text:
Highland Park Planet (http://highlandparkplanet.org/2019/03/24/main-street-honors-franco-juricic-devoted-to-his-family-his-community-pancreatic-awareness-and-the-hp-5k/)
Main Street honors Franco Juricic, devoted to his family, his community, Pancreatic Awareness, and the HP 5K
By Pam Hersh | March 24, 2019
Main Street Highland Park's staff and board members have added one more reason why Highland Park's 5K Race is known statewide as a community event with soul. This year the race is honoring the life of Franco Juricic, who died on March 6, 2019 from pancreatic cancer.
As in years past, the 5k registration fees and sponsorship proceeds are donated to Highland Park's community groups, including: the Highland Park Library, Recreation Department, Fire Department, First Aid Squad, and Police Department. For the 2019 Highland Park 5K, an additional charity – pancreatic cancer research – will benefit from the generosity of Highland Park residents through a separate fundraising effort spearheaded by the 5k Race Committee and Main Street.
Franco Juricic and his whole family have been 5k runners since the beginning 11 years ago. Franco was a big runner, and he always ran the race (and so did his wife Jackie). His 12-year-old twin children also have run the race for the past few yers.
In honor of Franco's devotion to running, to the Highland Park 5k and the Highland Park community in general, Main Street started an online fundraiser for a charity to which Franco was devoted, the Pancreatic Cancer Action Network (PANCAN). The link to the HP5k Franco Fundraiser is here: https://www.facebook.com/donate/557382658081065/557382671414397/
"One of the very first things I did when I first started working at Main Street was work with Franco on a Pancreatic Cancer awareness campaign he was doing, getting the downtown businesses to put posters and purple ribbons in their stores. He was a gem of a human," said Main Street Executive Director Rebecca Hersh.
"We're going to keep the fundraiser going until the 5k race on Sunday May 5, so we'd love to spread the word. We want everyone to know how much Franco meant to the Highland Park 5k," said Ms. Hersh
Dark purple is also the Pancreatic Cancer Awareness color, so the logo, t-shirts, and backpacks are in dark purple, to honor Franco. The organizers want the race to be a sea of purple.
A PANCAN information and fundraising table will be at the 5k race finish line and at the Street Fair after the race.
The link to the 5k registration page is: www.runinthepark.org. There's mention of the PANCAN fundraiser on the home page, too.
HP's Human Relations Commission Responds to the Recent Spate of Anti-Semetic Events
The following is an open letter to the community from the members of the Highland Park Human Relations Commission The Human Relations Commission is outraged, angry and saddened by the spate of anti-Semitic events that have happened in New York City and in New Jersey, including right here in Highland Park. It is essential for us to identify t he origins of this rising hatred and to address it deliberately.
Two Juveniles Charged with Acts of Criminal Mischief in HP
Greg Schiano Returns as RU Head Football Coach - NJ native led Scarlet Knights to six bowl appearances
View all Local News Articles →
Franco Juricic Turned his Personal Tragedy into an Exhilarating Victory for Humanity
Park Partners Program, a winning formula for the community, yields five grants for 2019


Love Hina Pocket is an Adventure game, published by Marvelous Entertainment, which was released in Japan in 2000.
Love Hina: Ai wa Kotoba no Chuu ni is an Adventure game, developed by KCEJ and published by Konami, which was released in Japan in 2000.
Love Hina: Totsuzen no Engeji Happening is an Adventure game, developed and published by Sega, which was released in Japan in 2000.
Love Hina 2: Kotoba wa Konayuki no You ni is an Adventure game, developed by KCEJ and published by Konami, which was released in Japan in 2000.
Love Hina Party is an Adventure game, published by Marvelous Entertainment, which was released in Japan in 2001.
Love Hina Advance: Shukufuku no Kane wa Harukana is an Adventure game, developed and published by Marvelous Entertainment, which was released in Japan in 2001.
2003 - Love Hina Gorgeous: Chiratto Happening!!
Love Hina Gorgeous: Chiratto Happening!! is an Adventure game, developed and published by Konami, which was released in Japan in 2003.


text:
Q: jsoup: traversing an object of type Element backwards Connection con = Jsoup.connect(https://www.google.com/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8); //Just giving an example
Document htmlDoc = con.get();
Elements linksOnPage = htmlDoc.select("a[href]");
for(Element link : linksOnPage){
//pushing the links on to a stack
}

What I need is that I want to push the links retrieved in such a way that the first link retrieved from linksOnPage becomes my stack top.
1) Can someone suggest me if there is any other way to traverse the link object backwards?
2) Any other way? like for example what if I copy all those links in their order of arrival to a LinkedList and then traverse the list backwards? I understand that this could be a little naive method.

A: Since Elements is a list, you can do it like this -
if (linksOnPage.size() > 0) {
    for (int i = linksOnPage.size() - 1; i >=0; i--) {
        Element e = linksOnPage.get(i);
        //push e
    }
}

A: Elements is already a ArrayList you just need to loop it backward  like below.
Document htmlDoc = con.get();
Elements linksOnPage = htmlDoc.select("a[href]");
for(int i=linksOnPage.size()-1;i>=0;i++)
        {
            System.out.println(linksOnPage.get(i));
        }

From Javadoc of jsoup
public class Elements
extends java.util.ArrayList<Element>
A list of Elements, with methods that act on every element in the list.
To get an Elements object, use the Element.select(String) method.

redpajama_set_name: RedPajamaStackExchange


The iPhone 6 will run iOS 8, Apple's new version of iPhone and iPad software. Apple announced iOS 8 in June and the public iOS 8 release will arrive a few days ahead of the iPhone 6 based on past Apple releases.
Instead of major changes to the look of iOS like we saw in iOS 7, iOS 8 adds a lot of new features.
Users can now answer calls and texts made to the iPhone on a Mac or an iPad that is close by. There is also a new keyboard with predictive text and options to buy third-party keyboards as well.
Messages is brand new with video and audio messages built-in as well as better group messages that allow users to leave a group message or put a single thread on Do Not Disturb while still getting other calls and texts.
One thing we still don't know is what iPhone 6 exclusive features Apple plans to add. We always see at least one or two exclusive features on the new iPhone that a faster processor or additional sensors enable, we just don't know what it will be yet.
Check out our iOS 8 vs iOS 7 walkthrough for more on what you can expect in iOS 8.


If you have stocks investments of Bovespa (Bolsa de Valores de São Paulo), you need to follow the market minute-by-minute. That's why we developed iBovespa.
First and only App of the Finance Category that allow you to manage multiples portfolios of the BM&FBovespa on your iGagdet (iPhone, iPod Touch and iPad). Along with many others features to help you decide which and when Buy or Sell a stock.
Every mother, when has a baby, wants to save every moment of his newborn. From his/her first word or step, vaccines, doctors visits and every needed care.
Now you can do this on your iPhone, iPod Touch e iPad, with iBaby Control.


I am not a programmer/whizz, but I would like to know if/how its possible to connect 3 Apple G4's into one system, using OSC of course, and not MIDI.
I am running Pro Tools, and Reason on the one, with a few virtual synths, and Cubase and Reaktor on another, and I would like to use the third to do a bit of DSP/number crunching on the side.
Excuse my ignorance but this to me is the holy grail of music making today, as was sampling 15 years ago..


text:
Q: addEventListener проблема js_ovn_func.html
<!DOCTYPE html>

    <meta charset="UTF-8">
    <meta http-equiv="X-UA-Compatible" content="IE=edge">
    <meta name="viewport" content="width=device-width, initial-scale=1.0">
    <title>Func_example</title>

    <button id = "addition">Click me to +</button>
    <button id = "subtraction">Click me to -</button>
    <button id = "multiplication">Click me to /</button>
    <button id = "division">Click me to *</button>

js_ovn_func.js
var a = 4;
var b = 7;
function countResult(a, b, operation) {
  if (operation == "+") {
    document.getElementById("result").innerHTML = a + b;
  } else if (operation == "-") {
    document.getElementById("result").innerHTML = a - b;
  } else if (operation == "*") {
    document.getElementById("result").innerHTML = a * b;
  } else {
    document.getElementById("result").innerHTML = a / b;
  }
}
document.getElementById("addition").addEventListener("click", countResult(5, 5, "+"));
document.getElementById("subtraction").addEventListener("click", countResult(10, 10, "-"));
document.getElementById("addition").addEventListener("click", countResult(5, 5, "*"));
document.getElementById("addition").addEventListener("click", countResult(5, 5, "/"));

Здравствуйте! Почему код выполняется не при клике, а впринцыпе при загрузке? После полной загрузки страницы, функция выполняется для каждой кнопки

A: Вам надо передавать Callback-функцию в addEventListener(), а не вызов функции. То есть в вашем случае надо создать для каждой кнопки свой callback в котором будет вызываться необходимая функция:
// callback for first button
const countResultForFirstButton = () => {
   countResult(5, 5, "+")
}

и уже его передавать в addEventListener('click', countResultForFirstButton). Аналогично для остальных кнопок.


