text:
.. include:: common.txt

:mod:`pygame.movie`
===================

.. module:: pygame.movie
   :synopsis: pygame module for playback of mpeg video

| :sl:`pygame module for playback of mpeg video`

``NOTE``: On ``NT`` derived Windows versions (e.g. ``XT``) the default ``SDL``
directx video driver is problematic. For :mod:`pygame.movie`, use the windib
driver instead. To enable windib set the ``SDL_VIDEODRIVER`` environment
variable to 'windib' before importing pygame (see the
:func:`pygame.examples.movieplayer.main` example).

Pygame can playback video and audio from basic encoded MPEG-1 video files.
Movie playback happens in background threads, which makes playback easy to
manage.

The audio for Movies must have full control over the sound system. This means
the :mod:`pygame.mixer` module must be uninitialized if the movie's sound is to
be played. The common solution is to call ``pygame.mixer.quit()`` before the
movie begins. The mixer can be reinitialized after the movie is finished.

The video overlay planes are drawn on top of everything in the display window.
To draw the movie as normal graphics into the display window, create an
offscreen Surface and set that as the movie target. Then once per frame blit
that surface to the screen.

Videos can be converted to the .mpg file format (MPEG-1 video, MPEG-1 Audio
Layer ``III`` (MP3) sound) using ffmpeg video conversion program
(http://ffmpeg.org/):

::

  ffmpeg -i <infile> -vcodec mpeg1video -acodec libmp3lame -intra <outfile.mpg>

.. class:: Movie

   | :sl:`load an mpeg movie file`
   | :sg:`Movie(filename) -> Movie`
   | :sg:`Movie(object) -> Movie`

   Load a new ``MPEG`` movie stream from a file or a python file object. The
   Movie object operates similar to the Sound objects from :mod:`pygame.mixer`.

   Movie objects have a target display Surface. The movie is rendered into this
   Surface in a background thread. If the target Surface is the display
   Surface, the movie will try to use the hardware accelerated video overlay.
   The default target is the display Surface.

   .. method:: play

      | :sl:`start playback of a movie`
      | :sg:`play(loops=0) -> None`

      Starts playback of the movie. Sound and video will begin playing if they
      are not disabled. The optional loops argument controls how many times the
      movie will be repeated. A loop value of -1 means the movie will repeat
      forever.

      .. ## Movie.play ##

   .. method:: stop

      | :sl:`stop movie playback`
      | :sg:`stop() -> None`

      Stops the playback of a movie. The video and audio playback will be
      stopped at their current position.

      .. ## Movie.stop ##

   .. method:: pause

      | :sl:`temporarily stop and resume playback`
      | :sg:`pause() -> None`

      This will temporarily stop or restart movie playback.

      .. ## Movie.pause ##

   .. method:: skip

      | :sl:`advance the movie playback position`
      | :sg:`skip(seconds) -> None`

      Advance the movie playback time in seconds. This can be called before the
      movie is played to set the starting playback time. This can only skip the
      movie forward, not backwards. The argument is a floating point number.

      .. ## Movie.skip ##

   .. method:: rewind

      | :sl:`restart the movie playback`
      | :sg:`rewind() -> None`

      Sets the movie playback position to the start of the movie. The movie
      will automatically begin playing even if it stopped.

      The can raise a ValueError if the movie cannot be rewound. If the rewind
      fails the movie object is considered invalid.

      .. ## Movie.rewind ##

   .. method:: render_frame

      | :sl:`set the current video frame`
      | :sg:`render_frame(frame_number) -> frame_number`

      This takes an integer frame number to render. It attempts to render the
      given frame from the movie to the target Surface. It returns the real
      frame number that got rendered.

      .. ## Movie.render_frame ##

   .. method:: get_frame

      | :sl:`get the current video frame`
      | :sg:`get_frame() -> frame_number`

      Returns the integer frame number of the current video frame.

      .. ## Movie.get_frame ##

   .. method:: get_time

      | :sl:`get the current vide playback time`
      | :sg:`get_time() -> seconds`

      Return the current playback time as a floating point value in seconds.
      This method currently seems broken and always returns 0.0.

      .. ## Movie.get_time ##

   .. method:: get_busy

      | :sl:`check if the movie is currently playing`
      | :sg:`get_busy() -> bool`

      Returns true if the movie is currently being played.

      .. ## Movie.get_busy ##

   .. method:: get_length

      | :sl:`the total length of the movie in seconds`
      | :sg:`get_length() -> seconds`

      Returns the length of the movie in seconds as a floating point value.

      .. ## Movie.get_length ##

   .. method:: get_size

      | :sl:`get the resolution of the video`
      | :sg:`get_size() -> (width, height)`

      Gets the resolution of the movie video. The movie will be stretched to
      the size of any Surface, but this will report the natural video size.

      .. ## Movie.get_size ##

   .. method:: has_video

      | :sl:`check if the movie file contains video`
      | :sg:`has_video() -> bool`

      True when the opened movie file contains a video stream.

      .. ## Movie.has_video ##

   .. method:: has_audio

      | :sl:`check if the movie file contains audio`
      | :sg:`has_audio() -> bool`

      True when the opened movie file contains an audio stream.

      .. ## Movie.has_audio ##

   .. method:: set_volume

      | :sl:`set the audio playback volume`
      | :sg:`set_volume(value) -> None`

      Set the playback volume for this movie. The argument is a value between
      0.0 and 1.0. If the volume is set to 0 the movie audio will not be
      decoded.

      .. ## Movie.set_volume ##

   .. method:: set_display

      | :sl:`set the video target Surface`
      | :sg:`set_display(Surface, rect=None) -> None`

      Set the output target Surface for the movie video. You may also pass a
      rectangle argument for the position, which will move and stretch the
      video into the given area.

      If None is passed as the target Surface, the video decoding will be
      disabled.

