of shooting the shit, and [The Marvelous Mrs. Maisel] was a little idea I had standing in the back of my head. They're like, 'Great. Go do that and bring it back.'"
Writer Amy Sherman-Palladino
Vanity Fair interview with Hillary Busis
P.S. This morning I got up early again and watched the pilot of Gilmore Girls that Amy Sherman-Palladino also created. That series ran from 2000-2007 and was full of snappy dialogue and some of it by actress Alexis Bledel who played a sassy high school student when the series began. I have to think that when screenwriter Diablo Cody was somewhere between being a student at the University of Iowa and writing Juno (2007) that she probably watched an episode or two of Gilmore Girls.
Where Do Ideas Come From?
Aaron Sorkin on 'Steve Jobs' and Screenwriting vs. Journalism
Posted in screenwriting on September 17, 2018|
"You can't write code. You're not an engineer. You're not a designer. You can't put a hammer to a nail. I built the circuit board! The graphical interface was stolen! … So how come ten times in a day I read Steve Jobs is a genius? What do you do?"
Steve Wozniak confronting Steve Jobs in a scene written by Aaron Sorkin
I thought the most dynamic scene in the movie Steve Jobs (2015) was the confrontation between Steve Jobs and Steve Wozniak before the launch of the NeXT computer. It's a confrontation that didn't literally happen, but one in which Wozniak told Tech Insider that it was the "sentiment" and "feelings" that others had and that those words "were put into my mouth for the movie."
Screenwriter Aaron Sorkin is clear in The Q&A with Jeff Goldsmith that the entire film, not just that Wozniak scene, is a restructuring for dramatic purposes. That while the conversations weren't real, the contents of those confrontations were real.
"I got a sense from all the time I spent with Woz that . . . for the first 10 or 15 minutes that I was with him—he is a man who doesn't like saying a bad word about anyone, that he's a man without ego, that he does not have the kind of ambition that Steve Jobs does, that he likes building, that he likes tinkering, and that the things that were important to Steve weren't important to him. He doesn't care who gets credit. That's the first 15 minutes. In minute 16, it starts to become very clear that he cannot understand why in the world he's Garfunkel. That he really believes Steve has gotten credit for things for which he did not deserve credit. That he really thinks Steve is a person whose integrity can't be trusted. All this stuff starts coming out. So how do you dramatize that? You can do it one of two ways; you can have a scene that did happen which is between Woz and a screenwriter named Aaron Sorkin, or you can be a dramatist and write a movie, and not a journalist. And they both have their places. I knew what I didn't want to do. What I didn't want to do was dramatize a Wikipedia page."
Screenwriter Aaron Sorkin
It's called dramatic writing for a reason.
BTW— That Q&A that Goldsmith did with Sorkin back in 2015 is easily one of my top ten interviews of all-time in regard to the screenwriting process.
P.S. The group Simon & Garfunkel created beautiful hit music together, but Paul Simon is the one who had a long and successful solo career. Though the began singing together when they were 11, as of 2016 (and now into their 70s), Paul Simon and Art Garfunkle were not on speaking terms. Their hit Bridge Over Troubled Water sums up many dynamic relationships over history "when times get rough, and friends just can't be found." (That album sold 25 million copies. The single Bridge Over Troubled Water was released in January 1970. The duo act broke up later that year.)
Blending Truth, Spectacle & Serving the Story
Emotional Climaxes
Dialogue as Music (Aaron Sorkin)
The Journalistic and Cinematic Roots of 'The Florida Project'
Aaron Sorkin on '90% of the Battle' in Screenwriting
Posted in screenwriting, tagged Aaron Sorkin, Jeff Goldsmith, screenwriting, Steve Jobs on September 12, 2018|
"You had me at hello."
Dorothy Boyd (Rene Zellweger) in Jerry Maguire
Most of the time, me writing looks—to the untrained eye—like someone watching ESPN. The truth is if you did a pie chart of the writing process, most of the time is spent thinking. When you're loaded up and ready to go—when you've got that intention and obstacle for the first scene that's all you need. For me at least, getting started is 90% of the battle. The difference between page zero and page two is all the difference in the world. So once I had the technical jargon to write [the 'Hello' scene in the movie Steve Jobs] and I also knew that scene would take us into a dressing room of some kind. . . . In the dressing room I knew they were going to talk about the overinflated projections and managing expectations, and that was going to get us into Time magazine, which was going to get us into paternity. I was able to see that far ahead. So once I knew everything about what I was doing—once I start typing it's not going to be finger-painting, I'm not just going to be feeling my way in the dark and 'let's see where these characters take me.' . . . Once you do know what you're doing—for me, it's intention and obstacle, for you it could be something else. You do understand there isn't one way of doing this, right? Whatever way works for you is the right way, for me it's intention and obstacle. Once you have that, there does come a time when you actually now are ready for your talent to take over. Start writing. Do your thing."
Screenwriter Aaron Sorkin (The Social Network, A Few Good Men)
The Q&A with Jeff Goldsmith
Aaron Sorkin on Theme, Intention, and Obstacles
How Drew Carey Learned Comedy Writing from a Book (Back When He Waited Tables in Ohio)
Posted in writing, tagged Comedy writing, Drew Carey, Fresh Air, Terry Gross on September 10, 2018| 1 Comment »
When comedian, actor, and game show host Drew Carey was starting out he tried doing standup "as a goof" while in college and it didn't go well. After a few failed attempts, he was glad he gave it a shot and get it out of his system.
After he dropped out of college, he joined the U.S. Marines. Carey served in the military for six years and was waiting tables in his hometown of Cleveland when a radio host he knew said he'd pay him $20 a joke. He was hoping to pick up an extra $100 a week and ended up building over his career (so far) an estimated net worth of over $100 million.
This is how Carey told Terry Gross on Fresh Air how he learned to write jokes.
Drew Carey: I went to the library and I finally got a book on how to write jokes. And from reading that book, that's what really started me. I thought, oh wow, there's a formula to this. I can write jokes.
Terry Gross: How did the book help you to write jokes?
Carey: There's formulas for every kind of joke writing. There really is. The example they used in the book is you take driving and write it at the top of the page. It's all about list-making. Then you write down everything that relates to driving: angry drivers, slow drivers, fast drivers, new cars, old cars, junk cars, car washes, red lights. You write all this stuff down and then you try to exaggerate something to make it bigger than it is. Then there's words that sound like other words and you try to make puns up that way, and use all these different techniques to take all this little lists you've made—angry women drivers, angry men drivers—when you detail it down you try to exaggerate it, or minimalize it, or twist it around. And then you try to make 20 jokes and try to get one good joke out of that, and that's how you come up with one good joke. If you're starting out, it takes you like three hours.
P.S. He didn't say in that interview what that book he read, but if you've seen it in others interviews let me know and I'll put a link to it here. In the meantime check out Comedy Writing Secrets, The Hidden Tools of Comedy, The New Comedy Writing Step by Step, and Jerry Seinfeld's doc Comedian.