text:
US | California | Westlake Village Mortgage Lender
Finding a great Westlake Village, CA. mortgage lender will help you and your family acquire and finance residential real estate. The process of buying or refinancing a home can be complicated, but it does not need to be.
Hiring a professional is vital to ensuring you are getting the right loan that suits you and the results you are looking to achieve. There are a lot of mortgage loan options and a variety of lender types; however, working with a local mortgage lender in Westlake Village gives you the best opportunity to secure a low rate and smooth transaction with a realistic closing timeframe.
Westlake Village is a city in Los Angeles County on its western border with Ventura County. The City of Westlake Village incorporated in 1981 becoming the 82nd municipality of Los Angeles County. The population of the city was estimated to be at 8,217 in 2019, down from 8,270 at the 2010 census.
The city is named after the master-planned community of Westlake that was later called Westlake Village to avoid confusion with the Los Angeles community. With a lake at the center, the community straddles the line between Los Angeles and Ventura counties. Roughly two-thirds of the community was previously annexed into the city of Thousand Oaks.
About 3,000 years ago, Chumash Indians moved into the region and lived by hunting rabbits and other game, and gathering grains and acorns. On-going excavations, archaeological sites, and polychrome rock paintings in the area provide a glimpse into the social and economic complexity of the ancient Chumash world.
It is unknown when the first people settled in the area. A Chumash village was settled here in 500 BCE, known as Hipuc. The Chumash Indians gathered and prepared acorns and other seeds. These were collected in the fall. The Chumash also hunted wild animals, fish and gathered plants. Their diet consisted of acorns, gophers, cottontail rabbits, skunks, jack rabbits, rats, mice, and seeds. They made their clothing from the skins of animals such as rabbits, deer, and sea otters. Women wore long skirts weaved from grass or soft bark, while men wore pieces of deerskin tied around their waists. Both men and women painted designs on their bodies and wore shell beads.
On a return trip from Northern California in January 1770, a group of men led by Gaspar de Portola are believed to be the first Europeans to encounter the Chumash Indians in the Conejo Valley. Father Juan Crespi, chaplain and diarist of the expedition, wrote about El Triumfo, a Chumash village. He wrote that there was plenty of water and firewood in the village, and that the land was covered with pastures. He wrote: "We are on a plain of considerable extent and much beauty, forested on all parts by live oaks and oak trees, with much pasturage and water." Crespi named the place El triunfo del Dulcísimo Nombre de Jesús (in English: The Triumph of the Sweetest Name of Jesus) to a camping place by a creek.
Other villages were found throughout the valley, including Satwiwa and two villages near Ventu Park Road in Newbury Park. These Chumash villages are believed by archeologists to have first been settled over 2,000 years ago. Another village was located by Lake Sherwood.
In 1795, the area became part of one of the first Spanish land grants, Rancho Simi, given to the Pico family of California. When Mexico won independence from Spain in 1821, Alta California became Mexican territory, and the Rancho Simi grant was confirmed in 1842.
At the time California was admitted to the union in 1850, most of the land that later became Ventura County was divided among only 19 families. Rising knolls, arroyos, barrancas and ancient oaks were found on two Mexican land grants: Rancho El Conejo and Rancho Las Virgenes.[citation needed]
In 1881, the Russell brothers purchased a large portion of the land for cattle ranching. According to Patricia Allen, historian and family descendant, Andrew Russell beat the competition in buying the land by racing across 6,000 acres (24 km2) on a fifteen-minute trip in a buckboard and sealed the deal with a $20 gold piece. The price per acre was $2.50. The area continued to be known as the Russell Ranch although it was sold in 1925 to William Randolph Hearst and again in 1943 to Fred Albertson. The Russell family leased back part of the land to continue its successful cattle ranch operation while the Albertson Company used the vast area as a movie ranch. Many movies and television shows were filmed in the Conejo Valley, including Robin Hood, King Rat, Laredo, and various episodes of Tarzan, Buck Rogers, Gunsmoke and Bonanza. The 1940 film Danger Ahead was filmed on Westlake Boulevard.
In 1963, Daniel K. Ludwig's American-Hawaiian Steamship Company bought the 12,000 acre (49 km2) ranch for $32 million and, in partnership with Prudential Insurance Company, commissioned the preparation of a master plan by architectural and planning firm A. C. Martin and Associates. This new "city in the country" planned to have a firm economic base including commercial areas, residential neighborhoods, and ample green space with the lake as a focal point. Prominent architects, engineers, and land planners participated in designing the new community, a prominent example of planned 1960s-style suburbanism.
The original tract was divided by the Los Angeles/Ventura county line. In 1968 and 1972, two portions of the Westlake development consisting of 8,544 acres (35 km2) on the Ventura County side were annexed into the city of Thousand Oaks. In 1981, the Los Angeles County portion (3,456 acres (13.99 km2) or roughly 1/3) of the Westlake master-planned community was incorporated as the City of Westlake Village. California state law prevents a city from existing in two separate counties.
Westlake Village VA Loans
Westlake Village Rate Refinance
Westlake Village Cash-out Refinance
Westlake Village FHA Loans
Westlake Village First Time Mortgage
Westlake Village Conventional Home Loan
For most people, their home is their largest asset (most valuable possession) and largest monthly payment (expense). Since you may only purchase or refinance a few times during your life, a lot of change can happen between the last time you got a loan and what you need to do now. That is just one of the many reasons it is critical to work with a mortgage lender in Westlake Village who has a needs-based approach to financing your loan. Additionally, with frequently changing, rules, regulations, and loan products, it is even more important to work with a team who has their finger on the pulse of the industry as well as the local community.
Simi Valley Mortgage Lender
Westlake Village Stats
Westlake Village is located in Los Angeles County (Los Angeles, 037, California at 34.145840, -118.805650.
Westlake Village, CA. Population:
Total Population: 8270
Westlake Village Household Income: $0
Westlake Village VA Loans (VA Loan Experts in Westlake Village)
Westlake Village Conventional Loans
Moorpark, CA.
in Westlake Village, CA.
Recent Searches in Westlake Village,CA. for Mortgage Lenders
New Home Loan Westlake Village,CA.
Westlake Village Cash Out Refinance
Refinance Lender Westlake Village near me
Westlake Village VA Loan Expert
HOME MORTGAGE LOANS IN Westlake Village, CA.
Westlake Village VA Loans – With more than 25 million veterans and service personnel eligible for VA financing, this loan is attractive and has many advantages. Eligibility for the VA loan is defined as Veterans who served on active duty and have a discharge other than dishonorable after a minimum of 90 days of service during wartime or a minimum of 181 continuous days during peacetime. VA loans are a mortgage loan guaranteed by the United States Department of Veterans Affairs.
Westlake Village FHA Loans – An FHA loan is a government-backed mortgage insured by the Federal Housing Administration, or FHA. Popular with first-time home buyers, FHA home loans require lower minimum credit scores and down payments than many conventional loans. Qualify for an FHA loan with a credit score as low as 500 with 10 percent down or maximum financing of 97.5 percent with a credit score of 580 or higher and 3.5 percent down.
Westlake Village CONVENTIONAL Loans – About half of all conventional loans are called "conforming" home mortgages, because they conform to guidelines established by Fannie Mae and Freddie Mac. These two government-sponsored enterprises (GSEs) buy home mortgages from lenders and sell them to investors. Their purpose is to make home mortgages more widely available. All conforming home mortgages are conventional home mortgages.
APPLY NOW in Westlake Village, CA.