      .. ## Movie.set_display ##

   .. ## pygame.movie.Movie ##

.. ## pygame.movie ##

redpajama_set_name: RedPajamaGithub


text:
by Charlie Largent Feb 20, 2018
1963 / 1:66 / 128 Min. / Street Date February 27, 2018
Starring Albert Finney, Susannah York, Hugh Griffith
Cinematography by Walter Lassally
Screenplay by Tony Richardson, John Osborne
Music by John Addison
Edited by Antony Gibbs
Produced by Tony Richardson
Directed by Tony Richardson
Yorkshire native Tony Richardson, lauded for a string of melodramas set in grayer than gray factory towns, took an abrupt left turn with Tom Jones, an 18th century period piece steeped in the vibrant New Wave sensibilities of the 60's. Starring Albert Finney as the randy hero, Richardson's sunny holiday is as far from the mills of Derbyshire as Buckingham Palace.
Based on Henry Fielding's mock epic, Richardson and co-writer John Osborne took a Cliff's Notes approach to Fielding's picaresque narrative, whittling Tom's journey down to a two hour jaunt set in motion by Irish actor Micheál Mac Liammóir's wry narration.
The story begins at the opulent estate of Squire Allworthy where a young servant girl, Jenny Jones, has just deposited her newborn on the Master's bedroom pillow. The kindly squire takes pity on the distraught domestic and becomes guardian to little Tom who reaches manhood with a wide-eyed disposition and a helping hand for everyone he meets, a Li'l Abner in a tricorn hat and breeches.
It would seem Tom has the best of all possible worlds. He's well-loved by the town folk and his provincial charm is catnip to the ladies (the term "roll in the hay" may have been invented for this busy young lothario). Though his sexual adventures are many, he is not quite a libertine; his heart itself is chaste and it belongs to Sophie (Susannah York), the breathlessly pretty daughter of the gaseous Squire Western (Hugh Griffith).
But there's a snake loose in the garden manifested by sallow-faced Master Blifil (David Warner), Tom's rival for the hand of Sophie and a pious charlatan who uses the local clergy as cover for his odious schemes. Blifil mounts a whispering campaign against Tom, resulting in the lad's banishment from not only Allworthy's manor but Sophie's affections. And so begins Tom's adventures among thieves, gypsies and the ever-present and always-willing women. And with, to quote Stephen Sondheim, "… a happy ending, of course!"
For most of its running time Richardson's film is like a rich stout, brimming with good cheer. The vivid score by John Addison roller-coasters between lyrical romance and Benny Hill-inspired harpsichord (most useful in serenading Tom's frenzied boudoir exploits). And cinematographer Walter Lassally's rosy, near pointillistic landscapes are ravishing in their reminders of Seurat's sun-dappled canvasses. That rapturous imagery seems all the more delicate when viewed through the frenetic viewfinder of director Richardson.
With Tom Jones, Richardson injected a mild dose of New Wave fever into the mainstream, leaning on a smorgasbord of hand held shots, jump cuts and still frames. Compared to the genuine article like Breathless or Jules and Jim, much of Richardson's Nouvelle Vague hijinks now ring hollow – but the film remains fresh and invigorating in its more traditional set pieces like the brutally exciting deer hunt.
To film that sequence Lassally mobilized his camera crew with specially equipped jeeps to keep pace with the stampede while overhead a swooping helicopter presented a sweeping God's Eye view of the action. The delirious chase gradually turns from exhilarating to awful, culminating in appalling images of bloodstained horses and gutted deer. The cruel pictures of bloodthirsty gentry running roughshod over farmers and their livestock would suggest Richardson is still fighting the same class war he waged in Look Back In Anger.
Equally primal but more in keeping with the film's epicurean nature is the dinner table seduction enjoyed by Tom and Mrs. Waters (Joyce Redman). Featuring equal portions of heaving bosom and chicken gravy, this sloppy but sexy moment not only summed up the film's warm embrace of unbridled bedroom pyrotechnics but was a flash point in cinema's evolution as well. Though Tom Jones was not solely responsible for the forthcoming sexual revolution in mainstream movies (it had a lot of help from Lolita and the Bond films), it certainly assisted in preparing audiences for the full-fledged assault of sybaritic bomb throwers like I Am Curious, Yellow and Last Tango in Paris.
At the time of filming Finney had nothing but complaints about the paper thin qualities of Tom's character ( "I wasn't involved….I felt bored most of the time.") The film bears out his concerns but nonetheless the great actor is completely engaging as the Candide-like wanderer. Other members of the cast are to the manor born, particularly the bushy-browed Griffith as the corpulent blowhard Western and Dame Edith Evans as his no-nonsense sibling. But even with such an animated cast, the film can't quite sustain the fun and begins to fizzle in the final 30 minutes – even with Joan Greenwood's reserved madame whose lusty nature wears down Tom once under the sheets.
The not-so-suspenseful finale finds poor Tom being led to the gallows for his crimes against humanity. Will he be rescued at the last second and reunited with his true love? Suffice to say we knew the answer all along (no film was ever less prone to a tragic ending). The movie gives the last word to Mac Liammóir reciting not Fielding, but, most fittingly, John Dryden:
"Happy the man, and happy he alone,
He who can call today his own:
He who, secure within, can say,
Tomorrow do thy worst, for I have lived today"
Criterion's presentation of Richardson's Oscar-winning film is like a day in the country. A two-disc set, it includes both his director's cut and the theatrical edit (the director's cut is actually 8 minutes shorter). The transfer of Lassally's photography is as beautiful as we could ask for.
Supplements include a 2017 interview with Vanessa Redgrave (Richardson's wife at the time) who looks back with great fondness, both for the film and her husband. An interview with Walter Lassally is a fascinating account of his time working in the black and white world of Kitchen Sink cinema as well as the vastly different challenges encountered on Tom Jones.
An excellent presentation from York University's Professor of Film, Duncan Petrie, and a too-short excerpt from a 1982 The Dick Cavett Show with Finney are among the other excellent extras. The package is adorned by the evocative pastels of fashion illustrator Richard Haines.
The complete supplements, per Criterion's website:
New 4K digital restorations of the original theatrical version of the film and the 1989 director's cut, both supervised by director of photography Walter Lassally, with uncompressed monaural and stereo soundtracks on the Blu-ray
New program on the film's cinematography featuring Lassally
New interview with film scholar Duncan Petrie on the movie's impact on British cinema
Excerpt from a 1982 episode of The Dick Cavett Show featuring actor Albert Finney
New interview with actor Vanessa Redgrave on her former husband, director Tony Richardson
Illustrated archival audio interview with composer John Addison on his Oscar-winning score for the film
New interview with the editor of the director's cut, Robert Lambert
Plus: An essay by film scholar Neil Sinyard

redpajama_set_name: RedPajamaCommonCrawl


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Now Available, The Barzin Podcast!
Norman B's exclusive interview with talented Canadian singer-songwriter-poet, Barzin, is now available for download. Slated as a name to watch, the Toronto based artist just released his album, To Live Alone in That Long Summer , receiving complementary reviews in The New York Times and Rolling Stone, among others. In the hour-long Podcast you'll hear selections from Barzin's new album plus an interview with British film-maker and photographer Jason Yeomans, who masterfully interpreted the album's first single, All the While . The evocative video features rising actress Sarine Sofair, who can be seen in Season 4 of the HBO series Game of Thrones . Noted Toronto poet and book-maker, Erin Robinsong also joined the show to read one of Barzin's poems from his limited edition book, Something I Have Not Done Is Following Me.


Adyen's Mirakl connector integrates your Mirakl Marketplace with Adyen's solution for marketplaces – MarketPay. This enables you to perform Know Your Customer (KYC) checks, and pay out to sellers.
Automated onboarding – Full stack of automated KYC checks.
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A Java Persistence API (JPA) compatible database for storing scheduled jobs, for example failed payouts or emails that need to be retried.
An SMTP connection to an email server for sending notification emails to your operator and sellers.
To understand how the connector manages onboarding and payouts, refer to Connector Overview.
Integrate your Mirakl Marketplace with Adyen MarketPay.
Understand how the connector manages onboarding and payouts.


text:
from random import randint
from collections import OrderedDict

# from collections module
my_dict = OrderedDict()  # provide ordered dictionary
my_dict['name'] = 'hammad'
my_dict['gender'] = 'male'
my_dict['age'] = 23
print(my_dict)

# from random module
x = randint(1, 9)  # random number generator
print(x)


Variances up to 1/8" (3mm) from your speaker measurements are OK.
Please check the model and size of your speakers before ordering to be sure you receive the correct foam edge repair kit.
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Easy to follow illustrated instructions. Installation average time is 30 minutes per speaker.
You do not need to remove the dust caps to install these kits perfectly - every time.
FREE technical support. FREE shipping to any USA address.
Join over 150,000 customers that have used our New-Edge-It ® speaker foam repair kits successfully!
Gave my old Altec Lansing IM7 ipod dock a new lease of live with this repair kit easy to mend it fitted perfect good delivery from the US only downside is paying the import tax in the UK about £12.00 for 2 kits.
The kit suits very well for high speaker whom I had. The explanations are very clearly: It is easy to rest(pose). The sound remains unchanged. I am very happy of this purchase.
Fast shipping, well packed, great product as advertised, will buy from them again. Thanks.
Bought it and everything arrived fine, happy with the overall result.
I picked up the package from my local post office only to find that i needed to pay a customs/postal charge of £11.31 which i was not expecting so please be aware if you are importing into the EU and the value of the item is over £15. That aside the contents of the package were sound and there where no missing items. I viewed the online installation video before replacing the foam on my speaker and luckily for me the spare foam was used on my other speaker as it was inadvertently damaged whilst repairing the first speaker. The video was quite straight forward to follow and you may find as i did that you use to much glue first time round but the end result is still the same. There is clearly an art to this so don't be put off if what you end up with bears no relation to the video as was the case with my repair. Would definitely recommend.
I'm very pleased with the FSK-4 repair kit. The price was fair, the quality is good, and I received the kit quickly.
the kit helped me repair a 4" woofer in my 5 piece Altec Lansing computer speaker system, for such a small speaker this kit had to much glue, the tube could have been half the size, and the sealer option wasn't made clear that it is necessarily needed, i thought it was needed, and spending $7 on that was overkill, i think the repair kit is not priced right for the smaller size speakers like mines. I was able to repair my speaker and so far so good, it's close to sounding like it did new, and will see how long it lasts. Three stars is because it worked, i would have given more stars for a better kit component package and cost.
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Altec Lansing: 55, 9603115, A 7381, W55841, W58416, and many more!


