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Practical Travel Tips: Nice & Côte d'Azur, France.
25 Aug 2017 ⋅ by The Flight Deal ⋅ in Europe ⋅ 3 Comments
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One word to describe our experience with the French Riveria many many years ago – EXPENSIVE. Everything from food to rooms, you name it. It was expensive.
Jennifer of the blog, From Mississippi with Love, who previously wrote about Lebanon, Bhutan, Nairobi, Tel Aviv, Namibia and Victoria Falls, recently went and here are her practical tips to the French Riveria.
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Côte d'Azur, otherwise known as the French Riviera, is the southernmost region of France. Its French name, Côte d'Azur, comes from the color of the water – a stunning, brilliant, sparkling blue. The region is an absolute gem and sits right on the coast of the Mediterranean, sharing a border with the Italian Riviera and encapsulating Monaco. The region was historically a part of Italy and thus, has many influences from its neighbor.
#ILoveNice Sculpture, Promenade des Anglais, Nice. – Photo: (c) 2017 – Jennifer Wong of From Mississippi with Love
Flights down to Côte d'Azur are most commonly through Nice International Airport, and a second airport at Mandelieu is mainly used by private and business aircraft.
High-speed TGV trains are available from Paris a few times every day and takes roughly five and a half hours from Paris Gare de Lyon to Nice Ville. Regional trains are extremely easy to navigate and will allow you to visit multiple cities within the region without needing to rent a car. Do note that you are assigned seats on TGV trains, and it is not possible to print the ticket at the train station, so be sure to print it out beforehand!
Côte d'Azur is in France and uses the Euro (1€ to 1.19 USD). Most places will accept credit cards, and ATMs are prevalent throughout the region.
Transportation and traveling around Côte d'Azur
One option is to rent a car, but this can be pricey (especially if you are looking for automatic-only options!). Car rental prices for the day (roughly 40€+ per day), parking fees (20€+ per night), and European fuel prices add up pretty quickly!
A second option is to use the regional train system. The Côte d'Azur region operates trains regularly (a few times every hour) between most of the major cities in the region. Additionally, trains are available every fifteen minutes to Monaco. Expect train tickets to cost anywhere up to 4€ per trip – Nice to Monaco is 3.70€ each way. Oftentimes, the trains are just as fast as driving, though in summer months, it may actually be quicker due to traffic!
The third and cheapest option is to use the bus system. Each bus ticket within the region is 1.50€. While this requires a little pre-planning on your part, it is possible, especially with the prevalence of Google Maps.
The official language is French, but English and Italian are widely spoken here.
Côte d'Azur has no shortage of beautiful beaches, historical attractions, and activities to entertain. Below is a highlight of the major destinations and stops available in the region, all of which can be accessible by car or train (as well as helicopter and yacht, for those so inclined).
Nice: The largest city in Côte d'Azur famous for its pebbly beaches and Promenade des Anglais (the main seaside promenade). With the third largest airport in France (after the two airports in Paris), Nice is the gateway to exploring this region.
Ice cream cone, Fenocchio's, Nice – Photo: (c) 2017 – Jennifer Wong of From Mississippi with Love
Antibes: Unlike the pebbly beaches of Nice, Antibes sports over forty beaches along 16 miles of coastline, many of which are less rocky. Additionally, the city also boasts of the Picasso Museum in the old Château Grimaldi since Picasso left a number of his works to the municipality.
Cannes: Most famous for the annual Cannes Film Festival, the city is also home to the Promenade de la Croisette, an avenue with palm trees in La Croisette, an area with picturesque beaches, restaurants, cafes, and boutiques. The old town, Le Suquet, is lovely to stroll through. Nightlife in Cannes is also exceptionally fun though it can get ridiculously pricey during May when the town is hosting the Cannes Film Festival.
Saint Tropez: Made famous by Brigitte Bardot in the 1970s, Saint Tropez used to be where the rich and famous went to vacation. Nowadays, it's likely to be filled with more tourists wanting to spot the famous celebrities than the celebrities themselves, but nonetheless, the allure of pristine beaches, a quaint old town, and turquoise waters are enough to make any sea lover's dreams come true.
Port of Saint Tropez.. – Photo: (c) 2017 – Jennifer Wong of From Mississippi with Love
Monaco: Monaco is its own separate country but bordered on all sides by France and maintains an open border and customs union with France. A souvenir passport stamp may be obtained at the tourist office. Take a walk through Monaco-Ville, the old town, and visit the Palais Princier, which offers stunning views of the Port and Monte-Carlo as well as tours of its interior. The Monaco Cathedral was made famous in recent decades by the marriage of Princess Grace. And of course, you can't miss the Grand Casino and Monaco Opera House! Be sure to wear shoes other than flip flops in order to access the Grand Casino, otherwise you will be turned away at the door. Other notable attractions include the Prince's car collection, the Jardin Exotique, and the Oceanographic Museum and Aquarium.
Monaco. – Photo: (c) 2017 – Jennifer Wong of From Mississippi with Love
Eze: A tiny medieval village on top of a hill right on the coast between Nice and Monaco, Eze is not to be missed! It only takes roughly an hour or two to meander through the village and see the breathtaking panoramic views from the Jardin Exotique. Easily reachable by bus (~40 minutes) or by car. If you're feeling adventurous, take the route down to Eze sur Mer via the Nietzsche's trail! From there, you can take another bus or the train into Monaco or back to Nice.
Jardin Exotique d'Eze. – Photo: (c) 2017 – Jennifer Wong of From Mississippi with Love
Buying a SIM card or data is an extremely complicated process that will take a lot of time and paperwork. Some bars and cafes will offer free internet as well as most hotels. If you are comfortable without continuous internet access, this type of intermittent access will allow you to accomplish most things; however, if you are someone that needs to be connected at all times, then roaming options should be explored with your cellular carrier.
Growing up in rural Mississippi, Jennifer always dreamed of exploring the world. Since those days, she's developed irresistible wanderlust and called a number of places home: US (San Diego, San Francisco Bay Area, New York, Philadelphia), England, Malawi, Liberia, Israel, and most recently, Kenya. She's in love with her sports teams (the New Orleans Saints and Manchester City), running (currently training for the Berlin marathon), and adrenaline sports (skydiving, cliff jumping, bungee jumping, sandboarding). One day, she hopes to utilize her love of cooking and sports by opening up her own Southern-style boozy brunch sports pub. Follow her on her blog, From Mississippi with Love or @jennnnnwong on instagram.
3 Responses to "Practical Travel Tips: Nice & Côte d'Azur, France."
R Frank says:
A shallow and surface only review. Disappointing
Lee Berns says:
and also factually incorrect re: a few statements
Agree with the above, a disappointing and surface level review. Also, it is very easy to rent a wifi hot spot (we are in france now and picked up a unit at Nice Ville this week for about 60€ Total for 13 days, 500mb/day, unlimited also available for a little more) so we could stay in touch in email for work emergencies as needed.