redpajama_set_name: RedPajamaCommonCrawl


text:
IRAQ: On the Road to Recovery By Way Of Amends
Posted By Shelly
Mention "war" or "armed conflict," and many people scroll through mental images of soldiers engaged in combat or of pock-marked villages halfway across the world. But these images are just a fraction of that element. War's impact doesn't end when the bullets and bombs stop. Its effects stretch beyond the fighting and encompass civilian death and injury, community destruction and devastatingly interrupted lives. Civilians' basic needs are often no longer met and their capacity to meet them in the future is made nearly impossible when their livelihoods are gone. They are left with very little help from the warring parties to rebuild. For communities ravaged by war, there is a desperate need to regroup, re-form, heal and adapt to these unexpected life changes. But where do they start?
Helping civilian victims positively reshape their lives is a first and very crucial step toward moving away from living a life in war. In South Central Iraq, many of these crucial steps are being taken and have begun to crack the shell of devastation. Instead of picturing the horrible aftermath of combat, picture a man in Diwaniyah, who recently opened a store with help from USAID Marla Ruzicka Iraqi War Victims Fund. Picture a group of students at a vocational school in Kerbala who previously learned about their trade through theory, but who now have new and updated machinery to help prepare them for technical careers in electrical system repair and car mechanics, among other jobs that can benefit their communities.
Livelihood assistance to civilians, such as that provided by the Marla Fund, is a way for warring parties to begin the process of amending harm and placing recovery at the front of the agenda. In this case, it's the U.S. Government that has taken the step of making amends, and is changing lives one at a time.
Making amends, recognizing harm and offering to rectify in some way can help a community recover and heal in dramatic ways. When a family has the tools and hope for their future, the entire community benefits. Making amends goes beyond recognizing harm and apologizing. It creates the opportunity to rebuild lives and sets the stage for families to flourish.
Image courtesy of UN Photo/Sarmad Al-Safy
Making Amends: A Guide to US Law and Policy on Post-Harm Amends
Marla Keenan on Protection of Civilians in Security Assistance
PAKISTAN: Pakistani Politicians Agree: Make Amends to Victims of Conflict (The Huffington Post)
Feb-04-2011
Turkish Airstrikes Kill Five Civilians and Hinder Recovery in Northern Iraq after ISIS
Rebuilding Iraq: Assistance to Civilians Must Be Prioritized
By Center for Civilians in Conflict May 5, 2010
Tags: AmendsIraq
Author: Center for Civilians in Conflict
https://civiliansinconflict.org
Center for Civilians in Conflict (CIVIC) works with those engaged in and affected by armed conflict to identify, develop, and implement practical solutions that prevent, mitigate, and respond to civilian harm.
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April 10, 2021 Simon Chesters Thompson
I'm a local now, and when out walking my dog across the flatlands a dozen miles south of Lincoln, the cathedral's an abiding skyline presence – just as it would have been for those working this land nine hundred years ago. For Lincoln is probably England's most spectacularly set cathedral, and a big rival to Laon in the Hauts-de-France.
Having approached it, though, from afar, and ascended Steep Hill – a street named with much English understatement – the modern-day pilgrim or tourist won't only be delighted by the honey-coloured limestone Norman west front and early gothic Chapter House. Because there's something really unexpected here, too, a small piece of bohemian Bloomsbury, delivered in 1956 by van from Charleston – that group's polyamorous farmhouse on the Sussex downs.
But if the presence of a late 15th chantry chapel now decorated entirely in mid-20th century murals by Bloomsbury Group giant Duncan Grant sounds surprising, then that this proved controversial will probably not. So controversial, in fact, that the colourful chapel was closed for twenty years and omitted entirely from the cathedral's guidebook.
However, the murals' seemingly mainstream subject of Christ as the Good Shepherd had been chosen by the Cathedral's dean. And their commissioning resulted from the largesse of a trust in memory of American-born artist Edwin Austin Abbey RA – the painter, in fact, of Edward VII's coronation. All the trouble was down to a combination of Grant's interpretation of the brief, his modus operandi, and quite a lot of the Bloomsbury Group's modus vivandi, too.
Although it's the chantry chapel of Bishop John Russell (Chancellor of England during the reign of Richard III), it's dedicated to St Blaise, patron saint of woolworkers – of great local significance as Lincoln was a major wool staple for the collection and taxation of wool for export. And that's of course why Grant chose to paint Lincoln's inland port as his mural's setting for the west wall – although in a somewhat Italianate style.
He peoples this scene with a series of barely clad stevedores in unambiguously homoerotic poses, labouring to load wool bales onto a ship. While, to the left, a group of dowdily clad women are dramatically upstaged by this kinetic scene of semi-nakedness. Only the little boy accompanying the group brings them some colour, while brandishing his Cross of St George flag at a distinctly phallic angle.
Bums, crotches and innuendo aside, the post-Reformation Church of England had had – certainly into the early 20th century – difficulty accepting murals in its churches and cathedrals, but this reluctance was seemingly now past. What it still, however, did have difficulty with was living people modelling for the holy figures depicted – and Grant's models for Lincoln came straight from the nearest and dearest section of his address book.
The three women, for instance, are Vanessa Bell – with whom Grant lived at Charleston (though she remained married to Clive Bell) – Angelica Garnett – the child he had surprised people by fathering with Vanessa, and Vanessa's daughter-in-law, Anne Olivier Bell.
While the men on the west wall include the painter Edward le Bas as the bookkeeper, and their Jamaican friend Patrick Nelson is probably the stevedore on the far right. Then, from over the door, the chapel is overseen from within a roundel by St Blaise himself, only in the form of Peter Morris – another artist, and whose captivating eyes Grant described as being of "blue-green winter-grass".
But most significant of all is the Adonis-like Christ the Good Shepherd, flanked by sheep and shepherds, and pervading a warming golden-yellow across the east wall over the altar. The model for this startlingly original portrayal of Christ was Grant's long-term lover, the writer and classical scholar Paul Roche.
To say the controversy was all on the theological grounds that modern-day mortals shouldn't pose for sacred murals is to suggest many people – even most – in the 1950s were innocently unaware of the work's blatant campness. Those older than I can comment, but I think it might perhaps have been so.
And while quite a few may have already disapproved of some Bloomsbury Group members for having been conscientious objectors, the fuller study of their lives and works was yet to come. Consequently, the majority of viewers in those more censorious times would have known little of Bloomsbury's mores and its members' proclivities.
They would only have learned of these when, in 1967, the Sunday Times published juicy extracts of Michael Holdroyd's biography of Grant's cousin, Lytton Strachey, which contained many references to Grant's life and loves; and twenty years later still with the publication of Douglas Blair Turnbaugh's book on Duncan Grant himself.
But I feel all this can only add to what a joyous and life-affirming work his murals at the cathedral really are; and now they're happily viewable again, we hope you'll be able to come to see them with us on our 2022 Yorkshire and Lake District tour – with, of course, this stop a little further south in ancient Lincoln.
About Simon Chesters Thompson
Simon Chesters Thompson was for many years the National Trust's curator for the English East Midlands where he was responsible for the organisation's acquisition of Stoneywell Cottage and its preservation as a masterpiece of the Arts & Crafts. Prior to this he worked as an antiques valuer & auctioneer at Bonhams and Sotheby's – where he specialized in antiquarian horology having gotten his professional qualifications in the Fine Art & Antiques Division of the Royal Institution of Chartered Surveyors. He is now a freelance tour guide, speaker and writer, and a member of the Institute of Historic Building Conservation with a particular interest in the architecture of the mid-19th to mid-20th centuries.


Preston is our one and only tailored blazer. Continuing with our theme of asymmetry, this jacket offers a sophisticated and structured look. With the buttons running from large to small, this jacket is an embodiment of powerful yet understated look – with an edgy twist!
Preston is composed of 48% virgin wool, 42% viscose, 8% polyamid, 2% elastane.
The model is wearing a size XS in the blazer.


text:
US-Cuba embargo: Cold War restrictions ease as new trade and travel rules set to begin
By Lewis Dean
January 15, 2015 15:07 GMT
US-Cuban relations are set to improve further on Friday 16 January after the Departments of Commerce and Treasury announced American companies would be allowed to enter the shores of its neighbour.
Telecommunications, construction and financial services will be able to conduct business in Cuba for the first time in decades since relations between the two nations reached boiling point at the height of the Cold War.
The decision to lift the restrictions, which have been in place since 1961, comes a month after US president Barack Obama restored Washington's diplomatic ties with Havana.
Sanctions baring US citizens from travelling to Cuba will also be lifted provided they go for educational, religious or other approved reasons.
Ending the embargo, Obama said: "Isolation has not worked. It's time for a new approach."
Cuban leader Raul Castro - son of former leader Fidel - also agreed to reset relations.
US Secretary of State John Kerry was asked to review Cuba's status as a state sponsor of terrorism in the wake of historic deal, which came after the release of American contractor Alan Gross, who was jailed for five years in Cuba, as part of a prisoner exchange deal.
Cuba frees all 53 political prisoners as part of historic deal with US
US sending assistant secretary of state to Cuba for talks
Castro\'s Cuba – America\'s Caribbean Cold War enemy
Raul Castro hails thaw in US-Cuba ties but asks Obama to respect communism
Obama to overhaul US policy with Cuba