text:
This 12-Year-Old Wanted to Help His Family so He Joined the Caravan Without Telling Them
A member of the immigrant caravan climbs atop a gate with a Honduran flag during a clash with Mexican riot police on the border between Mexico and Guatemala on October 19, 2018 in Ciudad Tecun Uman, Guatemala. Photo by John Moore/Getty Images
By Yara Simón | 9 months ago
As Honduran immigrants makes the long and perilous journey into the United States, President Donald Trump is threatening to cut off resources to the countries that didn't put an end to the caravan and, once again, attempting to paint Central Americans as criminals. In a series of tweets on Monday, Trump said, "Sadly, it looks like Mexico's Police and Military are unable to stop the Caravan heading to the Southern Border of the United States. Criminals and unknown Middle Easterners are mixed in. I have alerted Border Patrol and Military that this is a National [Emergency]. Must change laws!" But while Trump tries to once again tie all Central American immigrants to MS-13, a 12-year-old unaccompanied minor has become one of the faces of the caravan.
Last week, Mario David Castellanos went viral after an image of an officer restraining the young crying boy spread across the internet. Outlets reported that an officer aggressively grabbed him and hurt his shoulder. While he received medical attention, Mario said that he sometimes missed school to sell chewing gum so that he could help his family, El Comercio reports. Gangs had also tried to recruit him, so the young boy decided to leave so he could continue his schooling and for better opportunities, Publinews reports.
As his story has spread far and wide and people have even offered up to help Mario, his parents – who didn't give him permission to leave – are also sharing their stories. His dad, José Mario Castellanos, said that though the family doesn't have many resources, that the young boy has never gone hungry. "I didn't realize until he called me from Copán that he was in the caravan en route to the United States," he said. "His desire is to help us."
In an interview with Hoy Mismo over the weekend, David said that he felt desperate and that he didn't know what to do. "I ask mi Diosito to watch over him and protect him," he added.
Mario's mom was similarly distraught. According to his mom, Dilcia Murillo, David asked his dad for permission to run an errand and said he'd return in the afternoon.
As his parents give teary interviews, it's a reminder of how immigrating is not an easy process. Unfortunately, it's stories like these that Trump doesn't see or doesn't attempt to understand. Instead, he categorizes them as a big threat and tells them to immigrate "legally" (even though he has also made it more difficult for poor people to come into the US). Immigration yields a lot of heartache and struggle, and Mario and his family are just one example of this.
caravan, Central America, Honduras, mario david castellanos. Monday, October 22, 2018 at 5:58 PM EDT November 2, 2018 by Yara Simón
Parents of 12-Year-Old Boy Traveling Alone in Caravan Don't Know Where He Is
What Two Honduran Women Traveling in the Caravan Would Like Trump to Know
Here's How You Can Donate Money to the Central Americans Traveling in the Caravan
100 Members of the Caravan Were Allegedly Kidnapped & Turned Over to a Cartel
New York City's Garifuna Community Preserves Its Rich Culture Through Food
Leonardo DiCaprio Invested in a Guatemalan Company Aiming to "Eradicate Energy Poverty"
After Devastating Volcano Eruption in Guatemala, Chef José Andrés Came to Provide Meals
5 Organizations You Can Support as Families Are Torn Apart at the Border
UP NEXT: Parents of 12-Year-Old Boy Traveling Alone in Caravan Don't Know Where He ...


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Floor Area 2,608 Sq. Ft.


Freighter containment field testing fails. Further testing required.
Weekend testing of the cargo containment software has revealed a flaw with the system and the upgrade will not be deployed tomorrow. While the software worked as intended, the potential release of numerous cargo containers presented navigational hazards in simulations where freighters were destroyed.


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text:
Order Karla Marksa (niem. Karl-Marx-Orden) – odznaczenie istniejące od 1953 do 1990 roku, nadawane za zasługi dla Niemieckiej Republiki Demokratycznej, najwyższe odznaczenie tego państwa.

Historia
Order został ustanowiony 5 maja 1953, w dniu 135 urodzin Karla Marksa przez Izbę Ludową NRD. Nadawany był za  Otrzymać go mogły osoby prywatne wszystkich narodowości, kombinaty, zakłady pracy, socjalistyczne związki i organizacje społeczne, oddziały wojskowe oraz instytucje sił zbrojnych mające swą siedzibę w NRD. Nadawany mógł być wielokrotnie tej samej osobie lub instytucji, tak jak najwyższe radzieckie odznaczenie – Order Lenina. Od 1979 order przysługiwał również osobom wyróżnionym tytułem "Bohatera NRD", przy czym oprócz orderu Marksa otrzymywali oni osobną odznakę, zwaną Złota Gwiazda Bohatera NRD.

Order nadawany był przez Przewodniczącego Rady Państwa NRD w dniach świąt narodowych, zaś w przypadku osób fizycznych także w ich osobiste uroczyste dni. Z nadaniem orderu osobom fizycznym związana była wysoka premia (w ostatnich latach NRD – 20 000 marek). Order podlegał po śmierci odznaczonego zwrotowi do kancelarii Rady Państwa.

Opis oznaki
Oznaką wykonanego w złocie orderu jest pięcioramienna czerwona gwiazda o średnicy 56 mm, z pękami liści dębowych między ramionami. W medalionie środkowym awersu widnieje wizerunek głowy Karla Marksa zwróconej heraldycznie w prawo. Rewers jest gładki, nieemaliowany, z próbą złota 960 (w pierwszych latach po ustanowieniu odznaczenia umieszczano tam również numer nadania). Order noszony był na lewej piersi na ciemnoczerwonej (niem. weinrot) wstążce, złożonej w pięciokąt według wzoru sowieckiego. Na baretce jest umieszczony złoty liść dębowy.

Odznaczeni

Order Karla Marksa otrzymało wielu wysokich dygnitarzy NRD, m.in.: Bruno Apitz, Jurij Brězan, Otto Grotewohl, Erich Honecker (5x), Margot Honecker, Sigmund Jähn, Egon Krenz, Erich Mielke, Hans Modrow, Willi Stoph (3x), Wilhelm Pieck, Ludwig Renn, Anna Seghers, Walter Ulbricht, Markus Wolf, Wilhelm Zaisser, spośród cudzoziemców m.in. Bolesław Bierut, Leonid Breżniew, Walerij Bykowski, Nicolae Ceaușescu, Wojciech Jaruzelski i Josip Broz Tito.

Przypisy

Bibliografia
 Frank Bartel: Auszeichnungen der Deutschen Demokratischen Republik von den Anfängen bis zur Gegenwart, Berlin 1979.
 Paul Hieronymussen: Orders, Medals and Decorations of Britain and Europe in Colour, London 1978.

M
Karl Marx

redpajama_set_name: RedPajamaWikipedia


text:
Софья Николаевна Лысенкова (24 февраля 1924, Москва — 6 декабря 2012, Москва) — советский, российский учитель, педагог-новатор. Народный учитель СССР (1990).

Биография
В 1945 году окончила 10 классов, после чего поступила в 11-й педагогический класс 349-й московской школы.

С 1946 года непрерывно работала учителем начальных классов в Москве (в СШ №587 с 1974).

К 70-м годам ею были сформулированы основные постулаты методики опережающего обучения. Имеет последователей и авторитет в педагогической среде. Неоднократно подвергалась критике со стороны методистов и учителей, работающих в традиционной методике. Входила в плеяду основателей педагогики сотрудничества. Её программа обучение детей до сих пор пользуется популярностью. Работала в школе вместе с В. Ф. Шаталовым.

Автор методики опережающего обучения, главной целью образования является опорные схемы, которые помогают конструктивно понять записанные лекции.

Несмотря на свой возраст, до последних дней жизни работала в школе.

Похоронена на Кладбище «Ракитки» (уч. 46).