redpajama_set_name: RedPajamaCommonCrawl


text:
Sony's fall and Japan's hang-ups
Sony's fall mirrors Japan's tech decline.
April 21, 2012 4:24 p.m. PT
Sony's slow but sure descent is also about Japanese companies' obsession with doing things their way, even if it's the wrong way.
I lived in Japan during the peak of its technological and manufacturing heyday -- from 1983 till 1993. The final eight years in Tokyo. Not only did I visit scores of Japanese electronics and computer companies as a journalist (and analyst) but I was also irresistibly drawn to (read: I spent way too much time in) Akihabara -- Japan's electronics retail Mecca at the time.
The reason for the success of companies like Sony and Panasonic (National brand in Japan) was obvious. They not only designed popular products but were also very good at manufacturing them. Not unlike the U.S. in its industrial heyday.
But the seeds of Japan's technological-industrial undoing were there to see too:
Stuck on incremental, not disruptive innovation: the Japanese flavor of capitalism is averse to small companies with product-category demolishing ideas like iPhones and iPads (remember Apple was a lot smaller before the iPhone) -- or, to go further back in time, the original Apple Macintosh, the Compaq PC, or new distribution models like Dell's. Japan's form of capitalism favors incremental tech improvements that trickle out of vertically integrated companies. Even today.
Japanese hubris: No, not pride, hubris. I witnessed enough unbridled arrogance* (mixed with disdain for America) when I was in Japan that I believe they (Japanese companies and the government a la entities like MITI) thought upstart companies like Intel, Compaq, Dell, and even Microsoft, were relatively insignificant because they couldn't compete on the consumer product front with companies like Sony, Toshiba, Hitachi, and Panasonic. (*Akio Morita, the Sony founder and president, had a keen sense of Japanese industrial superiority. And, lest we forget, he wrote a book with Shintaro Ishihara, a radical Japanese politician who had, let's say, unusual ideas about Japanese superiority.)
Missed the PC revolution: Sony, Panasonic, Hitachi, et al became obsessed with mass production of whirring, spinning products like tape-based portable music players and video devices. Not to mention analog TVs. So obsessed that they missed the PC/digital revolution happening in the U.S. in the latter half of the '80s. Then they were slow to respond to the mobile consumer digital revolution when flash memory basically replaced everything as a storage medium.
Monozukuri: Or "making things." This is a religion in Japan (as it once was in America). Manufacturing is of course important to any economy--the U.S. not excluded. But Japan sometimes makes things just to make things. That works for a while, but it is doomed to fail. You can make conventional TVs for just so long before it becomes too obvious that they can be made better and cheaper elsewhere. Sharp, at one time an LCD manufacturing giant (and TV maker), now needs help from Foxconn because it is losing the LCD manufacturing war. In short, it is futile to compete on many manufacturing fronts with China, Taiwan, and South Korea, but not all Japanese companies have gotten that memo yet.
Software: Japanese companies have never had a firm grasp of the importance of software. Or the art of fusing hardware and user-friendly software into an appealing coherent whole, a la Apple or even a company like IBM and its mainframe culture. And this is a corollary to the obsession with monozukuri. When I lived in Japan, the message was clear: software really isn't that important. It's only hardware that matters.
Insularity: When I lived there, Japanese companies were masters at fabricating and propagating canards about the uniqueness of the Japanese consumer. Every market is unique, of course, but Japanese companies get carried away with making "special" products (e.g., smartphones) for the Japanese. Again this works for a while until a company like Apple waltzes into the market and the "very unique" Japanese consumer theory goes out the window.
I remember a little game the Japanese media used to play back in the late '80s: they would ask Japanese consumers if they could think of an American product they would want to buy. Japanese consumers would more often than not scratch their heads.
Well, I really can't think of any Sony product that I would want to buy today. How times have changed.
Sony warns of worse-than-expected $6.4 billion loss
Sharp replacing president after huge loss expected for 2011
Tech Industry Dell Panasonic Sony
Discuss: Sony's fall and Japan's hang-ups


Feeling much more together now we have made a decision about the house and staying here - at least for the moment. Frankly I would rather make a bad decision than no decision. I hate living in limbo.
Went out into the rainy darkness to my bookgroup last night. Bookgroups, blogs, downshifting - how zeitgeist am I? Unusually, we had an author - or should I say Author. I was vaguely uncomfortable about the Victorian scene of the creative man all white beard, fob watch, ivory handled cane and distant gaze sitting in the damask armchair while his female disciples asked respectful, twittery questions and hung on his every word but what can you do?
Nice chap, cabinet maker in his real life. After his father died, the cabinet maker wrote a book about his dad escaping Poland at the start of the Second World War - a memoire of a displaced person. I really didn't like the book. It rambled and was very dull but you can't say that when a nice man has driven four hours from the wilds of Scotland to talk to you, can you? It's out of print now so this was a big deal for him. Instead, I said it was "lyrical" and "beautiful written" which is true in parts but not so lyrical you would want to read it. We even had dinner in his honour rather than tea and cake. Unfortunately, I had forgotten we were having dinner so I had already eaten. Politeness then dictated I had to sit down and look like fish lasagne and garlic bread was just what my life had been missing.
As the plates were being cleared from the table though, he made the mistake of asking the group whether anyone had any criticism of the book. That is what he said but what he really meant was: "This is winding up - can we keep talking about my book please? Say something to warm my heart's cockles that I can think about as I make my cabinets." But one of the group only heard the words and not the meaning behind the words. "Well I thought it was difficult to get into and confusing in places like when you...", she chattered on. This is the literary equivalent of telling a mother her child has buckteeth. Consequently, his cockles distinctly chilly, the delightful man looked slightly hurt and fell back to nodding a lot.
I am always amazed when people don't hear what is behind the words. Another member of the group leant forward across the table to earnestly inquire whether you could still get a book published if you had a great idea for one but your writing wasn't much cop. This woman obviously wants to write a book if she hasn't started already. There was a whooshing sound from the heavens as an enormous jackbook came down on her literary dreams and another member airily dismissed such aspirations: "No. Never. That just wouldn't work. It's the same with students and essays. If they can't write, there is no point and did I mention your child has a monobrow?"


text:
Q&A about relocating to Berlin, Germany. All answers are based on our own experience.

### How can I submit a question?

Please, create an [Issue](https://github.com/azproduction/relocating-to-berlin/issues/new) or a Pull Request.
Questions are accepted in **English** (in case it is difficult for you to express yourself in English we could consider Russian as well).

## Language

### What level of English is expected from job applicants?

Fluent English is a must. You should easily cover any IT topics, including those you are not familiar with.
For example, if you are specializing in Frontend, try to explain what BEM (Block Element Modifier pattern) is, or what is the
difference between static, absolute and relative positioning in CSS, or explain how Promises work to a non-developer.

### Is it a good idea to learn German in advance?

Yes, up to a certain level. Having A1 would be very helpful at the beginning, although it is not mandatory and you can survive without German, too.

### Can I live without knowing German?

Yes, but it will be tough for the first time, especially in Bürgeramt (most likely) or in Ausländerbehörde (less likely).
Also your Hausmeister (the guy who is looking after the house you are renting apartment in), most likely will speak German only.
In some institutions it is mandatory to speak German even to a foreigner and even if a person knows English.
In most places, however, you'll be able to converse in English.

## Apartment

### Is it difficult to rent an apartment for non-Germans?

Same rules are applied to Germans and non-Germans with a valid residence permit.
A landlord usually does not care much from where you are, but will most likely be interested in you current salary level.
Without a German bank account, it's impossible to rent anything decent. First pay slip along with a bank statement would also help.
Usually it takes 2-3 month to find a good apartment, because there are some lower quality or overpriced places, or there are
20+ applicants for one apartment.

**Mikhail Davydov**: I found one in 2 weeks, but it was an ultimate luck, before that I was renting an apartment on AirBnB
for 2 months.

**Artem Sapegin**: I found my in 1,5 months but I have two dogs which makes it much more complicated. There are companies like [Berlinovo](https://www.berlinovo.de/en) or [Central Home](https://www.central-home.de/en/home/) where you can rent a flat without registration or bank account. You can register there and live as long as you want (but you probably would not want).

**Max Shirshin** I found mine in 2 months. What helped is that I was ready to pay an extra fee (Provision) to an estate agent. Before that, I had been renting a furnished apartment from a Gasthaus (like a hotel, but only basic service and home-like interiors).

### How expensive are the apartments?

As of May 2015, the cold prices of the apartments (without heating or extra services included) are:

 * 1 bed room - 450-650 Euro (in high demand)
 * 2 bed rooms - 850-1000 Euro
 * 3 bed rooms - 1000-1200 Euro

For more precise prices, please refer to one of the local real estate websites:

 * http://immobilienscout24.de
 * http://immowelt.de
 * http://immonet.de

### How do I find an apartment?

There are several common ways. First, you can find an agent. Agents offer you the best apartments in terms of price/quality ratio, but it will cost you 119-238% of the apartment cold price.

Another way is to scout real estate websites:

 * http://immobilienscout24.de
 * http://immowelt.de
 * http://immonet.de

**Mikhail Davydov**: I was trying to find a flat on immobilienscout24, all non-agent offers had very poor quality. All agent's flats were very nice.

**Max Shirshin**: I decided to skip all the non-agent offers after I had to stand in a queue of 30 or so people — just to have a look at an apartment and have a chance to file all my papers.

## Commute

### How much time does it take to get from home to the office?

From zone B to zone A, or through zone A, it usually takes 30 minutes or less.
Cycling could be faster in many cases, it is a convenient and extremely popular means of transportation in Berlin.

## General topics

### Why is Germany better than other countries?

**Mikhail Davydov**: Social security, stable economy, it cares for the environment, easy to get to any point in Europe.

**Max Shirshin**: All that **Mikhail** said, plus German is a very nice language, not that difficult to learn and useful outside the country, too.

## Relocation

### What are the main difficulties with relocation?

**Mikhail Davydov**: Besides finding the job remotely, collect, translate all required papers.

**Artem Sapegin**: You also need a diploma for a Blue Card.

**Max Shirshin**: The most difficult part is time estimation. Looking for a job might take you 1 week or half a year, and there's a lot to manage before you arrive and right after you land in Berlin. Learn how to manage your time.

### What are the main difficulties with living in Germany?

**Mikhail Davydov**: Language, I guess. Locals are usually closed to non-German speaking people.

**Max Shirshin**: Motivation to make a second integration step. Your relocation is your first step, but a lot of people won't make a second one. Change your cultural patterns, visit German-speaking places whenever possible, and stop comparing everything you see around to your ex-home country/city.

## Jobs

### How do I find an IT job?

Have a well-written profile on http://linkedin.com (a must) and http://xing.de (not really required).
Scout offers on startup jobs or websites of big local companies. Get in touch with recruitment companies but avoid signing any contracts that would legally bind you before you find a job (typically, you don't need a contract with a recruiter).