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Life and Health After Hep C
By Daryl Luster
What does life after hep C mean for us? As we see, there is no single path our lives will take because, once again, we are all uniquely different. Pre-existing or new conditions, whether caused by years of living with hep C, genetics or many other factors will play a part in what our health looks like, post-cure.
For some, health issues remain
Being cured will not fix every health challenge -- physical or emotional. This does not mean that you cannot go on to have good health and live a long and problem-free life, because many do.
There are some of us who will struggle with challenge after challenge with their health and wellness. In my work, I speak regularly to people who do not return to good health after being cured of their hep C. They'll often say "I hoped I would feel much better" or something similar.
Recovery is a process
For some of us providing peer support, it can be difficult to have a conversation with someone who had high hopes, like any of us would. We have seen over the years, and with different therapies, how people can take time-sometimes a long time to recover from treatments. Clearly the older versions of therapy were extreme for most people, and personally, it took a couple years for me to feel much better after a forty-eight-week stint with an old regimen.
We are hearing from people who have treated with newer direct-acting antivirals (DAAs) who are still experiencing a range of medical conditions after treatment. Many may have health issues due to the damage the virus has done. It is noteworthy and needs further investigation, even if I can only speak to anecdotal evidence based on feedback from a substantial number of people who are experiencing post-treatment issues.
How will I feel after treatment?
In general, these are subjects that are missing from the narrative about hep C. There is not enough research into outcomes outside the liver in my opinion and the focus is almost all about eliminating the hep C virus as a public health issue -- who can argue with that.
As someone who lived with hep C and has always supported access to care, I understand that we want to see an end to hep C. There was nothing I wanted more once I was diagnosed than to be free of hep C. There is no question about the amazing progress that has been made in treating and curing hep C, while testing programs that will make significant leaps in a meaningful way remain weak in most places.
Still fighting for more awareness
General awareness about hep C has improved over the years, but still remains greatly misunderstood by the general population and even too many health care providers who do not work specifically in the field have little understanding, with some exceptions of course.
There is a wealth of information now available to people, just not always easy to understand the scientific papers, and to put them into context. In the context of treatment it is better to be cured in my opinion.
Hep C and Pain
Hep C Sucks! Let's get rid of it!