Награды и звания
 Заслуженный учитель школы РСФСР (1981)
 Народный учитель СССР (1990)
 Медаль К. Д. Ушинского (1999)

Примечания

Литература
 Лысенкова, С. Н. Когда легко учиться: из опыта работы учителя начальных классов = московской школы 587 / С. Н. Лысенкова. — Москва : Педагогика, 1985. — 176 с. — (Педагогический поиск: опыт, проблемы, находки).
 Лысенкова, С. Н. Методом опережающего обучения : книга для учителя : из опыта работы / С. Н. Лысенкова. — Москва : Просвещение, 1988. — 192 с. : ил. — (Творческая лаборатория учителя) . — ISBN 5-09-001392-6.
 Лысенкова С. Н. Я читаю. Я считаю. Я пишу: Как учить маленьких. — 2001 г., 96 стр. ISBN 5-88527-099-6
Похороненные на кладбище «Ракитки»


In this page you will find all the Urostomy Supplies. For patients who underwent a urostomy surgery because the bladder is not functioning properly. The urostomy procedure, through an opening in the abdominal wall, redirects the urine away from the bladder. The urine will come out through the opening (called "stoma"), and then will go to a Urostomy Pouch or bag. On this page you will see all our Urostomy Products dedicated for this type of situations. Here you will find from entire systems to specific parts that can adapt perfectly to other systems. We carry tubes, tubing adaptors, drainable pouches of different sizes, night bags, One-piece pouches, Two-piece pouches, skin protection and several others Urostomy Supplies you might need.


Once in a while, I will gather the food reviews on my food blog and I will post it here on my personal blog so you would notice it. hahaha Click the links, if you got curious of the restaurant from your block. Reading is free. Everyone can also follow our blog by email or by wordpress to know the latest reviews. :) You can also contact us at wheretopigout@yahoo.com for invites and collaborations.


text:
Joe V's Smart Shop: A Review
By David Esparza April 8, 2019 No Comments
When H-E-B launched their line of Joe V's Smart Shop in 2010, retailers across the industry were curious to see how the value-first store would perform. Aside from initial criticism by Trader Joe's on account of the name, the first store received a highly positive response from shoppers in the Greater Houston Area.
The barn-like entrance of the store differentiated it from other discounters, and once inside, customers were met with great values. The chain's motto is "Low Prices, Quality Groceries," a phrase that rings true today based on a price analysis conducted by Engage3. The ninth Joe V's Smart Shop opened at the end of 2018 in Pasadena, Texas, showing that H-E-B's investment in a discount banner continues to draw in new customers year after year. We visited a Houston-area Joe V's to compare it to H-E-B's main stores.
To begin, Joe V's Smart Shop has a very distinctive entrance. The recessed sign is eye-catching and separates it from other stores in the area. The carts were standard supermarket size, and there were no flatbed carts like those available at warehouse retailers like Sam's Club and Costco.
Special buys at the entrance
Pallets and large quantities abound
When we entered the store, items marked as "special buys" lined the sides and advertised especially good deals. From here, it was easy to guess that the majority of the products in the store would be bulk-packaged.
Main aisle leading to the produce section and the rest of the store
These deals continued into the main aisle, with prices marked on large yellow signs leading all the way into the produce section. Products were stacked in pallets three levels high and were priced lower than an average grocery store, but they were also in their original bulk packaging.
Produce and Fresh Food
When we reached the end of this aisle, the store opened up to the produce section and the other areas inside. Fruits and vegetables were piled high, allowing customers to move between the different produce items, a big change from the carefully curated displays in a normal H-E-B store. The focus here was on the value and volume Joe V's offers.
Alongside the produce section was a Sushiya booth, a staple of H-E-B markets. This is where sushi is prepared and sold. From here, we had the option of going into the warehouse-style portion of Joe V's or continue in grocery. We stopped by the meat section, seeing a sign advertising freshly-butchered meat. The selection was not as expansive as a traditional H-E-B location. This trend continued in the bakery, where there was a large sign boasting eight bread rolls for a dollar.
Freshly made bread and tortillas
Lower costs from butchering meat in-store
The Aisles
Once we left the fresh food areas, Joe V's resembled a warehouse retailer much more closely. Bulk items, pallets, and spacious aisles made the store feel entirely different from a supermarket. Here lies Joe V's biggest strength – the prices that consumers typically find at warehouse retailers without the membership fees. The store's true character came out in these aisles, making the store seem inviting despite the bulk packaging and bright yellow signs.
Plain signage, but good value
Cookware and other goods between food aisles
General merchandise like cookware were also scattered throughout the store, but it was never overwhelming or unexpected. Joe V's mainly sells groceries, and these items were stocked to complement the rest of the store's inventory. The store's weekly ad, available on the Joe V's website, only lists food items and related products like paper towels.
A Hybrid Checkout
When we were ready to leave the store, we had a checkout experience we have never seen before. At first, it resembled a typical grocery store setup. There was a long conveyor belt, a cashier, and a bagging area. The difference was how the customers were paying for their goods.
Many open checkout lanes and few lines
Pre-opening picture of the checkout
The cashiers do not handle money. No cash, no coins, and no cards ever cross their hands. Instead, they were focused on ringing up the items and bagging them as quickly as possible to keep the lines down. The cashiers were friendly and had animated conversations with shoppers as they loaded up the carts. Customers either used the card payment system or inserted their bills and coins into a device that looked like an ATM.
The hybrid system created an experience similar to a self-checkout machine without having shoppers bag and scan their own purchases. It looked like this unassisted payment system was quicker and let customers still interact with a human cashier.
Warehouse Prices – Is it Sustainable?
Though Joe V's Smart Shop shares many characteristics with other stores like warehouse retailers, it gave us a unique shopping experience. It provided value comparable to a membership warehouse, but without the membership fees.
Joe V's checkout system is notable in an industry adopting tech innovations. Pure self-checkout kiosks face criticism from customers who are looking for a human connection while shopping. With Joe V's checkout method, shoppers get human interaction, and cashiers are freed up to scan and bag quickly.
Overall, we think that the store delivers on its promise — "Low Prices, Quality Groceries." The combination of an efficient labor model (cashier-less payment and the use of vendor boxes for display), bulk-size offerings, less assortment, and the use of H-E-B's low-tier private label — all add up to a unique strategy that might prove to be a winning idea.
Read about our reviews of other stores like Raley's Market 5-ONE-5 or Sam's Club Now: A Review in our Engage3 Visits series.
Marketing Specialist at Engage3
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10 Cloverfield Lane // Spooool.ie - Your trusted Irish source for film news, reviews and features.
One of the more enjoyable things about seeing 10 Cloverfield Lane was the fact that I'd somehow managed to get in there without knowing a whole lot about the film, this was the intention of J.J. Abrams and the studio, having only formally announced it to the world in January with a surprise trailer announcement. Throw in the fact I've forgotten most of the plot details of the original Cloverfield (which was apparently 8 years ago) and you get that wonderful scenario of open-minded,optimistic expectation.
The film's basic plot is a simple one. Michelle (Mary Elizabeth Winstead) is driving away from her home and crashes her car. Girl then wakes up, in chains, in some sort of underground bunker and we're introduced to two other questionable characters – John Goodman as Howard and John Gallagher, Jr. as Emmett who are spouting something about nuclear war, aliens and the end of the world.
10 Cloverfield Lane was originally titled The Cellar and it is being billed as more of a "blood relative" to the original Cloverfield. In this day and age of TV series like Fargo and American Horror Story, audiences seem content to embrace work made in the same world as their predecessors, even if they bear little to no narrative connection. This film is infinitely more self-contained as a horror-thriller, and you could even make arguments that it is at its very best before any final act action pay-off occurs.
Winstead is excellent at playing a wonderfully resourceful protagonist, but the star of the show is undoubtedly John Goodman who is having an absolute whale of a time as the creepy, sinister, doomsday prepper. The script (with credits for Josh Campbell, Matthew Stuecken and Whiplash director Damien Chazelle) has a lot of fun swinging the pendulum of uncertainty and suspicion, as the audience's belief in what Goodman's Howard is saying is continuously spun around.
As a film-going experience 10 Cloverfield Lane is one of the most fun experiences you could hope for over a long holiday weekend and it's a credit to first-time director Dan Trachtenberg that all the pieces join up so well.