**Mikhail Davydov**: I found mine on Twitter, actually. https://angel.co/ – this one has a big offer list of startup companies.
**Artem Sapegin**: [Stack Overflow](http://careers.stackoverflow.com/cities/berlin) and [Berlin Startup Jobs](http://berlinstartupjobs.com/) are also very good.
**Max Shirshin**: Found mine with the help from [Vertex Solutions](http://www.vertex-solutions.co.uk)

### How do I find a non-IT job (e.g. for my spouse who is not a developer)? Is it possible?

There is almost no way one can get a non-IT/non-Design job without good knowledge of German.
To get to level B2, it would be required to study 4 times a week, 3 hours each day for a year.
Some professions require a EU-diploma, so it is worth considering studying at a local university,
as the state provides free higher education.

While learning, it is possible to work remotely, but with the obligatory registration
in Finanzamt as Kleinunternehmer (for instance) at the beginning.

### What kind of salary range should I expect?

It depends on many factors, please refer to the job posting websites like https://angel.co/ or http://berlinstartupjobs.com/

If you're OK with very imprecise estimations, IT professionals in Berlin earn 45000-70000 Euro per year "gross" (before taxes).

### How Germans describe salaries? ###

Salaries in Germany are referenced in Euros per year (no one cares about monthly amount). Whenever you get a quote, it's always before taxes (it's called gross salary). Your potential employer can usually give you a rough estimate on net salary (after-taxes) on request, but you'd have to provide some extra data like age, marital status, info on your kids etc.

### How much tax do I pay? ###

Taxes can reach 40% and more, so your gross salary is by no means the amount of money you'll be getting. Statutory medical insurance is part of your taxes already.

Search Google for "German tax calculator" to calculate an estimate for your salary after taxes yourself. It's pretty accurate if you fill in the data correctly.

Seek professional advice even if you think you don't need any. Tax law is quite complicated. Your home country may have important requirements for you if you work abroad, or extra taxes to be payed. Your office buddies are not a good source of critical financial information.

### Are there any obligatory payments in addition to standard taxes? ###

Statutory medical insurance is included into taxes (but private is not). You also have to pay sort of a tax for using wireless services like radio and television — even if you don't use those at all. It's about 18 Euro a month, you pay that separately, and no, you can't let it slide.

And you still have to pay your rent :)

# Authors

All authors who contribute to the answers are listed in [AUTHORS](AUTHORS).

redpajama_set_name: RedPajamaGithub


text:
Kreuzjoch (2558 m n. m.) je hora v Kitzbühelských Alpách v rakouské spolkové zemi Tyrolsko. Nachází se mezi údolími Zillertal a Gerlostal asi 14 km severovýchodně od městečka Mayrhofen. Kreuzjoch je nejvyšším bodem Kitzbühelských Alp.

Na vrchol lze vystoupit po několika značených turistických cestách, například z obce Gerlos (1245 m n. m.).

Reference

Externí odkazy

 Kreuzjoch na Peakbagger.com

Hory a kopce v Kitzbühelských Alpách
Dvoutisícovky v Rakousku
Hory a kopce v Tyrolsku
Dvoutisícovky v Alpách

redpajama_set_name: RedPajamaWikipedia


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Our buildings and homes could capture all water we need on a daily basis. A great example of rainwater harvesting can be found at the Langston Brown Community Center and High School in Arlington, Virginia. The community center has two 24-foot-tall 11,000-gallon cisterns that store rainwater.


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Home>Music> Logic Proves 5 Months Of Piano Practice Goes A Long Way
Logic Proves 5 Months Of Piano Practice Goes A Long Way
By Trevor Smith
Trevor Smith
@trevsmith_
Watch the rapper tickle the ivories in a video he shared on Twitter.
It doesn't matter how much of a natural you are, practice is a necessity in all musical forms. Logic certainly didn't become the supremely technical rapper he is today overnight, and he'd probably be the first to tell you. In a new video showcasing not his rapping, but his piano skills, Logic shows that a good 5 months of work can go a long way.
Judging by the clip posted to Twitter today, Logic could probably trick someone into thinking he's been tickling the ivories his whole life. However, he's up front about his experience, writing, "It's been 5 Months at the Piano and what a rewarding journey it's been so far!" It seems like Logic may actually be recording his jam session in the clip. It would certainly be an interesting way to step into production on his next album.
While he continues to challenge himself, Logic is experiencing his best-ever placement on the Hot 100 with "1-800-273-8255." The single, which attempts to help those struggling with depression and suicidal thoughts, got a major boost following the rapper's performance at the MTV VMAs. The Khalid and Alessia Cara-assisted track has since climbed to No. 3 on the Hot 100, putting it behind Cardi B's "Bodak Yellow" and Taylor Swift's "Look What You Made Me Do." He also recently performed the track on Ellen, which will surely give the single further exposure.
Logic released his third studio album Everybody in May. It has since been certified gold by the RIAA. The Maryland rapper spoke to Rolling Stone about the concept behind the ambitious album which explored his experience as a biracial man. "I didn't wanna make this album. I was scared to make this album, period," he said. "I looked at where we are in the world and realized that millions of people listen to my voice, and I do have a voice. When I released the first song which discusses my race ["Everybody"], a lot of people were like "Oh, he's pushing the whole biracial thing, he's pushing the whole biracial thing." Nobody would tell Q-Tip or Mos Def or Black Thought that they're pushing the whole black thing. This is who I am. And the crazy thing is in my entire professional career, on my albums, I have never touched that, and I've been scared to. So honestly, I had written the script for the album, and I knew I wanted it to be from other people's perspectives. But how could I write about other people's fears if I didn't have the courage to first address my own?"
In August, he made a special guest appearance on beloved Adult Swim series Rick and Morty. Watch it here.
Music News Logic piano everybody twitter 1-800-273-8255
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Jhene Aiko Reveals "MAP Mission" For Her Upcoming Project "TRIP"
MUSIC Logic Proves 5 Months Of Piano Practice Goes A Long Way