The school garden at Carden Conservatory in Huntington Beach will get off to a great start when it breaks ground in a few weeks. Agromin and Rainbow Environmental Services will donate the soil that will help the organic garden grow.
This will be Carden's second garden. A kindergarten garden was expanded earlier with a grant from Rainbow.
More and more, schools are teaching the importance of recycling to kids who easily understand the simple message that we cannot continue to be wasteful. A recent article in the Huntington Beach Independent discusses what Carden Conservatory is doing to help reduce its carbon footprint including its unique partnership with the Theo Lacy Jail in Orange. Here's the link: School and Jail Partner to Reduce Footprints.


text:
Q: a href link inside iframe ie11 not working I have a couple of links (anchor href) inside an iframe, they work fine in almost all browsers, except ie11.
The links contain the rel="noopener noreferrer" but still clicking on the link won't work, it doesn't open the link.
Does anyone have encountered the same and how did you solve it?

redpajama_set_name: RedPajamaStackExchange


text:
from elasticsearch import Elasticsearch
from elasticsearch import NotFoundError

class Client(object):

    def __init__(self):
        self.es = Elasticsearch(sniff_on_start=True, sniff_on_connection_fail=True, sniffer_timeout=60)
        self.valid = False
        self.results_size = 5000
        self.div = '\n' + '='*40
        self.cd_index = ''
        self.cd_type = ''

    def clear_lower(self):
        self.clear_type() if self.has_type() else self.clear_index()

    def clear_type(self):
        self.cd_type = ''

    def clear_index(self):
        self.cd_index = ''

    def has_type(self):
        return self.cd_type != ''

    def set_type(self, index, es_type):
        if(es_type in self.mappings[index]):
            self.cd_type = es_type
            return True
        return False

    def has_index(self):
        return self.cd_index != ''

    def set_index(self, index):
        if(index in self.mappings):
            self.cd_index = index
            return True
        return False

    def validate(self):
        print 'Checking connection.'
        try: pinged = self.es.ping()
        except: print 'Bad connection.'
        if pinged:
            print 'Connected. Cluster is up.\nChecking cluster health.'
            health = self.es.cluster.health(wait_for_status='yellow', master_timeout=60)
            if not health['timed_out']:
                self.valid = True
                print 'Cluster is healthy.\nClient validated.'
                self.refresh()
            else: print 'Cluster health is below yellow!\nTimed out.'
        else: print 'Cluster may not be up.'

    def refresh(self):
        print 'Refreshing client.'
        self.mappings = self.get_mappings()
        print 'Client refreshed.'

    def get_mappings(self):
        full_mappings = self.es.indices.get_mapping('_all')
        indices = map(str, full_mappings.keys())
        type_mappings = full_mappings.values()
        types = list()
        for type_mapping in type_mappings:
            current = map(str, type_mapping['mappings'].keys())
            if isinstance(current, list): types.append(current)
            else: types.append([current])
        return dict(zip(indices, types))

    def get(self, index, es_type, query_type, query):
        print 'IN GET, index = ' + str(index) + ', type = ' + str(es_type) + ', query = ' + str(query)
        print self.div[1:]
        if query_type == 'q':
            if len(query) == 0:
                try:
                    search_results = self.es.search(index=index, doc_type=es_type, size=self.results_size)['hits']['hits']
                except NotFoundError:
                    print 'Invalid index or type.'
                    return;
            else:
                try:
                    search_results = self.es.search(index=index, doc_type=es_type, q=query, size=self.results_size)['hits']['hits']
                except NotFoundError:
                    print 'Invalid index or type.'
                    return;
            for result in search_results:
                print 'Found a doc matching query:\n' + str(result) + self.div
            print 'Finished search. Found ' + str(len(search_results)) + ' results.' + self.div
        elif query_type == 'id':
            doc_ids = query.split()
            for doc_id in doc_ids:
                try:
                    doc = self.es.get(index=index, doc_type=es_type, id=doc_id)
                    print 'Found document with id: ' + doc_id + ':\n' + str(doc) + self.div
                except NotFoundError:
                    print 'Could not find document with id: ' + doc_id + self.div
                    return
            print 'Finished getting ' + str(len(doc_ids)) + ' documents.' + self.div