And here's the thing: informing people about someone else's suicide endangers them.
I don't mean people need to be misinformed about it. Making sure people know more about the symptoms and dangers of mental illnesses is vitally important to preventing, diagnosing and curing these diseases. The de-stigmatization of these illnesses is equally important. But letting people know that so-and-so who they greatly admired just killed themselves is a bad idea, let alone going into the details of their suicide.
Over 800,000 people die by suicide every year.
There is one death by suicide in the world every 40 seconds.
Suicide is the 3rd leading cause of death in the world for those aged 15-44 years.
Of those 800,000 people, there is undoubtedly a percentage that cannot be saved. Some people have been so deeply sunken into depression for so long that there is simply no way out. But for many people, this is not the case. For many, suicide is the result of a single moment of despair, and such suicides can be prevented. Let's all make it clear that suicide is not a good option. Especially young people, who tend to have less of a perspective on the passing on time and are strongly influenced by celebrities, fall victim to copycat suicides. Teenagers are very much dependent on their surroundings for creating and maintaining a sense of self, and if others commit suicide this can often lead to copying behaviors.
I speak from personal experience. On the 8th of september 2015, just as I was clambering out of the depths of my depression, the Dutch writer Joost Zwagerman took his life. Zwagerman had a wife and kids and a successful career. He had been suffering from major depressive disorder for many years, but had also often led initiatives to raise awareness for mental illness. He had written extensively on the prevention of suicide, and the agony of outliving a loved one who has fallen victim to suicide. Yet, in september of that year, the Black Dog overpowered all of these facts and convictions and Zwagerman passed away.
The worst thing, the worst of all, was that I had respected Zwagerman for as long as I had known of him. He was an intelligent and educated man. He was old enough to understand the passing of time and place the agony of the present moment in perspective. He had enough experience with his own depression to know that his moods went up and down over time. Yet he was simply unable to wait for the next upswing. He couldn't bear it a second longer. Perhaps, I thought, if a smart man like Zwagerman killed himself, there was something to it. Perhaps I should reconsider the value of my own life. The death of Joost Zwagerman had given suicide a face for me, had made it into a tangible possibility.
Aside from these negative effects bringing the news of someone's suicide out into the open can have, I also doubt the news value of stating someone's cause of death. In most cases, the cause of someone's death is irrelevant to society. Even if it's not, it's still deeply personal information.
Maybe, if all media coverage of suicides was nuanced, maybe if stories of people recovering from mental illness also made it into the paper occasionally, maybe if depressed people weren't already amongst the most vulnerable in our society, we could simply write about someone's death and mention, as an aside, that it was the result of a suicide. Unfortunately, we live in an imperfect world, and media coverage of suicide is a danger to many people.
So please, I beg you to just shut up. Someone died? That's sad. That's terrible. That's devastating for his friends and loved ones. It's also none of our business.
Very well put. An additional thought, when someone dies, people have basically two reactions: "how did he/she die?"and "but I saw /talked to him/her yesterday /last week/a month ago!". In my opinion, both reactions are based on defence: if you know what caused the death you can establish if you are at risk (usually you think you're safe) and if the person was alive when you last talked, surely he can not be dead now (disbelief as defence). But when you are depressed and someone decides to end his own life, both these defences are useless. You can only stablish that yes, you are at risk and that talking to someone doesn't mean a thing.


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Experience waterfront community living like never before. Take in Harbor Landing's activated boardwalk and enjoy Stamford's hottest restaurants and nightlife right in your own backyard. Leave the street traffic behind and catch the trolley or free water taxi across the channel to Harbor Point, where even more events, parks, marinas, kayak and schooner rides await. Leisure rules at Harbor Landing.
Abbey Woods is located in Danbury, CT and is situated on a hill overlooking a woodland reserve. The apartment community offers a pet-friendly and smoke-free lifestyle, surrounded by the beauty of nature.
If you want to be part of Jersey City's renaissance, let The Beacon light your way home. Enter The Beacon and be transported to a bygone era.


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Once Again, Trump Goes After His Own Voters | John L. Micek
Wednesday, May 30, 2018 8:30am
In the great din and clatter in our nationwide argument over abortion, it's always struck me that the warring sides actually agree on a couple of very important things.
Namely, that fewer abortions are a better thing for society, that women should be able to make healthy choices about their own bodies, and that they should have access to quality care regardless of how much money they make.
So, it's funny (funny, sad, not ha-ha funny) that abortion opponents are applauding a move by the Trump administration that would likely do the exact opposite — and drive up the number of abortions.
In case you're tuning in late, the Trump administration recently reinstated a Reagan-era rule restricting the use of federal family planning dollars by such organizations as Planned Parenthood that refer women for abortions, and provide them with other, less controversial forms of healthcare, including contraception and access to mammograms.
The administration's latest action has been viewed as payback to evangelical Christians who have put up with Trump, who wouldn't know a beatitude if he hit it with his golf cart, in exchange for conservative Supreme Court justices and a steady whittling away of abortion rights.
Because it's low-income women, people of color, and residents of rural areas who will be disproportionately affected by the White House's latest move. And if you were thinking, "Hey, that sounds a lot like the Trump base," you'd be right.
They're the same voters who would've been impacted by the administration's proposed cuts to Medicaid, food stamps and other safety net programs.
According to the Guttmacher Institute, of the 38 million women who needed contraceptive care in 2014, 20 million needed publicly funded services because they were either younger than age 20, or they had an income that was below 250 percent of the federal poverty level.
And of those 20 million who needed publicly funded contraceptive care, more than three-quarters, or about 15.5 million, were poor or low-income adults. And nearly a quarter (23 percent) were younger than age 20.
Blessed be the poor? Maybe later. There are tax cuts for the rich that have to be taken care of first.
They're also the specific constituency that receives services through Planned Parenthood. And anything that makes life tough for Planned Parenthood is pretty much a win for anti-abortion forces.
But there's both a political and social cost.
First, the social one.
In Pennsylvania, a state Trump carried in 2016, more than two-dozen Planned Parenthood clinics would be affected by the administration's decision to tighten access to $286 million in federal spending under Title X. That's the federal program that provides access to reproductive healthcare regardless of income or the patient's ability to pay.
Pennsylvania, it should be noted, has the third largest share of Title X patients in the nation, with about 210,000 residents. Planned Parenthood serves about 90,000 of those 210,000 people. And nearly half the clinics are in medically under-served areas.
"This latest attack on women's reproductive rights would block patient access to Planned Parenthood, prohibit referrals for legal abortions services that doctors and families decide upon privately, and deny women honest information about all of their pregnancy options," Sari Stevens, the executive director of Planned Parenthood Pennsylvania Advocates, the group's political wing, said this week.
"Let's be very clear about the public health risks here: Any reduction in access to women's health services will only lead to more unintended pregnancies, more untreated STDs, more undetected cancers and ultimately more costs to state and federal governments," Stevens added.
Now the politics.
The White House's attacks on access to abortion also come as Republican-controlled state legislatures, such as Pennsylvania's, have mounted their own offensive against a woman's right to choose.
And as is the case in Washington, state lawmakers who have been the most vocal in their opposition to abortion have been missing in action when it comes to backing measures that would provide support to new and expectant mothers.
But in a year in which women voters have been motivated in the thousands, and women candidates are scoring victories at the polls, the Republican administration's clear play to the base is a gamble.
And that's backed up by the numbers. A February Vox poll found that 37 percent of all Americans think women should have a safe and legal right to abortion in almost all cases.
But actions like this recent one by the administration have a predictable effect: abortions will go up, not down. And if anti-choice forces are serious about seeing abortions reduced, they're on the wrong side of this argument.
And there's nothing funny about that. It's just sad.
Four Reasons Democrats Could Lose the Congressional Midterms | Dick Polman
Today's cartoon for Thursday, May 31