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- The Leff Exchange podcast: A conversation with artist manager Howard Greynolds
Insights, Interviews, Podcast
The Leff Exchange podcast: A conversation with artist manager Howard Greynolds
Scott Leff on May 11, 2021
Think about one of the favorite concerts you've seen. You may need to reach back a little further than you'd like. For those two hours, chances are you were transfixed by the artist. And it wasn't an accident. Behind that artist was a whole crew—lights, sound, staging, and roadies. And behind all of them was the artist's manager, who had worked for months with the artist to shape their vision and bring that experience to life.
Howard Greynolds is intimately familiar with just about every aspect of the music industry. As the founder of Overcoat Management, for the past 25 years, he has managed such acts as Glen Hansard, Iron and Wine, and the Frames. As the enduring success of his artists demonstrates, he excels at that collaborative process of nurturing creativity at a high level.
In the following conversation, Howard discusses the many hats he wears as a manager, the importance of relationships and teamwork in the music business, and the parts of the job that still make it all worthwhile.
Scott: One of the things I like about the music industry is that it seems people who come from nontraditional backgrounds can find their way and actually be really, really successful. I'm curious how you got your start.
Howard: I fumbled my way into it as a fan. As somebody who didn't play music, I was trying to find a way into music, and for me, it was just a bit of trial and error—of going to shows, meeting people, asking questions, trying to piece together how I might get a job in the industry.
I was going to a traditional school and thinking I was gonna get a normal job, and then somewhere along the way, I thought, "You know what? Screw it. Let's try to make this happen. If it doesn't, there's always time to go to that other normal job."
I put bands up on tour at the house I always had with a handful of roommates. We'd talk to them; we'd stay up all night; I became pen pals with them. I was trying to decide between New York, Chicago, and DC at the time because there were record labels I really liked.
I thought, "I'm gonna have to move there, get a job at Kinko's, and figure out something." For me, the break was moving to Chicago and catching on with a record company called Touch and Go Records.
Scott: What types of things did you do for the record company, and how did that set you up to transition into managing artists?
Howard: At the time, you did a little bit of everything. Bands didn't even really have managers. When I showed up, I got offered the mail room. A band had turned in a record and had an opportunity for what everybody in the building thought was gonna be a song that would get played on the radio.
That was in the days when you sent out cassettes, then you sent a CD, then you followed it up with more CDs. And you were just constantly doing mailings. I mean—it was insane.
They needed someone in the mail room, and they hired me. That song was never a hit, but I got my foot in the door. I held on with everything I had to try to make people dependent upon me. When that tenure ended, they were like, "Well, that song's not a hit, but that guy—he seems like he knows he wants to be here. Let's find a reason to keep him here."
I was eventually then making phone calls to record stores. Then, I was doing publicity for college radio. You kind of just worked your way through. It seemed like every year and a half to two years, somebody would leave, and a new job would open up, and you had this opportunity. They wanted to hire from within because you knew the building, you knew the bands.
All of that prepared me. In the mid '90s, a lot of bands on that level I'm speaking about with labels like Touch and Go, Matador, Thrill Jockey, and Drag City didn't have managers because the labels did so much for the bands that bands didn't almost need somebody taking 10 or 15 percent.
When it came time to become a manager, I was trying to get my head around, "Is this okay to do?" And then qualification-wise, I even remember being like, "Do I know how to do this?"
In talking to other people who had done the job, I realized, "Oh, all those things you do in a day are all the things I've been doing for the last seven, eight years at record labels anyway. I get this. I know how to do this. I believe in this band enough. Fu** it, let's try and do this."
Scott: How did you view your role when you stepped in as a manager?
Howard: What I figured out early on is bands are going to choose a manager for one of two reasons. One is the artist wants to be insanely popular and successful. And they find who the biggest manager is, and they say, "This person is almost like a kingmaker. If I'm with them, everything lines up." And then there's the person who knows the band, and they grow with the band, so that every decision, every achievement, every success, every failure is shared.
I definitely wasn't the former, obviously, as a guy who was figuring out how to do this. When I was working at record labels, like everybody in any industry, you're collecting contacts, you're collecting relationships, you're nurturing, you're tending garden to these things. And if you're not, you're not doing the job right.
I was fortunate enough to have somebody send me some music to say, "Hey, could you help us find a record label for this? This is my buddy's stuff. And here's my stuff as well." And that happened to be Iron and Wine, Sam Beam. The person who sent it to me was a guy named Ben Bridwell, who had a band called Carissa's Weird. Ben is now lead singer of a band called Band of Horses, which went on to become really successful, and credit to him. He's a great guy.
The Frames was a different sort of relationship. They were making a record in Chicago with Steve Albini. I had a number of Irish contacts, and they said, "There's a great group of guys; would you mind connecting with them?" The Frames were at a point of just reinventing themselves. They'd been on a major label; they'd been through the system. It was a totally different experience in terms of what set of tools I would need to work with them and eventually manage them. But at the time, it was really about helping this record they were making find a home.
Scott: Talk about the full range of things you have to attend to as a manager.
Howard: Ultimately, you're trying to oversee every aspect of the band's career, which, on its surface level, just feels really large and overwhelming. What you realize is there's just sectors of the music business. And the biggest one is the record label. Next is the booking agent. Those are two main drivers. And then the publicist and all that stuff.
The creation of the music is this other thing. And oftentimes with the bands, you might hear about new producers, new engineers, new studios. You're putting these things on their radar.
As you get in sync with the band, you have an idea of where they want to make their record, how they want to make it, whom they might want to make it. Or maybe they say to you, "Hey, how do we get in touch with so-and-so? Can you figure that out and make that happen?"
The short answer is—if you're doing your job right, you're involved in almost every aspect of their career, from the creation of the record, the release of the record, the touring, the moments in between. It's why I don't have a lot of clients—because you find that your time is the key to all of it.
I kinda looked at what I wanted to do with these folks. And every time I've had an opportunity to take on more and more acts, I'd think about how it's gonna take away from the thing that I love doing the most for these couple bands. It kinda stops me from taking on more than I can handle.
Scott: There's also probably an advantage to having your hands in everything.
Howard: Definitely. It's a blessing and a curse. It's also what the artist is in search of and the relationship they wanna have with their individual manager. Sometimes you feel like you're working for an artist, and sometimes you feel like you're working with an artist. And those are two very different feelings. Each artist identifies success differently. I like to joke that I don't manage bands, I manage expectations.
For Sam, the artists he admired were J.J. Cale and Bill Withers, who have these long careers, but they also weren't selling out stadiums. You don't think of Bruce Springsteen and J.J. Cale in the same sentence. That doesn't mean that Sam doesn't have a part of him that wants to play a stadium. Mind you, I'm sure he does. But he was after this sort of dignified career with longevity.
When I first met The Frames and Glen, there was a sense of, "Let's take over the world. And what doors do we have to knock on? What rooms do we have to play? What tours do we have to do? How do we become the biggest band on the planet?"
There was just this drive that was relentless. It's super exciting and intoxicating when you're in that: you're driving them, they're driving you, and you're all kinda going for it. Their version of success always felt a little different than maybe what Sam was in search of.
Identifying that as a manager is also very key because you wanna find those opportunities for your bands that satisfy these internal drives that they have.
Scott: I'm curious with someone like Glen: he was in The Frames; he went out on his own and has a great solo career. He starred in the movie "Once" and won an Oscar for best song. He ended up then staging a theater production on Broadway, all the time releasing music. When someone like that comes to you with a creative idea, what do you see as your role in nurturing it and sometimes pushing back, if necessary, to help guide them to the best result?
Howard: First, you've got to figure out if it's possible, and how much it's gonna cost. You gotta get through a couple of hard conversations because, at the end of the day, so many ideas that an artist might have are whittled down to money: How do we afford to do these things? How do we execute them?
Those are key, key moments in a discussion with pushing back, but also you gotta know that if they're coming to you with this idea, your job is to help them make it a reality. So you've gotta find that balance. But ultimately you say to yourself, "Okay, is this possible?"
I will say with Glen, so much of the credit for his success really still lies with his just internal drive and over a 30-plus-year career of keeping himself open to opportunities. We're just kind of hanging on, sometimes trying to figure out how to keep up with him.
When he comes to you for a tour, and he says, "I wanna take 18 people on tour. I really wanna have this." Then the discussion becomes, "Well, are you willing to play this size room?" "Can I get the ticket price to here?" You're trying to find a balance between what you're comfortable charging the audience because you have a responsibility to them, but you're also trying to figure out, "How do I afford to get 12 people over from Ireland to the States for a day of rehearsals?"
Logistics is such a huge thing. The amount of "good cop, bad cop" that gets played between you and an artist—or you and your team with anyone in your office—is so valuable because you're basically just trying to figure out how to afford to do these things.
It's exciting, but it's not creative; it's just this mundane exercise: Is it going to involve us driving from New York to Kansas City to the first show? Who's willing to do that? How much does it cost? How do we make this happen?
At the same time, when you finally get there to the first show and you're standing in that room and the doors open and the lights go down and the house music comes down—the rush of it all, it just makes it feel so worth it. Whatever you spent the last month or two arguing about, going back and forth, trying to help them with their vision—it's just like, if you're in it for the right thing, man, that moment is just like, "Okay, here we go. Here's the next 30 days. It's not gonna be easy, but it's gonna be awesome. Each night for these three and a half hours from doors to the end of the show."
And it's super exciting. That's the reward when you're looking at your artists, and at the end of a night, they're like, "Yeah, man, that was great!"
The show is never really just done. Each night, each room brings its own new set of hurdles and limitations. How you're going to dial that in. Is it a Tuesday night versus a Friday night? Is it 75 percent sold versus 100 percent sold? How can you create an experience?
Scott: How do you manage that responsibility for almost everything that happens on the tour? I'd imagine you must feel a huge obligation to get everything right.
Howard: You find the right people to help you: tour managers, production people, lighting person, front-of-house monitors—everybody that's outside of the band that goes into a key moment. As you build into doing a tour, yeah, the pressure mounts. You wake up in the middle of the night. But really, it's about finding the right team. This is a place where I really like the word team because, especially in the live music sector, the shows are so much about teamwork.
It goes back to relationships and everything you do as a manager. This is true in any business, you know—treating people with respect so that they wanna come back and work with you.
But ultimately, you're looking to create a network of like-minded people who are hardworking and have the same goals for you and your artists when you head out. My stress goes down when I know we've built the right team to go out on the road, and that's when I don't have as much of it just crashing down on us.
Scott: Talk a little bit about how much the music industry has changed over a couple of decades. What have been the biggest challenges and how have you addressed them?
Howard: Well, I've been at it long enough to see a number of changes, which scares me at times. It used to be a tour advertises the record. And now, the record is really the advertisement for going out on the road. "Oh, they got a new record. Cool. They're playing shows." That shift probably was drastic for bands who didn't like to tour.
Primarily coming out of the Touch and Go–Thrill Jockey system, those bands liked to tour—they play clubs; they then play bigger venues as they grew. They were always willing to go on tour.
That shift then led into festivals: We're gonna get a festival; we're gonna release our record in March. Our record will feel fresh when we hit that first festival in Coachella. Because we got Coachella, let's build our record release around that. Then, festivals popped up everywhere. I don't think it's a secret that bands are overpaid for festivals as it is right now. I mean—they've kinda ruined it. I have no idea what will happen now post-COVID.
So you've got the festival circuit that created its own monstrosity of how people might release records to capitalize on the press tent. And then touring in the summer, which you didn't used to do many, many years ago, and now you tour a bunch in the summer.
When I first started at a record label, the CD was king. The CD was great to everybody. You made it for practically nothing, you sold it to a distributor, distributor sold it to a store. And the markup was enough that even if you didn't sell a lot of CDs, you could make a little bit of money. There were plenty of bands who weren't quitting their day jobs back in the day, but they were still able to make some money on CDs.
Then Napster comes along; it feels like it kinda just decimated everything. And that was the first time record labels had to reinvent themselves after losing this cash cow of a CD. You know, technology has always led the industry, no matter what we wanna believe. That's where it begins.
All of a sudden, the internet creates a playing field that's so level—in a good way and a bad way. And everybody's got to reinvent themselves overnight. Some were better at it than others. A major record label sees the world in one way; an independent label sees the world in another way. Occasionally they'll overlap, but they definitely are different beasts. The independent labels were quicker to embrace streaming because I think they felt like it gave them a certain ability to manage distribution, which was always one of the enemies of a smaller label.
And all of a sudden, you're just on everybody's phone or everybody's computer as technology started to advance, and MP3s became the norm. As a manager, your job is to keep up on these trends and know what the heck's going on. But the labels—if you have the right partners, oftentimes they can kinda lead you, and you can kinda see what's working and what's not.
Scott: How did you and your artists weather the pandemic? Is there anything that you'd see as a positive coming out the other side?
Howard: Like anything, there's gonna be good and bad, so focus on some of the good. I feel that COVID has made everybody regroup and recalibrate. And new things like streaming shows have probably been normalized a lot more.
I was thinking about online streaming. I think clubs now are gonna offer bands the opportunity to even make more money than what they're making at the door if they're willing to stream the show. I don't think a band will be able to do that every night, but this normalization of streaming shows is gonna be interesting to see how long it lasts, where it goes. It's gonna be really nice for an artist. There are some artists just starting out, and they're playing three shows in a weekend, and they come home, and they've barely broken even.
You have to go to those markets, but at some point, when you've done that five times in those same markets, you're just starting to really wonder. The luxury of being able to just stream a show—make that same amount of money, not leave your house, probably be mentally in a better spot to create more—is gonna be really nice for them and the whole world.
If a band has a fan in Germany or ten fans in England, they can tune in to that because the band is not getting on a plane maybe to go over there for another year or two. It'll be really nice for artists as a revenue generator and as an awareness thing. If you have a new record, you could easily do a record-release show in your hometown that you could also stream. So, everybody has that sense when the record drops like they're part of that first handshake, that first introduction to a new record, which is always the most exciting as well.
The one consistent throughout COVID-19 whenever I would talk to another manager is that none of us knew what the answer was gonna be. We had a conference call with some great people who manage some really great artists. And every time, I felt like I came away from those Zoom calls more as therapy than answers. You know, we were just trying to figure out what the heck is going on.
And everybody's well was different. Did you have money to live and get by for a year? Did you need live streams to create income? That was a really tricky thing.
I was fortunate enough that my guys, Glen and Sam, didn't do a lot during the pandemic. They had been looking to get human from having toured so much for the five or seven years prior to that. We had gone into 2020 with this idea that it was gonna be quiet anyway. And then, of course, they got more quiet than they asked for, but it was one of those things that was a mixed blessing. They just were like, "Wow, great. This is the time off that I've been wanting to take." And there would always be an opportunity that arose.
Scott: For as long as you've been in this business, what do you still get excited about with your job? What are the things you look forward to?
Howard: The rush that you feel when you hear new music, even if it's not my own artists. But especially when they send you something, and they're like, "I'm thinking about this song"—it's super exciting. I would say that's definitely the first and foremost: the discovery of new music.
It's still such a fun part of the job that makes me feel like I'm a kid again. And when your artist does it, helping them create and see through a record or an EP—or just a single song in this day and age—when you can just put it out versus an album, you can just put it up on Bandcamp or share it on Spotify.
That, coupled with finding a new way to reach somebody and get some new fans and engage the old fans. What you find, especially in a long career like with the bands that I work with, is that you have people that come in and out of their lives with these artists.
Someone will write you and say, "Man, that song just crushed me. It touched me in this way, helped me through a bad time, helped me make a life decision." Those are humbling and super rewarding as a manager to feel like you're not the guy writing the music, but you're helping get it out into the world. That's still a rush.
I think one of the challenging things is figuring out where we're all headed and how to have a career. I still try to wake up each day and find new, inventive ways to make my artists feel exciting for their fans and for themselves and try to be on the edge of whatever's next and new, especially as our industry changes.
COVID-19 has totally made that a big-old question mark. I don't think that's another train coming at the end of the tunnel. I think it's a light, and I sure hope it is because I feel like we need to get there. It's gonna be nice. It's gonna be nerve-wracking. There's gonna be a new learning curve on how we view shows. I'm nervous but excited. We gotta figure it out because music and art just mean too much to us. It's a common thread in all our lives.
collaboration interviews Leff Exchange podcast songwriting
Scott Leff
Scott is the founder of Leff. He's spent his career helping executives and subject matter experts tell their story in a compelling way. In the process, he's had the opportunity to work with C-suite executives, politicians, academics, and Olympians, not to mention dozens of talented writers, editors, and designers in the business world. Scott developed the concept of "lean content creation" as a cost-effective way to support comprehensive, integrated communication strategies.
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text:
Q: Insert pandas dataframe as dataset in HDFStore I ran into an issue of pandas HDFStore method, where I can't access the data in a way I use to retrieve using h5py.File method. Here is the code snippet:
In [1]: import pandas as pd