redpajama_set_name: RedPajamaCommonCrawl


The unisex LF vest is spun from a premium soft wool, featuring a ribbed knit, high neck, adjustable straps on both sides.
The LF Two Face Coat is cozy, unisex and mid-length, featuring a detachable hood fastened with snap button band. Fleece warm keeper interior and water repellent outer shell. Reversible, can be worn on both sides. Snap buttons fastening, decorative drawstrings at waist and hood.
Also available in 'riffle green' outer shell and 'black' fleece interior combination.
Also available in 'silver' outer shell and 'bright orange' fleece interior combination.
The LF lapeless blazer is made out of 100% cotton. Tonal double entrance pockets (top and side). Hidden left inner chest pocket. Polyester tonal lining. No shoulder pads. Fabric texture: soft and firm.
The long hooded coat is water-repellent, windproof and breathable, featuring a hood with string fastenings, a concealed front snap button fastening, a drawstring waist, long sleeves and a mid-calf length.
Knitted wool jumper with high neck, featuring two types of wool. Ribbed neckline, cuffs, and collar. Material texture: super soft and super fluffy.
The LF Emotional Raincoat is water repellent, featuring a detachable hood fastened with snap button band. Front snap buttons fastening, welt pockets, eyelet vents at armscyes. Waist cotton drawstring and tonal stitching. Cotton lining on hood and upper part. Also available in dark blue.
Knitted wool blend jumper with high neck. Ribbed neckline, cuffs, and collar. Material texture: soft and fluffy.
Sandy Drop is the framework for seven pieces designed for in-between weather. They take their qualities from the desert torrid days and cool nights. Their shapes are free flowing and the fabrics give them a refined way of moving. The functional characteristics and innovative cuts make them the perfect companion for the 10-15 degree temperature range.
Sand is lightweight and crisp, it takes the shape of its container and it moves with the wind. The defining feature of sand is time – the time it takes for solid rock to be broken down under the elements into fine grains. Just as sand, our pieces are the result of time, grinding harder into matter to produce fragments of what it once was.


Every company today needs to have an online presence to be successful. Consumers are turning to the web when looking for products, when looking for solutions to problems or when making purchasing decisions. Taking a business online requires a few important elements and a good strategy. Every business will need five things to put a company online successfully.
The first thing a company needs is an optimized website. The website should be visually appealing and simple for visitors to use. This includes making certain that the website is functional and visible on many different devices under different resolutions. It also needs to be optimized on a technical and content level for search engines in order to improve rankings. The website should be intuitively structured. An optimized website is one of the most important things needed when placing a business on the web.
Businesses need some type of content management system (CMS). A CMS is an application or interface that allows people without strong technical knowledge to make changes to the website or to add content. The CMS streamlines updates and corrections. Certain CMS applications also integrate with marketing programs making it possible to extract analytical data or manage marketing campaigns.
Every company needs a branded domain name and multiple email addresses. The domain name should match the company and be easy to remember. Businesses also need multiple email addresses for marketing, customer service and even sales. The emails should be under the branded domain name. This is important because generic domains could have reputation problems online that will make sending emails to customers difficult.
Any business that will be selling products online needs an ecommerce platform. There are turnkey platforms that use portals attached to the main website. There are also standalone ecommerce platforms that must be installed on a server and configured in order to function. Standalone platforms require technical expertise inside the company. Many complete ecommerce platforms today include electronic payment processing options and security as part of the suite.
Any business going on the web needs a strong and well-designed marketing strategy. This strategy can include options such as search engine optimization, email campaigns and affiliate marketing. The professionals at the Marketing Exchange specialize in developing and refining marketing plans for businesses moving online. A good online marketing strategy will drive traffic to the website, increase visibility and improve revenue.


The IPCC report significantly underestimates the costs of getting to zero emissions. Fossil fuels provide cheap, efficient power, whereas green energy remains mostly uncompetitive.
Switching to more expensive, less efficient technology slows development. In poor nations that means fewer people lifted out of poverty.
In rich ones, it means the most vulnerable are hit by higher energy bills.
The IPCC says carbon emissions need to peak right now and fall rapidly to avert catastrophe.
Models actually reveal that to achieve the 2.7-degree goal the world must stop all fossil fuel use in less than four years.
Yet the International Energy Agency estimates that in 2040 fossil fuels will still meet three-quarters of world energy needs, even if the Paris agreement is fully implemented.
Selon les prévisions annoncées dans l'édition d'octobre du Commodity Markets Outlook, les prix des produits énergétiques (pétrole, gaz naturel et charbon) progresseront seulement de 4 % en 2018, après l'envolée de 28 % de cette année.