TO ALL OUR CORPORATE SPONSORS, WE THANK YOU FROM THE BOTTOM OF OUR HEARTS. WITHOUT YOUR CONTINUED SUPPORT, WE WOULD NOT BE ABLE TO OFFER THESE AMAZING RETREATS FOR OUR INJURED VETERANS. PLEASE TAKE A MOMENT TO READ ABOUT OUR SPONSORS AND VISIT THEIR PAGES TO SHOW THEM YOUR APPRECIATION.
THIS PAGE IS BEING UPDATED AS WE HAVE TRANSITIONED PLATFORMS. WE THANK YOU FOR YOUR PATIENCE.
our longest corporate sponsor - ted's shooting range is located in queen creek, arizona. this amazing group led by liz and amanda have supported us through corporate sponsorship and donations towards our annual raffle. please visit their facebook page, give them a like and hit up the range to show your support!
NON-PROFIT WORK IS TOUGH - THERE IS NO DOUBT ABOUT THAT. EACH YEAR, SEAN CORE CPA HAS SUPPORTED DEEP SEA VALKYRIES THROUGH SPONSORSHIP IN KIND BY DONATING THEIR SERVICES TO ENSURE OUR TAXES ARE COMPLETED ON TIME AND ACCURATELY. LOCATED IN MESA, AZ FOR OVER 10 YEARS - VETERAN OWNED AND OPERATED, THIS AMAZING TEAM offerS small and medium business accounting services you can count on. VISIT THEIR WEBSITE FOR MORE INFORMATION AND HIT THEM UP ON FACEBOOK TO SHOW THEM YOUR THANKS!
PRINCETON TEC WAS ANOTHER FIRST YEAR SPONSOR THAT HAS BEEN GENEROUS WITH THE SPONSORSHIP IN KIND. OVER THE LAST THREE YEARS, PRINCETON TEC HAS DONATED ALL OUR DIVE LIGHTS AND CONTRIBUTED TOWARDS OUR ANNUAL RAFFLE. AMERICAN MADE WITH AN AMAZING WARRANTY AND GENUINE CUSTOMER SERVICE - WE ARE PROUD TO REP THEIR GEAR EACH AND EVERY YEAR! VISIT THEM AT THE LINKS BELOW.
A WEEK AT SEA IN THE BAHAMAS IS AN AMAZING EXPERIENCE HOWEVER THE SUN CAN GET INTENSE. TAKEYA HAS SPONSORED OUR PARTICIPANTS EACH YEAR BY PROVIDING THEIR PATENTED INSULATED BOTTLES ENSURING OUR VETERANS STAY HYDRATED THROUGHOUT THEIR WEEK OF ADVENTURE AND HEALING. THEIR INSULATED BOTTLES KEEP WATER COLD ALL DAY REGARDLESS OF THE CONDITIONS UP ON DECK. A BIG THANK YOU TO THIS AMAZING COMPANY FOR YOUR CONTINUED SUPPORT. SWING BY THEIR WEBSITE TO ORDER YOURS AND VISIT THEM ON FACEBOOK TO SHOW YOUR SUPPORT.
PARTNERING WITH US FOR OUR 2018 SUMMER RETREATS, PATRIOTS FOR DISABLED DIVERS (PFDD) IS HELPING TO COMPLETE ALL DIVE TRAINING FOR OUR PARTICIPANTS WHO HAVE YET TO BE CERTIFIED PRIOR TO THEIR WEEK AT SEA. PFDD SHARES THE SAME PASSION FOR DIVING AND COMMITMENT AS WE DO AND is dedicated to bringing the joy and proven healing power of scuba to people with disabilities. IN WHAT COULD BE CONSIDERED A NEAR PERFECT PARTNERSHIP, PFDD AND DSV ARE ENSURING THAT DISABLED VETERANS ARE NOT JUST INTRODUCED TO DIVING, BUT ARE ABLE TO LIVE THE DIVING LIFE COMBINED WITH EFFECTIVE COUNSELING PROGRAMS THAT HAVE DEMONSTRATED LONG TERM EFFECTS. WE ARE THRILLED TO WELCOME BACK ONE OF OUR PREVIOUS PARTICIPANTS WHO WORKS WITH PFDD - MATT S. A DECORATED VETERAN, SCUBA INSTRUCTOR, AND SOMEONE WE CONSIDER NOT ONLY TO BE A FRIEND, BUT FAMILY. WITH SUCH A BRIGHT AND AMAZING FUTURE, WE ARE EXCITED TO CONTINUE THIS PARTNERSHIP AND ASK ALL OUR SUPPORTERS TO VISIT PFDD ON FACEBOOK AND THANK THEM FOR THEIR SUPPORT OF OUR VALKYRIES!
it is with great pleasure and excitement that we recommend mr. trevor kinkade to any business or organization that is looking for custom graphics. as a us army officer, veteran, and young ENTREPRENEUR, trevor knows the value of hard work and dedication. we reached out to trevor during our 'branding process' and he has never failed to deliver. his unique style and eye for detail has set our organization apart and we are forever grateful for his hard work. below is just a sample of his work throughout the years and we look forward to his continued support. visit his facebook page, give the artwork a 'like' and recommend him to your friends and business associates. you won't regret it!
DIVE SHOPS THROUGHOUT THE NATION HAVE STEPPED UP AND VOLUNTEERED THEIR SERVICES AS WE PREPARE WOUNDED VETERANS FOR A WEEK OF HEALING OF THE MIND, BODY, AND SOUL. THESE AMAZING BUSINESSES DONATE NOT ONLY THEIR TIME, BUT THEIR KNOWLEDGE AND PASSION FOR DIVING AND ENSURE OUR NEW DIVERS ARE READY TO ENJOY THEIR WEEK AT SEA SAFELY AND CONFIDENTLY. PLEASE TAKE A MOMENT TO VISIT THEIR PAGES AND SHOW YOUR APPRECIATION FOR ALL THEIR HARD WORK AND EFFORT. IN SUCH A SMALL INDUSTRY - THEIR DONATIONS GO FAR AND BEYOND WHAT MOST REALIZE.
the students at lim kenpo held a silent action in march of 2018 to RAISE funds for deep sea valkyries as a way to pay tribute to those recovering from ptsd and to honor the brave men and women who serve this great nation. their hard work and efforts will support another veteran who is seeking healing of the mind, body, and soul. a big thanks to these amazing young men and women.
We're a Real Estate Company, Home Resource Center and Nonprofit Organization that's disrupting the Home Buying & Selling experience by providing Relationship Based Real Estate with a Socially Conscious Purpose.
We also promote consumer products from well-known websites and brands and the companies DONATE 2% to 30% of YOUR TOTAL PURCHASE to our "Support Our Veterans" program when you click on our Banners and Links.
This innovative and self-sustaining platform enables the consumer to financially support Veterans WITHOUT ever making a donation. It simply requires YOU to be conscious of your choices and buying decision.
WE'VE GOT YOUR 6 FOR EVERYTHING HOME!


text:
Red and Black Hockey
Canes snatch consolation point from the jaws of defeat
by David Lee on 11/29/10 at 02:23 AM ET
On Sunday afternoon, the Hurricanes traveled up 95 North to take on the Capitals. Simultaneously, the respective American League teams were battling in Hershey. Paul Maurice was unable to earn a win in his 1000th game, but the Hurricanes were able to emerge with one standings point.
The Capitals were off and running with two goals in the first period off the sticks of Marcus Johansson and Alex Semin. They dominated the first period, and it looked like it would be a long afternoon for the Hurricanes.
After playing their way back into the game and pulling Cam Ward in the final minute of the game, Eric Staal forced overtime with less than three seconds to go in the game. Overtime solved nothing, and Carolina's shootout shooters couldn't find the net. Ovechkin scored in the first round of the shootout, and that's all they needed.
Meanwhile, the Checkers were thrashing the defending Calder Cup champion Hershey Bears to the tune of 5-2.
After giving up the two markers in the first period, Cam Ward was sharp. He ended up getting first star honors by stopping 38 of the 40 shots he faced. Unfortunately, the one that he couldn't stop was the one off the stick of Alexander the Eight in the skills competition.
Carolina had a remarkable scoring chance in the overtime session when Sergei Samsonov danced in, then set up Ian White for a great unmolested shot from the low slot. Semyon Varlamov made a really brilliant glove save to take away the game-winner. It had to be the play of the game. Eric Staal's late game heroics weren't too bad, either.
With time winding down and Cam Ward pulled for the extra attacker, the Captain shoveled a backhanded shot into the Washington net to stun the crowd at 19:57.
Going back to how things got started, the Caps got on the board at 7:00 of the first. Canes defenseman Joni Pitkanen caughed up the puck deep in the Canes zone, down in the corner. Eric Fehr of the Caps took control of the puck, then hit Johansson with a pass. He was all by himself in the bottom of the right circle. With only one man to beat, he made a really nifty move to force Ward out of position, then showed some patience, waiting for the right moment to pull the trigger. It beat Ward easily for the rookie Swede's third marker of the season.
Alex Semin made it 2-0 at 18:49, with help from the dangerous Ovechkin and Nick Backstrom. Ovie led the way on a two-on-one with Tim Gleason the only man back for the Canes. He barreled down the left wing side, then dished to Semin at the hashmarks of the right circle. From there, he easily blasted it past Ward for his 18th goal of the season.
The shots on goal after 20 minutes were 17 for the Caps and just seven for the Canes. It really looked like it was going to get ugly. Luckily, the Canes righted the ship and got off on the right foot early in the second frame.
Erik Cole, who has been good against the Capitals, got the Canes on the board just 50 seconds into the middle stanza with a sneaky goal from down low. Eric Staal came over the boards with fresh legs and carried the puck behind the Caps net, taking two Caps skaters with him. They ignored Cole, who snuck in and set up just off the right post. Staal made a really nice pass to Cole, who buried it from close range. That's the fifth goal of the season for Cole. In his career, he now has 33 (20/13) points in 41 games against the Caps.
This was the only scoring in the second period, but the play was much more even. Neither team managed to shoot the puck much, with Washington having a 7-6 edge in that department. In the third period, Carolina notched it up a bit and registered 14 shots to 12 for Washington. However, it looked like the game would end with that 2-1 score. The Captain had other plans.
Staal's heroic goal with three seconds on the clock forced overtime. It was set up by the WonderFinns Jussi Jokinen and Joni Pitkanen as Caps defenseman Tom Poti watched. However, the biggest thing about it was that Staal won a faceoff cleanly just a few seconds prior to the goal. In his fine career, he has tallied 47 (20/27) points in 45 games against the Caps. He has 27 (11/16) points so far this season, which puts him on pace for 96 (39/57) points. He's really showing his leadership and silencing his many detractors with plays like this one.
In the overtime period, the only scoring chance was the aforementioned Ian White chance.
As expected, Jeff Skinner went first for Carolina in the shootout, and he deked without getting a shot off. Ovechkin buried his shot against Ward.
Jussi Jokinen uncharacteristically went straight in and shot instead of deking and juking. No goal. Nick Backstrom delayed and was stopped by Ward.
Tuomo Ruutu failed to force the bottom of the third, and the Caps got the extra point.
Carolina will be back in action Monday night when the Stars visit Raleigh. I'm always a bit on edge when the Hurricanes play the Stars. There's been a history of things getting a bit strange on Canes-Stars game night, which I've written about here.
Filed in: |	Red and Black Hockey | Permalink
Tags: carolina+hurricanes, eric+staal, erik+cole, washington+capitals
The end of the line for RBH
Canes use special teams to beat Sabres
The ride is over for Ryan Murphy
Canes finally get first win
Canes steal a point from Caps
New faces, but same old Canes
Murphy to sit opening night
Carolina to carry nine defenseman to start the season—Nash cut
Auxiliary "Latebird" fantasy league now open
looking for a few more fantasy hockey managers
About Red and Black Hockey
David Lee is a restaurant manager with an unused degree in political science. He can be found at Carolina Hurricanes games, Scrabble tournaments and indie-rock shows. Sometimes, all in the same day.
David has contributed to CBC.ca for their Stanley Cup playoff coverage in 2006 and to the New York Times Slapshot blog for theirs in 2008. Red and Black Hockey was founded in July of 2005.