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Silverdale, Kitsap County, NW Washington, USA is a beautiful city around Puget Sound where moss, lichen and algae have a personal connection. Feeding off the moisture of the Pacific Northwest, moss loves to dwell and slither where the sun can't reach and the watchful eyes of careful humans can't see, like around the cracks and ridges of your roof shingles under tree canopies, or in the shade of your chimney, ultimately moss is a beautiful creation we respect dearly but we also understand that it belongs with the bugs and the mushrooms "out there." growing steadily under your roof tiles and shingles, or metal roof, the spores of moss and lichen lifts and pulls and tugs allowing melting snow and all other outside things to enter your home without your permission! How dare they? Call Puget Sound's leading roof moss treatment experts today! We handle roof moss removal projects with the best solutions and treatments in the de-mossing market, as NW Washington's leading roof cleaners! Call 206-866-2277 for free honest quote and fast service!
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Reminiscent of old-fashion yo-yo quilts, this beautiful throw will work in a country style or modern furnished room. Crochet it in a monochromatic color range as shown, or in a rainbow of colors'the choice is yours!
Gauge/Tension: GAUGE: 1 yo-yo circles = 2¼" (5.5 cm) in diameter; 2 yo-yo's and 3 sc = 5" (10 cm). CHECK YOUR GAUGE. Use any size hook to obtain the gauge given.
Throw measures 54" (137 cm) wide x 45" (114.5 cm) long.


text:
package edu.umn.biomedicus.common.grams;

import java.io.IOException;
import java.io.ObjectInputStream;
import java.io.ObjectOutputStream;
import java.io.Serializable;
import java.lang.reflect.Array;
import java.util.Iterator;
import java.util.NoSuchElementException;
import javax.annotation.Nullable;

/**
 * An implementation of Bigram and Trigram which uses an subarray.
 *
 * @author Ben Knoll
 * @since 1.3.0
 */
public class Ngram<T extends Comparable<T> & Serializable> implements Bigram<T>, Trigram<T>,
    Comparable<Ngram<T>>,
    Serializable {

  /**
   * Serialization UID.
   */
  private static final long serialVersionUID = 3988360323326418189L;

  /**
   * Backing array.
   */
  private T[] backingArray;

  /**
   * Length of the gram.
   */
  private int length;

  /**
   * Index that the gram starts at in the array.
   */
  private int offset;

  /**
   * Constructs a new ngram which is a span of objects in an array.
   *
   * @param backingArray the array.
   * @param length the length of the gram
   * @param offset the starting index of the gram in the array.
   */
  public Ngram(T[] backingArray, int length, int offset) {
    this.backingArray = backingArray;
    this.length = length;
    this.offset = offset;
  }

  /**
   * Creates a bigram ngram.
   *
   * @param first the first object in the ngram.
   * @param second the second object in the ngram.
   * @param <S> the type of object in the ngram.
   * @return a newly created bigram ngram.
   */
  public static <S extends Comparable<S> & Serializable> Ngram<S> create(S first, S second) {
    @SuppressWarnings("unchecked")
    S[] array = (S[]) Array.newInstance(first.getClass(), 2);
    array[0] = first;
    array[1] = second;
    return new Ngram<>(array, 2, 0);
  }

  /**
   * Creates a trigram ngram.
   *
   * @param first the first object in the ngram.
   * @param second the second object in the ngram.
   * @param third the third object in the ngram.
   * @param <S> the object type.
   * @return the newly created trigram ngram.
   */
  public static <S extends Comparable<S> & Serializable> Ngram<S> create(S first, S second,
      S third) {
    @SuppressWarnings("unchecked")
    S[] array = (S[]) Array.newInstance(first.getClass(), 3);
    array[0] = first;
    array[1] = second;
    array[2] = third;
    return new Ngram<>(array, 3, 0);
  }

  /**
   * Creates a bigram ngram from a span in an array.
   *
   * @param array the array of objects.
   * @param index the index of the first object.
   * @param <S> the object type.
   * @return newly created bigram ngram.
   */
  public static <S extends Comparable<S> & Serializable> Ngram<S> bigram(S[] array, int index) {
    return new Ngram<>(array, 2, index);
  }

  /**
   * Creates a trigram ngram from a span in an array.
   *
   * @param array the array of objects.
   * @param index the index of the first object.
   * @param <S> the object type.
   * @return newly created trigram ngram.
   */
  public static <S extends Comparable<S> & Serializable> Ngram<S> trigram(S[] array, int index) {
    return new Ngram<>(array, 3, index);
  }

  @Override
  public Ngram<T> tail() {
    if (length != 3) {
      throw new UnsupportedOperationException();
    }
    return new Ngram<>(backingArray, 2, offset + 1);
  }

  @Override
  public Ngram<T> head() {
    if (length != 3) {
      throw new UnsupportedOperationException();
    }
    return new Ngram<>(backingArray, 2, offset);
  }

  @Override
  public T getFirst() {
    return atIndex(0);
  }

  @Override
  public T getSecond() {
    return atIndex(1);
  }

  @Override
  public T getThird() {
    if (length != 3) {
      throw new UnsupportedOperationException();
    }
    return atIndex(2);
  }

  private T atIndex(int index) {
    return backingArray[offset + index];
  }

  @Override
  public int compareTo(Ngram<T> o) {
    int compare = Integer.compare(length, o.length);
    if (compare != 0) {
      return compare;
    }
    for (int i = 0; i < length; i++) {
      compare = atIndex(i).compareTo(o.atIndex(i));
      if (compare != 0) {
        return compare;
      }
    }
    return 0;
  }

  @Override
  public Iterator<T> iterator() {
    return new Iterator<T>() {
      int index = 0;

      @Override
      public boolean hasNext() {
        return index != length;
      }

      @Override
      public T next() {
        if (index == length) {
          throw new NoSuchElementException();
        }
        return atIndex(index++);
      }
    };
  }

  @Override
  public boolean equals(@Nullable Object o) {
    if (this == o) {
      return true;
    }
    if (o == null || getClass() != o.getClass()) {
      return false;
    }
    Ngram<?> ngram = (Ngram<?>) o;
    if (length != ngram.length) {
      return false;
    }
    for (int i = 0; i < length; i++) {
      if (!atIndex(i).equals(ngram.atIndex(i))) {
        return false;
      }
    }
    return true;
  }

  @Override
  public int hashCode() {
    int hashCode = 0;
    for (int i = 0; i < length; i++) {
      hashCode = 31 * hashCode + atIndex(i).hashCode();
    }
    return hashCode;
  }

  private void readObject(ObjectInputStream is) throws IOException, ClassNotFoundException {
    offset = 0;
    Class<?> componentType = (Class<?>) is.readObject();
    length = is.readInt();

    @SuppressWarnings("unchecked")
    T[] array = (T[]) Array.newInstance(componentType, length);
    backingArray = array;
    for (int i = 0; i < length; i++) {
      @SuppressWarnings("unchecked")
      T t = (T) is.readObject();
      backingArray[i] = t;
    }
  }

  private void writeObject(ObjectOutputStream os) throws IOException {
    Class<?> componentType = backingArray.getClass().getComponentType();
    os.writeObject(componentType);
    os.writeInt(length);
    for (int i = 0; i < length; i++) {
      os.writeObject(atIndex(i));
    }
  }