In [2]: import numpy as np

In [3]: import h5py as h5

In [4]: hdf = pd.HDFStore("tmp.h5")

In [5]: hdf.put('tables/t1', pd.DataFrame(np.random.rand(20,5)))

In [6]: hdf.put('t2', pd.DataFrame(np.random.rand(10,5)))

In [7]:

In [7]: hdf.close()

In [8]:

In [8]: ############ Read using pd.HDFStore ############

In [9]:

In [9]: data = pd.HDFStore ("tmp.h5")

In [10]: data["tables/t1"]
Out[10]:
           0         1         2         3         4
0   0.384926  0.712066  0.022438  0.686217  0.942678
1   0.079548  0.466799  0.575394  0.276646  0.514414
2   0.672582  0.828567  0.801799  0.296046  0.124042
3   0.568058  0.931348  0.225348  0.547913  0.736184
4   0.496768  0.419699  0.724118  0.313427  0.353825
5   0.771868  0.963346  0.523821  0.793295  0.052085
6   0.358478  0.845149  0.334389  0.674448  0.239096
7   0.454559  0.604438  0.183654  0.027641  0.186922
8   0.776586  0.155783  0.253801  0.123986  0.560601
9   0.201239  0.932080  0.040997  0.119049  0.154076
10  0.753566  0.770133  0.123285  0.112419  0.353622
11  0.040959  0.384800  0.806119  0.247106  0.013442
12  0.739205  0.100547  0.855418  0.774874  0.710557
13  0.865856  0.565094  0.815860  0.816869  0.834415
14  0.251312  0.624995  0.976317  0.854855  0.744861
15  0.179678  0.435902  0.602303  0.118516  0.386935
16  0.452009  0.973729  0.067736  0.097811  0.292619
17  0.285994  0.569845  0.584602  0.001671  0.422877
18  0.727996  0.291086  0.736912  0.960595  0.132891
19  0.356397  0.747693  0.458485  0.100849  0.072220

In [11]: ## Success

In [12]: data ["tables"]["t1"]
---------------------------------------------------------------------------
TypeError                                 Traceback (most recent call last)
<ipython-input-12-c7599d16a7b6> in <module>()
----> 1 data ["tables"]["t1"]

/usr/conda/lib/python2.7/site-packages/pandas/io/pytables.py in __getitem__(self, key)
    415
    416     def __getitem__(self, key):
--> 417         return self.get(key)
    418
    419     def __setitem__(self, key, value):

/usr/conda/lib/python2.7/site-packages/pandas/io/pytables.py in get(self, key)
    632         if group is None:
    633             raise KeyError('No object named %s in the file' % key)
--> 634         return self._read_group(group)
    635
    636     def select(self, key, where=None, start=None, stop=None, columns=None,

/usr/conda/lib/python2.7/site-packages/pandas/io/pytables.py in _read_group(self, group, **kwargs)
   1268
   1269     def _read_group(self, group, **kwargs):
-> 1270         s = self._create_storer(group)
   1271         s.infer_axes()
   1272         return s.read(**kwargs)

/usr/conda/lib/python2.7/site-packages/pandas/io/pytables.py in _create_storer(self, group, format, value, append, **kwargs)
   1151                 else:
   1152                     raise TypeError(
-> 1153                         "cannot create a storer if the object is not existing "
   1154                         "nor a value are passed")
   1155             else:

TypeError: cannot create a storer if the object is not existing nor a value are passed

In [13]:

In [13]: data.close()

In [14]:

In [14]: ########### Read using h5py.File ##############

In [15]:

In [15]: data = h5.File("tmp.h5","r")

In [16]:

In [16]: data["tables"]
Out[16]: <HDF5 group "/tables" (1 members)>

In [17]:

In [17]: data["tables"]["t1"]
Out[17]: <HDF5 group "/tables/t1" (4 members)>

In [18]:

In [18]: data['tables']['t1'].keys ()
Out[18]: [u'axis0', u'axis1', u'block0_items', u'block0_values']

In [19]: [u'axis0', u'axis1', u'block0_items', u'block0_values']
Out[19]: [u'axis0', u'axis1', u'block0_items', u'block0_values']

In [20]:

In [20]: data['tables']['t1']['block0_values'].value
Out[20]:
array([[ 0.38492571,  0.71206567,  0.02243773,  0.68621713,  0.9426783 ],
       [ 0.07954806,  0.4667994 ,  0.57539433,  0.27664603,  0.51441446],
       [ 0.67258161,  0.82856681,  0.80179916,  0.29604625,  0.12404214],
       [ 0.56805845,  0.93134797,  0.22534757,  0.54791294,  0.73618366],
       [ 0.49676792,  0.41969943,  0.72411835,  0.31342698,  0.35382463],
       [ 0.77186804,  0.96334586,  0.52382094,  0.7932945 ,  0.05208528],
       [ 0.3584784 ,  0.84514863,  0.33438851,  0.6744483 ,  0.23909552],
       [ 0.45455901,  0.6044383 ,  0.18365449,  0.02764097,  0.18692162],
       [ 0.77658631,  0.15578276,  0.25380109,  0.12398617,  0.56060138],
       [ 0.20123928,  0.93207974,  0.04099724,  0.11904895,  0.15407568],
       [ 0.75356644,  0.77013349,  0.12328475,  0.11241904,  0.35362213],
       [ 0.04095888,  0.38480023,  0.80611853,  0.24710571,  0.01344193],
       [ 0.73920528,  0.1005474 ,  0.85541761,  0.7748739 ,  0.71055697],
       [ 0.86585587,  0.5650938 ,  0.81586031,  0.81686915,  0.83441517],
       [ 0.25131205,  0.62499501,  0.97631707,  0.85485518,  0.74486096],
       [ 0.17967805,  0.43590236,  0.60230302,  0.11851596,  0.38693535],
       [ 0.4520091 ,  0.97372923,  0.0677363 ,  0.09781059,  0.29261929],
       [ 0.28599448,  0.56984462,  0.5846021 ,  0.00167063,  0.42287738],
       [ 0.72799625,  0.29108631,  0.7369122 ,  0.96059508,  0.13289119],
       [ 0.35639696,  0.7476934 ,  0.45848456,  0.10084881,  0.07221995]])

In [21]:

In [21]: ######################## End ###############

In [22]:

In [22]:

I want to use data['tables']['t1'] way access the data. I am stuck because of this problem. What I observed is that pandas insert every dataframe in hd5 as group. I want to insert it as a dataset, so that I can easily access the data.

A: According to the documentation for HDFStore.

Warning: Hierarchical keys cannot be retrieved as dotted (attribute) access as described above for items stored under the root node. Instead, use explicit string based keys.

So its just a difference in the way the modules load the hdfs.


Looking at old pictures of Soviet Alma-Ata, one is struck by the neatness of it all. Streets are nearly empty. Apartment buildings are neatly stacked; the concrete looks fresh. Everywhere are the clean lines of modernism, an aesthetic of order and control. Now, the city has been made over by the chaos of capitalism. Apartment buildings are no longer symmetrical and iterative - every balcony has a different kind of cladding, and air conditioning units are hanging to the walls here and there, hodgepodge in a way that the Soviet code would never allow. Neon signs and billboards, in a million different colors and fonts and styles, compete for every pedestrian's attention. The most radical development to clutter the once-pristine public space is also the most democratic - the posted classified advertisement.
In Russian the phenomenon is called raskleika [расклейка; "posting", from the root klei, клей, or "glue"], used in compound nouns like raskleika obyavleniy [расклейка объявлений; "the posting of an announcement") or raskleika afisha [расклейка афиша; "the posting of a bill"]. These low-budget ads are glued or taped to almost any surface imaginable - trees, poles, utility boxes, walls...there are even special bulletin boards that have been erected just for poster-posting. You can find them on nearly every block, but certain buildings or corners have become hotspots, especially those that draw a lot of foot traffic. The few blocks around the Green Bazaar are positively splattered with papers.
They are almost always written in stock word-processor fonts and printed in black and white, with a quick announcement, a phone number, and little hanging teeth that people can pull out for mementos. Some are from people with something to sell, some with something to buy (by far the most well-distributed sign, for example, is from a guy soliciting saiga horns). Services are frequently advertised - there seem to be a lot of massage classes, but language courses are the most common. Ads frequently tease out-of-work men with dreamy employment opportunities: "Strong, young guys needed now!" Like any good advertisement, the postings try above all to appeal to the average viewer's hopes and dreams, luring them in with the nagging prospect of self-improvement. If one were to diligently follow every enticement, they would find themselves multilingual, multitalented, gainfully employed and quite possibly enlightened (the ads for yoga and meditation classes, no surprise, have the headiest claims).
They're not all postcards from a glorious future, though - there's plenty of heartbreak to be found as well. Handwritten notes, scribbled in panic, seek out lost passports and purses and sometimes something more dear — lost dogs and cats are not uncommon. Pleas for charity come with pictures of scared people in hospital beds. Rudimentary police sketches show wanted criminals with crappy moustaches. These posters crowd around the hopes-and-dreams, reminding us that we should probably take that cooking class. Misfortune could strike at any moment, stealing our pets or good health. Better learn the art of baking before it's too late.
I haven't found any definitive history of these things, but I'm quite fond of speculation. Local advertising platforms like billboards have been monopolized by a company called Almatygoroformlenie (Алматыгороформление; "Almaty City Decoration"], which got its start in the heady years of the early Soviet Union, when it was a small workshop where artists copied paintings and painted slogans. Almatygoroformlenie was a propaganda joint, basically - but back then, all advertising was from the state, so it was "propaganda" by default. The operation controlled all the bulletin boards in Almaty, but there was nothing much posted there besides announcements for upcoming party events and opera debuts.
Personal ads and "for sale" postings, meanwhile, lived entirely in the backs of newspapers; actually, there were and are entire publications devoted to these abbreviated requests. In the 1990s, the USSR went caput and Almatygoroformlenie was spun off into a more private enterprise, so the bulletin boards were no longer reserved just for Uncle Gorbachev. And then, as the economy crashed in on itself, everybody suddenly had something to sell. The sidewalks, people say, were lined with folks who threw bedsheets on the ground and covered them in their worldly possessions, looking for anyway to make cash. Almatygoroformlenie and its bulletin boards took in the booming new personal ad business, but the desperate ads spread from the board to the building behind it, then to the telephone pole nearby, and then to the tree. Now, classifieds are everywhere.
Almatygoroformlenie's bulletin boards still stand, though the company is strict about who can post on them. You can also find, standing chubby and cylindrical on sidewalks, what are called Morris columns, designated advertising spaces that are popular in France, Germany and, yes, Kazakhstan. Almatygoroformlenie seems to have a hand in posting some of the more official-looking concert posters, but most classified ads are posted by sellers themselves or by special agencies that farm out their tape-wielding ground troops. Perhaps it is these workers who get a little overzealous sometimes, pasting their papers in everywhich place. Thanks to them, Almaty is no longer the tidy place it once was. It wears a dress of paper frill, a city covered in text.


text:
Mena startups raised $247 million in January 2022
Wamda • 17 February, 2022
Startups in the Middle East and North Africa region (Mena) raised $247 million across 46 deals, a 20 per cent increase month-on-month and a whopping 474 per cent year-on-year, marking a promising start to the year.
In terms of deal count, Saudi Arabia (15), Egypt (11) and UAE (9) continue to take the lead. However, in terms of funding value, the landscape last month has become a little more varied.
It was Bahrain that received the highest amount of funding last month thanks to the $110 million Series B round raised by Rain, which helped push the country's ranking to the top spot.
Saudi Arabia came in second with $55.6 million, Egypt landed third with $33 million, UAE was fourth with $24.4 million. Iraq took the fifth spot with its startups raising $15 million, a record-smashing amount for the country.
Besides Rain, other big-ticket rounds included Saudi open banking platform Lean Technologies, which raised $33 million in a round led by Seqouia Capital India, Egypt's social commerce startup Brimore raised $25 million, UAE-based in-dining fast payment solution Qlub raised $17 million. Iraq's ride-hailing startup and soon-to-be super app Baly, backed by Rocket Internet, raised $10.5 million, the highest funding amount for a startup in the country.
Early-stage deals continue to dominate the funding landscape in terms of deal count. Of the 46 deals, 28 were at pre-Seed and Seed. Notably, the median Seed ticket size also increased to $1.15 million.
In terms of sector, investment patterns that evolved last year have continued into January with fintech taking the lead thanks mainly to Rain, Lean and Qlub's large rounds - fintech alone attracted more than half of the funding raised last month. This was followed by e-commerce and foodtech, the latter benefitting from the rise of quick-commerce e-grocery players. In terms of deal count, fintech and foodtech were neck to neck.
Additionally, last month saw a spate of merger and acquisition (M&A) transactions, with startups using the funding they received last year to acquire other businesses including those based in the region and wider afield.
Some of these acquisitions include Saudi Arabia's Foodics which acquired Jordan-based POSRocket, UAE's Huspy which acquired Home Matters, a mortgage consultancy for businesses in UAE and UK and Kuwait's COFE App which acquired UAE-based Sippy Beans.
A total of 31 foreign investors participated in 17 deals with US investors taking the lead by participating in 12 deals, while German investors, the second-most active, took part in three deals.
Less than 1 per cent of the VC funding went to female founders, down from 1.6 per cent the month before. Male-run startups took the majority, with 96.7 per cent of the amount raised while startups with mixed team founders raised 2.5 per cent.
Last month, 10 startups did not disclose the exact amount they raised. They include Splendapp, Crafty Workshop, OBM Education, Super fny, Talpedia, Hamples, Douk Supply, Savii and Squadio. We assigned them a conservative amount of $100,000. Morocco's Chari also raised an undisclosed "seven-figure" sum.
These monthly reports are a collaboration between Wamda and Digital Digest.
Author: Wamda
Startups in Mena raised almost $4 billion in 2022
Wafeq raises $3 million Seed led by Raed Ventures with participation from Wamda Capital
Wa'ed invests in PASQAL's $108 million Series B