Home » Jewish Emotional Health » What if today was your last day?
A little while back, my husband and I went into the Old City to do a bit of praying by the Wall, and to grab a bite to eat.
That's not such a big deal – we've been going to the Kotel pretty much most Friday nights for over a year, and my daughter goes to school in the Old City, so I've been driving in and out for a month now.
But this was the first time in a few weeks that we actually spent some time there. We got our shwarma, found a table to sit at outside, and then had to spend the next half an hour listening to some older Anglo woman complaining loudly into her cellphone about all the people who were 'living in a dream' around her.
I'd had enough of hearing her moaning after a minute, but sadly, she kept on going and even outlasted my shwarma.
I walked down to the Kotel afterwards, and I pondered that woman and her hyper-vigilance, and hyper-anxiety about the 'matzav', and her hyper-criticism of the people who weren't just cowering in their basements or walking around with arm guards.
Is that life? Is that really how God wants us to live?
OK, sure, I know things a little crazy right now, and I'm driving my kid to school instead of letting her walk like usual, but there comes a point where quality of life in the here and now has to trump quantity of life.
I've just finished reading Bernie Siegel's 'Love, Medicine and Miracles', and apart from a couple of passing references to yoshki, it's one of the best and most uplifting spiritual books I've ever read, despite being full of death and cancer.
One of the themes that Siegel, a busy surgeon who had an epiphany 30 years' back that attitude, emotions and soul were much more powerful healing forces than anything he could offer his patients, underlines again and again that life shouldn't be measured in years; it should be measured in happiness.
Siegel saw patient after patient hating their life, and looking to their incurable disease as the 'out'. He also saw patient after patient having their life unnaturally extended by all sorts of horrific medical interventions, instead of being able to die naturally and at peace, surrounded by their loved ones.
It's a question for all of us. I sat in the Jewish Quarter listening to the unhappy, hyper-critical 'concerned citizen' and I wondered what she'd be doing with her time if she knew today was the last day of her life. I asked myself the same thing – and it was the first time that I can remember being thrilled that I'd spent far more time writing than tidying up my house and hanging laundry.
I asked my husband that question, and he immediately snapped out of his funny mood, and found something more productive to do with his time.
Our sages say that we should make teshuva the day before we die, which practically means we have to live as though every day is our last, because maybe it is. Yes, there's a place for precaution and soldiers on street corners, but in our modern world there's too much emphasis placed on length of days, and nowhere near enough put on amount of happiness.
If you knew today was your last day, what would you do differently?


I've had redness on my cheeks since high school and years ago when my dermatologist diagnosed it as Rosacea he told me that I'd have to get laser treatments to get rid of the redness. Unfortunately my insurance wouldn't cover laser treatments so I learned over the years how to conceal the redness with makeup and always do anything I can to keep it from getting worse, like using sunscreen daily and wearing large sunglasses that cover my cheeks.
Recently I had the opportunity to try Prosacea Medicated Rosacea Gel – it is dermatologist recommended to treat and control rosacea symptoms like redness, irritation and bumps. Since I suffer from all of those things I was very happy to give it a try. The gel is light and goes on very smoothly so I've been wearing it under my makeup and then putting it on again before bed after I take my makeup off for a couple of weeks.
Although I can still tell where the redness is on my cheeks the Prosacea Medicated Rosacea Gel has really calmed it down and I don't think that most people could even notice it anymore. I'm excited that the gel has also reduced the bumps that I tend to get in that area.
If you also have issues with rosacea then I'd highly recommend giving Prosacea a try so you can heal rather than conceal your redness and bumps. Like with everything in your medicine cabinet, please make sure to read and follow all label instructions before using.
Leave a comment below telling us how you deal with or care for your rosacea and one lucky reader will win a Prosacea® care package!!
Valerie Bertinelli just described DHC Deep Cleansing Oil as one of her "beauty must haves" in the September edition of Prevention magazine and that was the first time I'd heard of it, but dang she looks great for her age so I made a mental note. Well I just found this deal where you can get $5 off orders of $10 or more at DHC through October 31st. You can get free shipping too if your order totals over $85, but there are lots of things I'd like to have below $15 including the small bottle of DHC Deep Cleansing Oil at $12.50, and the Eyelash Tonic that's on sale for $10. The DHC products are olive oil based and are said to deliver much more radiant skin. I'd sure like to give it a try at this price, and I love that all orders also come with four free samples.
For a limited time you can get free shipping AND two free gifts from Proactiv with a purchase.


Without them, we simply could not offer Scottie dogs in need assistance.
If you would like to volunteer for STECS please get in touch. STECS use volunteers in a number of different ways. You may get involved in organising one or our annual get together events, fundraising or even dog walking.
Visit the Contacts section for information on how to get in touch.


Source code documentation: file comment template and SVN keyword expansion; model and db-control classes and functions.
Fourth week-long sprint produces P7 and GRC poster. P7 artifacts are made available in the repository and project wiki. On your P7 page have the self-evaluation of the sprint work and a project status report. The status report should summarize Asana tasks and point to where the artifacts are.


text:
From soap opera to Scottish identity
Experts in film from Asian cinema to British costume drama will gather for a one-day conference organised by students at the Universities of St Andrews.
The all day event, which will take place at the Byre Theatre in St Andrews tomorrow (Friday 10th November 2006) is a collaboration with students at the University of Glasgow and will involve over fifty academics and students of film studies. It will focus on aspects of society, culture and identity in film, in a range of genres from action movies to German documentaries. Papers will be given on cinematic subjects including Scottish identity, young Palestinian filmmaking, Thai horror movies, Turkish popular cinema, the Coen Brothers and nationalism and war.
The event, "Cinemas, Identities and Beyond", is the first postgraduate conference of the Centre for Film Studies at St Andrews and Glasgow's Department of Theatre, Film and Television Studies. The conference, funded by the Arts and Humanities Research Council (AHRC), is an interdisciplinary, collaborative conference between students at the universities.
The conference will include the participation of postgraduates of film, television, cultural studies, comparative literature and anthropology, among other disciplines drawn from Scotland and throughout the UK.
Organiser Ruby Cheung, a postgraduate student at St Andrews, said, "This event aims to foreground the investigation of cinematic depiction of identities and marks another collaborative project between the film departments at St Andrews and Glasgow. Both share a strength in researching identity-related issues of representation and film, ranging from the cinemas of Scotland, Europe, and the Balkan states to the Middle East and Asia- Pacific regions, and covering topics from national and transnational identity. In this manner the two universities form a vibrant hub for film studies within Scotland."
The conference will be convened by film studies academics, renowned for their expertise in subjects as diverse as British and Irish cinema, soap opera and gypsies in film. They are: Dr Dimitris Eleftheriotis (University of Glasgow), Professor Christine Geraghty (University of Glasgow), Professor Andrew Higson (University of East Anglia), Dr Laura Rascaroli (National University of Ireland, Cork) and Professor Dina Iordanova (University of St Andrews). Chair of the AHRC Research Committee, Professor John Caughie (University of Glasgow), is guest of honour and will open the event.
Professor Iordanova, Director of the Centre for Film Studies at St Andrews, said, "I am delighted to see the great success of this conference. AHRC's funding enabled our postgraduates to organise a stimulating event which allows intellectual exchanges between scholars and students on their specific projects. Most importantly, the meeting of academics who work in different disciplines yet all explore the issues of identity through the medium of film is likely to result in exciting interdisciplinary outputs in the sphere of modern humanities at large."
NOTE TO EDITORS:
FOR FURTHER INFORMATION CONTACT RUBY CHEUNG, EMAIL wyrc@st- andrews.ac.uk
Issued by Beattie Media – www.beattiegroup.com on behalf of the University of St Andrews
Contact Gayle Cook, Press Officer on 01334 467227 / 462529, mobile 07900 050 103, or email gec3@st- andrews.ac.uk
Ref: Identites in Cinema 091106.doc
View the latest University press releases at http://www.st- andrews.ac.uk
Arts and Humanities Research Council Asian cinema Bollywood byre theatre conference