  @Override
  public String toString() {
    StringBuilder sb = new StringBuilder("[");

    if (length > 0) {
      sb.append(atIndex(0).toString());
    }
    for (int i = 1; i < length; i++) {
      sb.append(", ").append(atIndex(i).toString());
    }

    return sb.append("]").toString();
  }
}


"I Scream, You Scream, We All Scream for Ice Cream," a song first published in 1927, by Howard Johnson, Billy Moll, and Robert King, stems from a commercial slogan for the I-Scream bar now known as the Eskimo Pie. This iconic ditty instantly evokes the sweet feeling of summer - sitting poolside enjoying a popsicle, chasing down the musical call of an ice cream truck, or finding yourself a snow cone at a street fair on a steamy August day.
Robert Mann Gallery's summer exhibition, I Scream, You Scream, looks at both the visual and social culture of ice cream by juxtaposing contemporary color images of ice cream itself with historical images of people savoring every sweet morsel. The show explores how photographers can capture the playfulness of the human experience indulging in the pleasures of life that will melt in your mind, not your hand.
The light-hearted chant epitomizes the amusing scene captured by Garry Winogrand of a women throwing her head back in laughter as she gracefully holds on to her ice cream cone or a phallic advertisement that will cause even the most mature of us to giggle a little. I Scream, You Scream also brings a sense of nostalgia through works by Martin Parr, where we get transported back in time to see ice cream appear as charming novelty food that may have since found sanctuary in an vintage shop.
Conversely, the show incorporates works by Simone Rosenbauer, where the image of ice cream is decontextualized and made into a universal symbol by removing it from the consumer and placing it against a single color background. PUTPUT goes even further and removes the function of two common objects by placing a sponge in guise of a popsicle, creating a visual semblance that confuses our perception and makes us reconsider the materiality of objects.
From humorous snapshots of human delight to a fallen soldier poetically melting on the scorching pavement, the works on display offer an multifaceted look at the role ice cream plays in society. It can represent America's tendency to reinvent itself, like the ever growing number of flavors, while still preserving elements of the past, like a traditional ice cream stand seen in Jim Dow's The Sno House that calls to those looking for comfort from sweltering summers. Such ideas lead to more theoretical conservations on society's reluctance to change as Olivia Locher's mischievous character, whose outright defiance breaks an outdated Alabama law by having an ice cream cone drip from her back pocket, provides a satirical approach to holding on to the past. Whichever way you lick it, there is nothing sweeter than enjoying a creamy ice cream on a sunny day.
Summer hours are Monday - Friday, 10am - 6pm. For additional information and press materials, contact the gallery by telephone (212.989.7600) or by email (mail@robertmann.com).
"As the sweaty days of mid-summer approach, the allure of an ice-cream cone becomes ever more tempting. The bells that signal the Mister Softee truck parked on the curb instantly evoke nostalgia for those longing to escape the air-conditioned office and enjoy the simple pleasure of a cold cone. If you can't, though, at least escape to Robert Mann Gallery, where the newly opened exhibition "I Scream You Scream" promises to satisfy at least some of your cravings."
You've got your record breaking heat waves, standard farmer's tan, annoyingly hot leather car seats that burn thighs like it's nobody's business, and the only thing missing from this picture perfect summer scene is that delectable, sole joy of a scorching summer: ice cream.
New York City's Robert Mann Gallery is playing their cards right by presenting "I Scream, You Scream" for their summer exhibition. Since July 6th and up until August 16th, the gallery has displayed photographic works of (surprise, surprise - you guessed it) ice cream.
The collection of works, culled from multiple photographers, is a feat to all lovers of the ultimate summer treat, and reveals more than just fun, melty goodness. The exhibit indulges in the human experience, juxtaposing bright colors to the treat's social, cultural, and historical value.


text:
Q: Laravel multiple data insert into database i want to insert more items to one delivery_notes_id in Laravel. But i get the error "Array to String conversion". When i delete the code with $lastid then is no error.
Can you help me?
$data=$request->all();
        $lastid=delivery_note::create($data)->id;
        $delivery_note->datum = $data['datum'];
        $delivery_note->customer_id = $data['customer'];

        if(count($data['produkt']) > 0)
        {
            $data2=[];
            foreach($data['produkt'] as $item => $value)
                array_push($data2, [
                    'delivery_notes_id'=>$lastid,
                    'menge'=>$request['menge'][$item],
                    'einheit'=>$request['einheit'][$item],
                    'product_id'=>$request['produkt'][$item],
                ]);
                Items::insert($data2);
            }
       return $this->index()->with([
        'meldung_success' => 'Lieferschein wurde erstellt!'
    ]);
}

Here is the HTML Code. I've tried this with the following tutorial https://tsdurjoy.blogspot.com/2019/01/laravel-multiple-data-insert-into_20.html

 neuer LIEFERSCHEIN

            <form class="row g-3" action="/delivery_note" method="post">
                @csrf

                            Datum
                            <input type="date" class="form-control" name="datum" id="datum" value="{{ old('datum') }}">

                            Kunde
                            <select id="customer_id" class="form-control" name="customer">
                                <option selected>Kunde wählen</option>
                                @foreach (App\Customer::get() as $customers)
                                    <option value="{{$customers->id}} ">{!! $customers->customer !!}</option>
                                @endforeach
                            </select>

                                    Menge
                                    <input type="text" class="form-control" name="menge[]" id="menge" value="{{ old('menge') }}">

                                    EH
                                    <input type="text" class="form-control" name="einheit[]" id="einheit" value="{{ old('einheit') }}">

                                    Produkt
                                    <select id="produkt" class="form-control" name="produkt[]">
                                        <option selected>Produkt wählen</option>
                                        @foreach (App\Product::get() as $produkt)
                                        <option value="{{$produkt->id}}">{!! $produkt->produkt !!}</option>
                                        @endforeach
                                    </select>

                    + weiteres Produkt

                    <button type="submit" class="btn btn-primary">SPEICHERN</button>

            </form>

A: try like this one:
$data=$request->all();
    $lastid=delivery_note::create($data)->id;
    $delivery_note->datum = $data['datum'];
    $delivery_note->customer_id = $data['customer'];

    if(count($data['produkt']) > 0)
    {

        foreach($requsest->get('produkt') as $item => $value){
            $data = new yourModelName();
            $data->delivery_notes_id=$lastid;
            $data->menge=$request->menge[$item];
            $data->einheit=$request->einheit[$item];
            $data->product_id=$request->produkt[$item]
           $data->save();

        }
    }
    return $this->index()->with([
        'meldung_success' => 'Lieferschein wurde erstellt!'
    ]);
}