Lock in a great price for Albergo Corona – rated 8.3 by recent guests!
The owner of the hotel is a really lovely lady, always around and very helpful. The hotel was very clean with maid service in our rooms every day. Basic, but excellent for the amount of time we stayed and the price we paid. It's situated in the centre of town so very good for walking, lots of restaurants, shops and cafes all on the doorstep. There's a good market on Tuesdays, which is only a two minute walk up the road from the hotel.
L'albergo è in pieno centro. A due passi (proprio due) dalle famosissime terme di Salsomaggiore. L'accoglienza e la disponibilità del Personale sono eccellenti. Ci si sente in "famiglia".
la cordialita' della padrona, la sua disponibilita'.
Struttura in pienissimo centro ad un prezzo modico. Non ha il parcheggio ma è possibile entrare nella ZTL per scarico e carico e lasciare l'auto in un parcheggio libero a 200mt. La sig.ra (proprietaria) è gentilissima e molto disponibile, ci ha persino lasciato la stanza fino a dopo pranzo senza applicarci alcun supplemento. Colazione semplice ma con varie scelte. Stanze piccole e datate, ma x dormire più che sufficienti, anzi meglio di altri 3 o 4 stelle. Wi-fi disponibile in tutto l'albergo e tv nuova.
Ottima posizione ,a due passi dalle terme . La proprietaria molto gentile e cordiale mi ha messo subito a mio agio. La camera, anche se singola, era spaziosa con un letto comodo e con tutto il necessario. Ottima pulizia in tutta la struttura e con una buona colazione. Ottimo rapporto qualità /prezzo.
Albergo Corona This rating is a reflection of how the property compares to the industry standard when it comes to price, facilities and services available. It's based on a self-evaluation by the property. Use this rating to help choose your stay!
One of our best sellers in Salsomaggiore Terme! The family-run Albergo Corona is centrally located in the spa town of Salsomaggiore Terme. It offers a little furnished garden, a restaurant and rooms with TV and private bathroom.
Set only 350 feet from the Berzieri spa center, the hotel is a 5-minute walk from Salsomaggiore Train Station. Buses stop 500 feet away and link with Fidenza, Parma and Bagni di Tabiano.
The on-site restaurant specializes in cuisine from Emilia Romagna, as well as classic Italian dishes. Breakfast includes homemade cakes, plus savory options such as ham and cheese.
When would you like to stay at Albergo Corona?
Offering free Wi-Fi, this room has a TV, desk and private bathroom.
House Rules Albergo Corona takes special requests – add in the next step!
ATM card Albergo Corona accepts these cards and reserves the right to temporarily hold an amount prior to arrival.
Albergo Corona accepts these cards and reserves the right to temporarily hold an amount prior to arrival.


Viraladbuilder offers to make e-currencies by means of MLM or Matrix, or Cycler, or similar structure (probably).
Individuals from all over the world are welcome to join Viraladbuilder (probably).
Extensive details about Viraladbuilder has not yet been specified by viraladbuilder.com owner.
So, we not yet know specific information about Viraladbuilder compansation plans and terms.
Possibly Viraladbuilder review can be found in comments section below.
If you know more about viraladbuilder.com services and performance, please comment on Viraladbuilder.
Viraladbuilder owner is invited to enter details and we will publish viraladbuilder.com summary for free.
If there is something wrong with Viraladbuilder, please submit problem report.


Camping is one of the most enjoyable outdoor activities. There is no doubt that spending quality times outside with family and friends is one of the best things. Many of us like to bring one or two conveniences to camping. One of these conveniences is folding camping tables which make the moment more enjoyable. Camping tables provide a place for everyone to congregate making them a must have wherever you camp. However, they also bring about the inconvenience of transporting them there.
One way to make transportation easier is to go for the folding camping tables that are extremely light and versatile. Folding tables are reliable, sturdy and serve people well just like normal people. The best camping table must be sturdy, portable and foldable and this is what we aim to share with you today. This article will review the best camping tables making your selection easier.
This is a very great option that folds in half for easy transportation and storage. It is a great choice when camping far from home with a convenient carry handle. It is light, but strong made from aluminum and spray fiberboard with a maximum load of 25 kilos. The three adjustable height settings ensure you change the height to suit your preferred need or group of people.
VanHaus is a great activity table that can be used for camping, parties, picnics, tailgating, beach outing and any other outdoor social function. The height of the legs can be adjusted to suit your preferred eight settings. The table folds completely flat making it easier to carry when not in use. There is a further practical carry handle. The surface of the table is 1.4 inches thick density plastic that is covered with a power coated anti-corrosive steel tubing. The additional of rubber caps on the legs helps prevent it from slipping away.
The Wenzel Camp Table is another great option for a folding camping table with a great adjustable height of 21-inch to 27-inch. This means the table height can be adjusted to suit both the children and adults with easy. The table is quite easy to clean and maintain. Easily wipe off and clear all the dirt away. It folds in half and comes with carrying handles for easy transportation and storage.
The Finether height adjustable camping table is a great pick for several other activities like picnics, beach, backyard party and many more. It is a portable table made from the light aluminum that is easy to carry. It is a strong option that supports up to 55 lbs of evenly distributed weight. The table comes with easy instructions for set up.
The Edoking is a space saving table that is easy to carry and store. The height can be adjusted to 27.5 inches. The table is durable and lightweight with telescoping legs for adjustment. The design is great and suits most outdoor activities. The aluminum alloy frame used is water-resistant and easy to clean.
The Moon Lence is probably the strongest foldable camping table on our list with well-structured holders and sturdy joints. The connectors make the table stable and smooth on different surfaces. It I a great choice for a camping table with all materials being high-quality and durable. It is made of 600Dripstop Oxford cloth with a high strength aluminum alloy. It is a great design with both the holders and cloth foldable for easy transportation and storage. It is a versatile choice that is easy to set up and maintain.
Trekology is an all-purpose camping table that is portable, lightweight and compact. It takes very little space when folded making it quite easy to transport and store. It is compact and can be packed into an RV with easy. The table is also strong and supports heavy tasks such as cooking or cutting. It is made of nylon top that is durable and waterproof making it easy to clean and maintain. The table is also easy to set up and fold.
The outsunny folding table is constructed using the durable ABS plastic and the durable aluminum frames. The frames are light and foldable making transportation and storage easier. The table folds compactly allowing for easier transport to the camp. The design is great and allows for quick set and closure.
The Kamp Rite is another compact choice that can easily be rolled up for easier storage and transportation. It is quite easy to set up by simply rolling up the aluminum frames. The frames are water resistant and durable to last the harsh weather outside. This collapsible rolls up in seconds and has a sturdy storage bag with shoulder straps for easier handling.


text:
Booth Law
21250 Hawthorne Blvd
booth.law
In a legal career spanning more than 20 years, Roger Booth has handled many large, complex cases, representing both plaintiffs and defendants, and both individuals and corporations, throughout California and the United States. Since 1997, he has focused on representing people who have suffered catastrophic injuries or the loss of a loved one.
Mr. Booth graduated with honors from Pomona College in 1987. He spent a semester during his senior year of college studying at Oxford University in England. He went on to attend Boalt Hall School of Law at the University of California – Berkeley, graduating in 1991. Mr. Booth then went on to work as an attorney at Pillsbury, Madison & Sutro (then the largest law firm in California) in San Francisco, where he handled a variety of large, complex business litigation and insurance bad faith matters. During his time at the Pillsbury firm, Mr. Booth took a leave of absence to work at the San Francisco Public Defender's office, where he gained valuable jury trial experience representing criminal defendants.
In 1997, Mr. Booth joined his father, Larry Booth, at Booth & Koskoff and quickly made his mark as a plaintiff's attorney. In 1998, in just his second personal injury trial, he (along with Richard Koskoff) obtained a $1.6 million verdict in Orange County, setting a record for a hand injury case in that courthouse. That result generated a great deal of attention in the legal press. [Article PDF] Since then, Mr. Booth has handled more than 20 cases that have resulted in verdicts or settlement in excess of $1,000,000.
In 2012, he obtained a $4 million jury verdict against the County of San Diego in a wrongful death case in which the County had offered only $100,000 in settlement before trial [Case Study]. Since 2009 he has been named a "Super Lawyer," an honor limited to the top 5% of attorneys in Southern California, every year.
Roger E. Booth
Mr. Booth has been an active member of the Consumer Attorneys Association of Los Angeles ("CAALA"), frequently writing articles and giving speeches at CAALA events on subjects related to personal injury practice and trial tactics. In July 2006, he was named CAALA's "member of the month." He has also written numerous articles for other legal publications.
Mr. Booth lives in the South Bay area of Los Angeles with his wife and four children and enjoys coaching youth sports, competing in triathlons and gardening in his spare time.