text:
Washington DC Neighborhood Guide:
Places to
Local Area Map
Welcome to The Woodley Park Neighborhood of Washington, DC
Nestled strategically in the North-West quadrant of Washington, DC, Woodley Park is one of the most serene residential neighborhoods in the District. It offers the experience of living in the suburbs despite being located smack in the center of the city. It features all the amenities of a modern suburb and has a distinct history and culture that makes up part of the American story.
Surrounded by Rock Creek Park, this peaceful community provides a refuge from the bustling city. Featuring plenty of trees and other greenery, local amenities including the National Zoo, and convenient metro access, it's the perfect community for those who want to enjoy every facet of urban living without feeling overwhelmed by it.
Connecticut Avenue, the main strip, is a hub of retail and recreational services that give residents seamless access to all their daily needs. Just about everything you need is only footsteps away. The unique character and convenient location of this community make it a haven for young professionals and residents alike.
Woodley Park is one of the best places to live in DC. Don't take our word for it — here is a comprehensive overview of what it's like living in the neighborhood.
The Parkwest Apartments — Join the Community
Are you sold on the conveniences and luxuries of living in Woodley Park? Contact us if you are considering moving, you should check out one of The Parkwest apartments.
These apartments are just as elegant as the serene neighborhood. They are spacious and feature elegant archways, exotic wooden floors, dramatic 9′ ceilings, and more! Options, features, and amenities range from unit to unit, and you are guaranteed to find one that suits you perfectly.
The Parkwest is located along Connecticut Avenue between Woodley Park and Cleveland Park. Its strategic location means that you will have easy access to all amenities in the city, including the city's transport hub.
See All Apartments
This luxurious Woodley Park apartment conveniently located on Connecticut Avenue is just a stone's throw from the Cleveland Park and Woodley Park Metro stations as well as the zoo. Enjoy elegant archways and generous amenities at this one of a kind apartment building in one of DC's most beloved neighborhoods.
| View More
An Overview of Living in Woodley Park
Woodley Park is am amazing Washington DC neighborhood with all kinds of parks to explore, historical thrills for lore, and strange activities that your friends and family will adore! So grab a friend, your dog, your partner and go for a hike to Woodley Park if you'd like. We are betting that you will!
Woodley Park's proximity to Rock Creek Park and the zoo make it an incredibly desirable spot for residents with children and pets. The community is full of activities and events suitable to all ages and interests.
Sporting a Walkscore of 72, you can complete almost all daily errands without a vehicle. The peaceful character and abundant greenery also make walking an immensely enjoyable activity whether you are picking up groceries or just getting some fresh air.
Like many of the NW Quadrant neighborhoods, Woodley Park has rich historical ties to DC. Many historic homes line the residential streets, including the former summer homes of US Presidents Martin Van Buren and Grover Cleveland.
Serene Parks & Diverse Wildlife
Serene nature is one of this neighborhood's best attributes. It features two notable parks and one of the most popular zoos in the District, all of which are within walking distance from the neighborhood.
Rock Creek Park
Rock Creek Park has it all: plants, animals, and more! The 1,754 acres of pristine land is covered by lush greenery, including exotic trees and beautiful flowers. It is also home to a wide range of species, including gentle turtles and beautiful birds. There are lots of things to do at Rock Creek Park. The beautiful nature makes for serene hiking trails, and you can even bring your horse if you wish. Hiking at the park will bring you closer to nature and make you forget about the hassle of DC for a while. It also makes for healthy walks and running exercises. You can also hire a canoe, kayak, or sailboat and hit the water. Golf enthusiasts will also appreciate the 18-hole golf course set out on pristine grounds.
Meridian Hill Park
Meridian Hill Park is another nature stop that will lure you in! It has large old trees, statues and a view of the city you won't want to miss! Walk through to view statues of the famous Joan of Arc, Dante, a James Buchanan Memorial, and longest cascading fountain in North America.
The park also comes to life every Sunday as it holds on to a 40-year tradition: the Rhythm in the Park Drum Circle. This tradition involves a concert and people from all parts of the District coming together to dance, juggle, and just connect.
Smithsonian's National Zoo
Away from the elephants and donkeys occupying Capitol Hill, the Smithsonian's National Zoogives you a chance to explore more than 300 different species of animals sourced from all over the world. There are more than 1,500 animals at the zoo. Some of these species are endangered; for example, the zoo is home to some of the most adorable Pandas in North America.
Rich History & Culture
Woodley Park Is dotted with remarkable reminders of America's history. Residents can go back in time at The Anderson House. The villa was constructed in 1905 and has survived the century in remarkable condition. It was designed according to the architecture of the time; it mostly features Italian and English styles, including carved wood walls, iron staircases, and marble floors. The Woodley Park neighborhood is a close-knit community featuring about 6,000 residents. The community is defined by acceptance, inclusiveness, kindness, and friendliness. Residents here also love pets. In fact, many households in the neighborhood own a dog. The community also reflects DC's distinct culture, which is partly marked by excellence. This community's tight-knit network also makes it a safe living space for families. To this end, Woodley Park has one of the lowest crime rates in DC.
Have you been to those old European cities with medieval-like architecture? Woodley Park has its own classic architecture, and it includes some majestic and menacing gargoyles. The Washington National Cathedral is one of the grandest houses of worship in the country, and its classic architecture is part of what sets it apart; the highlight of this building is the series of gargoyles perched on the rooftop.
Step Back In Time At The Anderson House
Take a fashionable approach to history by diving into The Anderson House this spring. This "Florentine villa in the midst of American independence," was completed in 1905 and has survived with a vibrant walled garden, tennis court, and three-story stable. The mansion holds 50 rooms that are lined with English and Italian influences, carved wood walls, marble floors, and an iron staircase. Let's just say It is the "creme de la creme" of historical architecture.
You can tour the Anderson Home Museum Tue-Sun with free admission, and you can even explore the archives of its library Monday-Friday from 10 am – 4 pm. What are you waiting for? Dive into your nation's history galore.
Go On a Gargoyle Hunt
The Washington National Cathedral is a must-see building in Washington DC, its high ceilings are comprised of 14th-century gothic architecture that will light up eyes from around the city! Take a date and go for a gargoyle hunt over the weekend as you explore this amazing historical sight.
While you are there see who can find Darth Vader first! This fierce gargoyle head was sculpted after a competition in the 1980s that spread nationwide in Nation Geographic World Magazine. The design was submitted by the young Christopher Radar and sculpted/carved by Jay Hall Carpenter and Patrick J. Plunkett. You can find it somewhere high upon the northwest tower, but that's the only clue we'll give you!- Happy hunting.
Amenities & City-Life Access
Woodley Park strikes a perfect balance between suburb and city life. The main strip, Connecticut Avenue, features a wide range of urban amenities, including chic restaurants, bars, shops, and more. Some notable restaurants include Duke's Counter, District Kitchen, Hot N Juicy Crawfish, Medaterra, and Umi Japanese Cuisine. The neighborhood also features plenty of schools and hospitals. Top public schools in the area include Woodrow Wilson High School and Benjamin Banneker Academic High School, while notable private schools include Maret School.
Escape The City For a Night
If you are looking for an exhilarating date, grab a group of friends and head to Escape the Room – the #1 escape room experience in America! There, you and your group can choose from, three different mysteries rooms to solve.
Head back in time for Jurassic Escape, step into the Agency and become a secret agent ready to complete your escape mission, or harrow deep into the depths of the earth in the Dig room. You have 60- minutes to escape your fate! You can book tickets any day of the week, with prices ranging from $28-$34. It is a great activity to build friendships and teams, be sure to encounter a lot of screams!
Listen to The Blues
End the night right with some karaoke and bizarre ambiance at Madam's Organ Blues Bar, this strange bar has cheap booze, 4 floors full of surprises and live music almost every night of the week!
Their menu is filled with soul food options to fill your stomach and jump your heart as you take a walk on the wild side of Woodley Park.
Check out Woodley Park's Favorite Restaurants!
Duke's Counter
For anyone who loves classic British and American fare, this is a great spot to come. Bring a friend, because the portions are sizeable!
If you need a romantic spot for your next date night, Petits Plats is the place to be. This cozy French restaurant is complete with a fireplace and offers tasty entrees such as steak frites.
Tono Sushi
Tasty sushi and sashimi options abound at this trendy spot. Be sure to check out their daily happy hour for great sushi pairings
Robust Transport Network
Check Out The Woodley Park Commuters Guide!
Check out our in-depth guide for commuting in and around Woodley Park.
See Woodley Park Transportation Info
It takes a short drive to get out of Woodley Park and right into the midst of DC. The neighborhood is located strategically within the city and enjoys easy and quick access to a robust transportation network that will get you anywhere you want to go. Woodley Park is conveniently located between Woodley Park Metro and Cleveland Park Metro stations. Any of these stations will get you to any part of the city. The road network is also robust and reliable, thanks to the low traffic. The neighborhood is also close to the Ronald Reagan Washington National Airport, which is convenient for frequent flyers. To this end, Woodley Park is one of the best residential areas for professionals working in DC. The transportation network enables quick access to many key neighborhoods, including Downtown DC, DuPont, Circle, U Street Corridor, and Cleveland Park, among others.
Discover More About Woodley Park:
Woodley Park Schools
Residents with children will enjoy the fact that Woodley Park is zoned for some of the area's most desirable public schools.
John Eaton Elementary School
A K-5 DC public elementary school serving the northern area of Woodley Park.
Woodrow Wilson High School
A DC public High School boasting strong academics and clubs.
Oyster-Adams Bilingual School
A highly regarded DC Public School District elementary and middle school for grades K-8.
Manhattan Market – Small convenience grocery serving alcohol until 11 pm.
Safeway – Large Supermarket located on Wisconsin Ave.
Via Gypset – Consignment store featuring used and vintage items.
India Art & Craft – Small Indian Boutique featuring women's clothing and accessories.
Woodley Park Ace Hardware – Hardware store specializing in tools and home improvement supplies.
International Visions – Art Gallery located on Connecticut Ave.
Hillwood Estate – Museum and gardens.
The Kreeger Museum – Museum featuring Impressionist and American art.
National Geographic Museum – An enormous museum with frequently rotating exhibits.
Woodley Park Nightlife
Macintyre's – Sports Bar and pub with pub-style dining.
Gin Joint/Babinga Bar – Bar and restaurant with specialty gin cocktails.
Atomic Billiards – Pool hall and bar located on Connecticut Ave.
Metro Immediate and Primary Care – Clinic located on Porter St. NW, accessible from Connecticut Ave.
CityPaws Animal Hospital – Veterinary clinic located on Connecticut Ave.
CVS Pharmacy – Pharmacy and drug store located near the Woodley Park Metro.
Woodley Park Yoga-Ashtanga Studio – Yoga studio on Connecticut Ave.
Wardman Park Fitness and Swim Club – 24-hour gym with pool and sauna.
GNC – Vitamin and nutritional supplement retailer on Connecticut Ave.
Tregaron Conservatory – Nature preserve and park.
Rock Creek Park – National park featuring a planetarium, hiking trails, historic civil war landmarks, horseback riding, and much more.
Rock Creek Park Tennis Center – Tennis courts located in Rock Creek Park.
Smithsonian National Zoo – One of DC's most popular attractions hosting events and exhibits throughout the year.
District Kitchen – Self-described rustic-chic dining with American cuisine.
Duke's Counter – Sandwich, burgers, snacks, and drinks.
Medaterra – Restaurant and bar specializing in Middle Eastern cuisine.
Hot N Juicy Crawfish – Seafood and Cajun/Creole dining.
Umi Japanese Cuisine – Sushi and Japanese food specialty dining on Connecticut Ave.
Exxon – Gas and convenience store on Connecticut Ave.
Sunoco – Gas and convenience shop on Connecticut Ave.