redpajama_set_name: RedPajamaStackExchange


text:
http://tvtropes.org/pmwiki/pmwiki.php/Literature/TheLifeAndAdventuresOfSantaClaus
Literature / The Life & Adventures of Santa Claus
WesternAnimati…
The Life and Adventures of Santa Claus, originally published in 1902, is L. Frank Baum's take on the origin story of Santa Claus.
In the story, Claus was an orphaned baby discovered at the edge of the mystical Forest of Burzee (revealed to be located in one of the neighboring countries to the Land of Oz in later Baum books) by the Great Ak, Master Woodsman of the World and the ruler of the immortals dwelling within the woods and is placed in the care of the lioness Shiegra and the wood nymph Necile, who names the baby Nicolas. When Nicolas comes of age, Ak takes him on a journey through the human world where he discovers the poor and miserable state of human society and the children. Resolving to make a positive impact on humanity, Nicolas finds his calling in bringing joy to children through toymaking. However, monsters called the Awgwas oppose Claus's efforts to bring joy to the children that they torment, leading to Ak and the immortals to intervene. The evil forces are successfully routed and Nicolas, now going by Santa Claus, is able to freely continue his work until old age begins to catch up with him. Recognizing the positive impact Claus has had on the world, Ak makes a case to his peers at the Council of Immortals to grant Santa Claus eternal life through the mystical Mantle of Immortality.
Baum also wrote a short sequel story, A Kidnapped Santa Claus, where a group of Daemons representing various sins frustrated with Claus's positive influence on children kidnap him, forcing his assistants to do the toy run for him and mixing up the deliveries in the process. After rescuing Santa and realizing these mistakes, they soon learn that the children were able to solve the issue by simply exchanging the gifts with each other to ensure everything got to its proper place.
The story is best known from two animated adaptations: A 1985 Rankin/Bass Christmas special that would be their last stop-motion Christmas project that used the Council of Immortals as a framing device and featured many voice actors from ThunderCats and a 2D animated film released in the year 2000 featuring Robby Benson and Jim Cummings playing the title character at different ages. Additionally, in 1996, there was a 24 episode Anime adaptation titled Shounen Santa no Daibouken, with a greater emphasis on the teenaged Santa Claus, though the series is poorly documented online.
These works provides examples of:
Adaptation Explanation Extrication: In the Rankin-Bass special, Peter Knook never explains why Claus is only allowed to use the reindeer to deliver toys on Christmas Eve, which causes conflict since that date means Claus only has ten days to make enough toys for the journey. In the book it's a deliberate attempt by the Knook King to sabotage Claus' efforts.
Adaptation Name Change: The 2000 animated film changes the names of a few minor characters:
Weekum, the first child to receive a toy from Claus, is called Ethan
Glossie and Flossie, Claus' first two reindeer, are called Mistletoe and Holly (they're nameless in the Rankin-Bass version)
Bessie Blithsome, a nobleman's daughter given a doll, is re-named Natalie
Ascended Extra: Shiegra the Lioness has a much bigger role in the Rankin-Bass special than in the original book.
Battle Discretion Shot: While the fight with the Awgwas' allies is shown (though bloodless), the scene cuts before we can actually see the final battle with the Awgwas themselves. In the Rankin-Bass version it looks like the Angwas actually legged it when the immortals made their charge, but Ak confirms later they're all dead.
Big Badass Battle Sequence: Though only briefly summarized, the battle between the Burzee fae and the Awgwa's evil army is far larger in scope then the budgets of either adaptation would allow. For instance, the Awgwas invited 300 dragons to help them out.
Big Good: Ak, Master Woodsman of the World
Broken-Window Warning: In the Rankin-Bass special, the Awgwas' harassment of Claus begins with a threatening note tied to a rock and hurled through a window.
Canon Foreigner: Tingler the Sound Imp was a new character created for the Rankin Bass adaptation to provide some comic relief in what would otherwise be a rather adult Christmas special.
Composite Character: Peter Knook in the special plays the roles of Will Knook, Peter Knook, and the Knook King from the book.
Curb-Stomp Battle: When Santa's friends fight the massed Awgwas and monstrous allies their magic tilts the balance so far the monsters never even get a shot in.
Darker and Edgier: Compared to other Rankin-Bass specials, it's a good deal darker, moodier, and more serious. Just about the only comedy is provided by Tingler speaking various languages in quick succession.
Disproportionate Retribution: In the book, Will Knook threatens to torment the deer who pulled Claus' sledge with stinging gnats for the "heinous" crime of returning to the forest one minute after the curfew he set.
End of an Era: This was the final Rankin-Bass special made using stop-motion, as well as the final Rankin-Bass special before the company's production arm shut down on March 4, 1987.
The Fair Folk: Fairies, nymphs, Knooks, Sound Imps, water spirits, wind demons, light elves, Awgwas, Ryls, whatever-the-heck-Ak-is... thankfully for Claus, all of them save the Awgwas are benevolent.
Fairy Companion: Tingler in the Rankin-Bass special and Wisk in the 2000 animated film
Framing Device: In the Rankin-Bass special, the meeting with the immortals serves as this, as Ak relates Claus' story to try to convince the other immortals that Claus deserves immortality.
Friend to All Living Things: Claus gets along with humans, immortals, and animals. Only the Awgwas are antagonistic toward him.
Good Wings, Evil Wings: Subverted in the stop-motion adaptation. The Knooks have bat wings and are allies of Santa.
Gratuitous Latin: "Ora e Sempre (Today and Forever)," the opening musical number. Ora e Sempre literally translates to "the edge of the measured." Could be a borderline case of Ominous Latin Chanting.
Gratuitous Princess: The 2000 animated version throws in a princess for... some reason. (She was a nobleman's daughter in the book and Rankin-Bass special.)
Happily Adopted: Claus shows absolutely no curiosity about his birth parents. Possibly justified seeing as he was abandoned as a baby and he had a happy childhood with Necile and Shiegra.
Invisibility: An ability of the Awgwas in the Rankin-Bass special... which somehow lets them pass through solid walls too.
Ak can grant this ability, and uses it to show Claus how mortals live without them being observed.
Jerk with a Heart of Gold: Most of the Knooks in the book save Peter Knook, who's simply kind without being a Jerkass. The "jerk" part is toned down in the special.
Killed Offscreen: In the Rankin-Bass special, the Awgwas hightail it when the immortals advance on them, and the scene cuts away. They're later confirmed to be dead, though, presumably killed with the axe.
Mama Bear: Well, lioness, but you don't mess with Claus when Shiegra's around. The Awgwas are only able to abduct Claus the first time because they ambush and tie her up first. Also Necile, Claus's adoptive mother, in the fight against the Awgwas, she face their Dragon head on and makes it eat its own fire.
Manly Tears: Shed by Claus when he sees the children's reactions to receiving their first toy, and later when he learns the immortals intend to fight on his behalf.
Named by the Adaptation: The Awgwah King is called Mogorb in the 2000 adaptation, when he was nameless in the original book.
Narrator: This is the only Rankin-Bass Christmas special to not have a celebrity narrator, though Ak serves as one in-universe as he tells Claus' story to the rest of the immortals.
Never Say "Die": Both played straight and averted in the special. The Awgwa leader declares that Claus will be "done away with for good" (he flat-out states they'll kill him in the book). In a later scene, however, Ak informs Claus that the Awgwas have "perished," averting the trope.
Omniglot: Tingler in the Rankin-Bass version, being a Sound Imp, can speak any language, including animal languages.
Our Demons Are Different: The Wind Demons. We only see one (the Commander), but he looks like a cross between a bat and a mosquito, tends to cause bursts of wind before he speaks, and while not malicious, is the most vocal detractor toward Claus being made immortal. In the actual vote he's the first to say yes, suggesting he was playing Devil's Advocate.
Our Dragons Are Different: Looks like an Asian-style dragon but breathes fire like a Western dragon.
Public Domain Character: Santa Claus, and indeed there are many differences in Baum's version of the character compared to popular conception—some of which contradict the previously released 'Twas the Night Before Christmas. This Santa does not live at the North Pole, but in the temperate Laughing Valley. Instead of an army of elves, he makes toys himself all year, with only a few immortal helpers, who also accompany him on his rides, using their magic to distribute gifts to houses without chimneys. He has ten reindeer instead of eight, with different names from the familiar ones, who don't fly but merely run fast and jump well, and he gives presents to every child he can reach, without regard to whether they are naughty or nice. The narrator notes that when mothers tell their children to be good or Santa won't visit, Claus doesn't approve of such talk, knowing that all children have their nice and naughty moments.
Raised by Wolves: Claus is nursed and raised by Shiegra, a lioness, until Necille takes over as his caretaker.
Recycled IN SPACE!: The story of Santa Claus as a High Fantasy
Red Eyes, Take Warning: The snake that threatens Claus and the dragon mook during the final battle share this trait
Reptiles Are Abhorrent: The only animals that are malicious toward Claus or any other character are a giant cobra, a dragon, and a spider.
Reused Character Design: While most of the characters in the Rankin-Bass special have unique designs, some of the children look like they've been re-used from previous Christmas specials.
Screw the Rules, I Make Them!: Necile points out that since the Great Ak makes the laws of the Forest of Burzee, no one has the right to stop her from raising Claus if he grants her permission to do so.
Single Tear: Happens whenever a character cries. Justified in that it's difficult to portray tears well in a stop-motion show.
Stock Sound Effects: The dragon the Agwas use to fight Santa's friends uses Rodan's roar. Another one of the Agwas uses Mothra's screech as well
Stop Motion: Rankin-Bass' last stop-motion Christmas special
Suddenly Speaking: Inverted. Shiegra the Lioness had lines in the book but only growls and roars in the Rankin-Bass version, which is unusual given her Ascended Extra status in the special. Likewise, the reindeer had lines in the book but are silent in the movie.
Time Abyss: The Immortals, as explained in "Ora e Sempre (Today and Forever)."
Title Drop: At the beginning of the 1985 special, Ak says to the Immortals "How shall I begin the story of the life and adventures of Santa Claus?"
Too Awesome to Use: There is only one Mantle of Immortality, and the chief objection raised at the Council of the Immortals is that if they bestow it upon Claus, they can never give it to another should the need arise. Ak convinces his peers that if Santa Claus, the closest mortal ally of their kind, the Friend to All Children, the most selfless and generous human to ever live, doesn't deserve to join their ranks, no one ever will, and there may as well not be a Mantle of Immortality at all if they never use it.
Alternative Title(s): The Life And Adventures Of Santa Claus
The Master Key
Creator/L. Frank Baum
The Magical Monarch of Mo
The Road to Oz
Literature of the 1900s
Kane Series
Immortality Works
Orlando: A Biography
Liberty's Kids
Western Animation
The Life and Times of Juniper Lee
The Liar Princess and the Blind Prince
The Light Princess