text:
/* ------------------------------------------------------------------
 * Copyright (C) 1998-2009 PacketVideo
 *
 * Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
 * You may obtain a copy of the License at
 *
 *      http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either
 * express or implied.
 * See the License for the specific language governing permissions
 * and limitations under the License.
 * -------------------------------------------------------------------
 */
/*

 Pathname: q_normalize.c

------------------------------------------------------------------------------
 REVISION HISTORY

 Description:
 (1) Modify to include search over the scalefactor bands to insure
     that the data is using all 31 data-bits.

 Description:
 (1) Modify to remove search over the scalefactor bands to insure
     that the data is using all 31 data-bits.
     (Pushed out into separate function)
 (2) Change variable "k" to more descriptive "shift_amt"
 (3) Update pseudocode to reflect removed code.
 (4) Add PV Copyright notice.

 Description:
 (1) Modified to protect q-normalize from shifting by amounts >= 32.

 Description:
 (1) Delete local variable idx_count.

 Description:
 (1) Included search for max in each frame, modified interface.

 Description:
 (1) unrolled loop based on the fact that the size of each scale band
     is always an even number.

 Description:Check shift, if zero, do not shift.

 Description: Eliminated warning: non use variable "i" and memset function
    definition

 Who:                       Date:
 Description:
------------------------------------------------------------------------------
 INPUT AND OUTPUT DEFINITIONS

 Inputs:
    qFormat[] = Array of qFormats, one per scalefactor band. [ Int ]

    pFrameInfo = Pointer to structure that holds information about each group.
                 (long block flag, number of windows, scalefactor bands, etc.)
                 [const FrameInfo]

    coef[]    = Array of the spectral coefficients for one channel. [ Int32 ]

 Local Stores/Buffers/Pointers Needed:
    None

 Global Stores/Buffers/Pointers Needed:
    None

 Outputs:
    min_q = The common q-format for the entire frame. [Int]

 Pointers and Buffers Modified:
    coef[]    = Array of spectral data, now normalized to one q-format.

 Local Stores Modified:
    None

 Global Stores Modified:
    None

------------------------------------------------------------------------------
 FUNCTION DESCRIPTION

 This module first scans every scalefactor band for the frame, insuring that
 at least one element in that scalefactor band is using all available bits.
 If not, the elements in the scalefactor band are shifted up to use all 31
 data bits.  The q-format is adjusted accordingly.

 This module then scans the q-formats for each scalefactor band.
 Upon finding the minimum q-format in the frame, the coefficients in each
 scalefactor band are normalized to the minimum q-format.
 The minimum q-format is then returned to the calling function, which is now
 the q-format for the entire frame.

------------------------------------------------------------------------------
 REQUIREMENTS

------------------------------------------------------------------------------
 REFERENCES

------------------------------------------------------------------------------
 PSEUDO-CODE

    nwin = pFrameInfo->num_win;

    pQformat   = &(qFormat[0]);
    pSfbPerWin = &(pFrameInfo->sfb_per_win[0]);
    pCoef      = &(coef[0]);

    FOR (win = nwin; win > 0; win--)

        nsfb = *(pSfbPerWin++);

        FOR (sfb = nsfb; sfb > 0; sfb--)

            IF ( *(pQformat) < min_q)
                min_q = *(pQformat);
            ENDIF

            pQformat++;

        ENDFOR

    ENDFOR

    pQformat   = &(qFormat[0]);
    pSfbPerWin = &(pFrameInfo->sfb_per_win[0]);
    pCoef      = &(coef[0]);

    FOR (win = 0; win < nwin; win++)

        stop_idx = 0;

        nsfb   = *(pSfbPerWin++);

        pWinSfbTop = &(pFrameInfo->win_sfb_top[win][0]);

        FOR (sfb = nsfb; sfb > 0; sfb--)

            sfbWidth  = *(pWinSfbTop++) - stop_idx;

            stop_idx += sfbWidth;

            k = *(pQformat++) - min_q;

            IF (k < 32)
            THEN
                FOR (; sfbWidth > 0; sfbWidth--)
                    *(pCoef++) >>= k;
                ENDFOR
            ELSE
                FOR (; sfbWidth > 0; sfbWidth--)
                    *(pCoef++) = 0;
                ENDFOR
            ENDIF

        ENDFOR

    ENDFOR

    return min_q;

------------------------------------------------------------------------------
 RESOURCES USED
   When the code is written for a specific target processor the
     the resources used should be documented below.

 STACK USAGE: [stack count for this module] + [variable to represent
          stack usage for each subroutine called]

     where: [stack usage variable] = stack usage for [subroutine
         name] (see [filename].ext)

 DATA MEMORY USED: x words

 PROGRAM MEMORY USED: x words

 CLOCK CYCLES: [cycle count equation for this module] + [variable
           used to represent cycle count for each subroutine
           called]

     where: [cycle count variable] = cycle count for [subroutine
        name] (see [filename].ext)

------------------------------------------------------------------------------
*/

/*----------------------------------------------------------------------------
; INCLUDES
----------------------------------------------------------------------------*/
#include "pv_audio_type_defs.h"
#include "s_frameinfo.h"
#include "q_normalize.h"
#include "aac_mem_funcs.h"         /* For pv_memset                         */

/*----------------------------------------------------------------------------
; MACROS
; Define module specific macros here
----------------------------------------------------------------------------*/

/*----------------------------------------------------------------------------
; DEFINES
; Include all pre-processor statements here. Include conditional
; compile variables also.
----------------------------------------------------------------------------*/

/*----------------------------------------------------------------------------
; LOCAL FUNCTION DEFINITIONS
; Function Prototype declaration
----------------------------------------------------------------------------*/

/*----------------------------------------------------------------------------
; LOCAL STORE/BUFFER/POINTER DEFINITIONS
; Variable declaration - defined here and used outside this module
----------------------------------------------------------------------------*/

/*----------------------------------------------------------------------------
; EXTERNAL FUNCTION REFERENCES
; Declare functions defined elsewhere and referenced in this module
----------------------------------------------------------------------------*/

/*----------------------------------------------------------------------------
; EXTERNAL GLOBAL STORE/BUFFER/POINTER REFERENCES
; Declare variables used in this module but defined elsewhere
----------------------------------------------------------------------------*/

/*----------------------------------------------------------------------------
; FUNCTION CODE
----------------------------------------------------------------------------*/
Int q_normalize(
    Int        qFormat[],
    const FrameInfo *pFrameInfo,
    Int32      abs_max_per_window[],
    Int32      coef[])
{
    Int    sfb;
    Int    nsfb;
    Int    win;
    Int    nwin;
    Int    sfbWidth;

    Int    shift_amt;

    /* Initialize min_q to a very large value */
    Int    min_q = 1000;

    Int stop_idx  = 0;

    const Int   *pSfbPerWin;
    const Int16 *pWinSfbTop;

    Int   *pQformat;
    Int32 *pCoef;

    nwin = pFrameInfo->num_win;

    /* Find the minimum q format */
    pQformat   = &(qFormat[0]);
    pSfbPerWin = &(pFrameInfo->sfb_per_win[0]);

    for (win = nwin; win != 0; win--)
    {

        nsfb = *(pSfbPerWin++);

        if (nsfb < 0 || nsfb > MAXBANDS)
        {
            break;  /* avoid any processing on error condition */
        }

        for (sfb = nsfb; sfb != 0; sfb--)
        {
            Int qformat = *(pQformat++);
            if (qformat < min_q)
            {
                min_q = qformat;
            }
        }

    } /* for(win) */

    /* Normalize the coefs in each scalefactor band to one q-format */
    pQformat   = &(qFormat[0]);
    pSfbPerWin = &(pFrameInfo->sfb_per_win[0]);
    pCoef      = &(coef[0]);

    for (win = 0; win < nwin; win++)
    {

        Int32 max = 0;
        stop_idx = 0;

        nsfb   = *(pSfbPerWin++);

        if (nsfb < 0 || nsfb > MAXBANDS)
        {
            break;  /* avoid any processing on error condition */
        }

        pWinSfbTop = &(pFrameInfo->win_sfb_top[win][0]);

        for (sfb = nsfb; sfb != 0; sfb--)
        {
            Int temp1, temp2; // shadowed declaration: tmp1, tmp2
            temp1 = *(pWinSfbTop++);
            temp2 = *(pQformat++);
            sfbWidth  = temp1 - stop_idx;

            if (sfbWidth < 2)
            {
                break;  /* will lead to error condition */
            }

            stop_idx += sfbWidth;

            shift_amt = temp2 - min_q;

            if (shift_amt == 0)
            {
                Int32 tmp1, tmp2;
                tmp1 = *(pCoef++);
                tmp2 = *(pCoef++);
                /*
                 *  sfbWidth is always an even number
                 *  (check tables in pg.66 IS0 14496-3)
                 */
                for (Int i = (sfbWidth >> 1) - 1; i != 0; i--)
                {
                    max  |= (tmp1 >> 31) ^ tmp1;
                    max  |= (tmp2 >> 31) ^ tmp2;
                    tmp1 = *(pCoef++);
                    tmp2 = *(pCoef++);
                }
                max  |= (tmp1 >> 31) ^ tmp1;
                max  |= (tmp2 >> 31) ^ tmp2;

            }
            else
            {
                if (shift_amt < 31)
                {
                    Int32 tmp1, tmp2;
                    tmp1 = *(pCoef++) >> shift_amt;
                    tmp2 = *(pCoef--) >> shift_amt;
                    /*
                     *  sfbWidth is always an even number
                     *  (check tables in pg.66 IS0 14496-3)
                     */
                    for (Int i = (sfbWidth >> 1) - 1; i != 0; i--)
                    {
                        *(pCoef++)   = tmp1;
                        *(pCoef++)   = tmp2;

                        max  |= (tmp1 >> 31) ^ tmp1;
                        max  |= (tmp2 >> 31) ^ tmp2;
                        tmp1 = *(pCoef++) >> shift_amt;
                        tmp2 = *(pCoef--) >> shift_amt;

                    }
                    *(pCoef++)   = tmp1;
                    *(pCoef++)   = tmp2;
                    max  |= (tmp1 >> 31) ^ tmp1;
                    max  |= (tmp2 >> 31) ^ tmp2;

                }
                else
                {
                    pv_memset(pCoef, 0, sizeof(Int32)*sfbWidth);
                    pCoef += sfbWidth;
                }
            }

            abs_max_per_window[win] = max;

        }

    } /* for (win) */

    return min_q;

} /* normalize() */