It has been such a busy week here on the blog! Inspiration every where!
Our current challenge is Encouragement and I decided nothing could be more encouraging than the sweet characters in the Lil Hoot set from Hero Arts and Operation Write Home. I also really wanted to play around with some backgrounds so I decided to create some tags. Often times I feel a little overwhelmed when trying to use large backgrounds on a card. A tag is a perfect way to use a little bit of a busy background!
For my first tag I smooshed distress inks onto my craft mat and sprayed it with water. I kept dipping my tag in until I like the background. after it was dry I laid down the arrow stencil and put even more distress ink on. Finally I shifted the die over to the right and used my white embossing paste. I like how just bits of the darker color are peaking out. I added a bit of stickles to the tips of the arrows. The elephant was colored with copics, fussy cut, and added with dimensional adhesive.
For this background I used the Tweed stencil and more distress ink. I just kept shifting the stencil up to get the ombre chevrons. I love the blended look it gives. I flipped the stencil horizontal and added embossing paste creating a subtle cross hatch. I outlined one side of the embossing paste with stardust stickles. Again I colored the bears with copics, fussy cut, and added dimensional adhesive.
This last one was the most fun to create! I love how the starry sky turned out! I added several colors of distress ink keeping it lighter where I knew my moon would be. I flicked on some water and let it dry. I added the stars using the Starry Night stencil then used a silver pen and stardust stickles to add some dots. Copics, Fussy, Dimension. All done!
Categories: Handmade Cards | Tags: Arrow Pattern Stencil, Distress Ink, embossing paste, Kelly Latevola, Lil Hoot, starry night stencil, Tags, Tweed Stencil | Permalink.


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OSDN > Find Software > Scientific/Engineering > Genome-Informatics > mspp > Download File List > Package Windows Installer:
mspp
MassPlusPlus
mspp-dev-en
mspp-dev-ja
This is the site for the development and maintenance of the open source version of Mass++, a program for analyzing and displaying data obtained from mass spectrometers. The development of Mass++ was started in 2006 by the Japan Science and Technology Agency (JST) under the Creative Research for Evolutional Science and Technology (CREST) program, and continued in 2010 by the Cabinet Office's Funding Program for World-Leading Innovative R&D on Science and Technology (FIRST). Since March 2015, Mass++ has been open-sourced, and the source code has been released under the 3-clause BSD license. For more information about the development and maintenance of this open source version of Mass++, please see https://www.mspp.ninja/.
Please cite the following article when using Mass++:
Tanaka, S. et al. Mass++: A visualization and analysis tool for mass spectrometry. J Proteome Res. 13: 3846–3853 (2014). doi: 10.1021/pr500155z [PubMed: 24965016]
Your rating on mspp
Sample Data:
small dataset just for test
Source (Snapshot):
2.7.5-20150612
Windows Installer:
2.7.5 (first release build for OSS Edition)
Windows Installer: (1 items )
2.7.5 (first release build for OSS Edition) (3 files Hide)


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Glacial Wood's Veteran: John Wuollet on Wood, Lean Manufacturing, & a Premonition
By Corey Linn on Sep 26, 2016 11:55:00 AM
For John Wuollet, it began with stairs.
Grew up in Minneapolis. Parents moved to Starbuck. "When I would visit, I just loved being in the area. I tried to relocate in the late 1980's, but there wasn't anything for work. I made the permanent move to Brooten in 1993, and applied at Glacial Wood in January of 1994."
A Woodsman at Heart
With his background being in lumberyards, John had plenty of experience with wood. As a delivery driver and estimator, he facilitated orders and deliveries between the office and the yard. Glacial Wood was intended to be an in-between job for John when he clocked in for the first time, nearly 23 years ago. The best stories are always about the unexpected. What changed his mind and career trajectory?
"I turned on a lathe."
John had always liked the look and composite of wood, and he found wood turning intriguing. Old houses with ornate wood detail, built-in cabinets, and big, grand staircases with epic pieces of wood always appealed to him. One of Glacial Wood's first custom clients was a stair company out of Minneapolis called Stairbuilders, Inc.
"The stair builder would design his staircase projects in his head," John said. "He'd present his drawings on a sheet of paper, and Glacial Wood would help bring his vision to life. That was fun. We were doing something and making something that no one else ever had. Together, we'd create these gorgeous walnut stairways. It was ultra-custom and always interesting. Even today, when we work on homes that are million-dollar plus residential projects, the staircases are just gorgeous."
In the early days at Glacial Wood, there was a lot of variety to what the company produced on behalf of its clients. Wooden plates. Arts and crafts-type pieces. Furniture components. The odd stairway job. John ran the lathe for about 15 years before he assumed the role of production leader of the shop. Eventually, a lot of the product requests and brunt of the manufacturing Glacial Wood was handling transferred overseas. Cheaper labor. Glacial Wood needed to find a new niche. Knowing it both loved and excelled at truly custom work, Glacial Wood found that niche in custom cabinetry. "That's when this place really took off," John said.
On Milestones and a Shift in Operation
In 2000, the CNC lathe arrived at Glacial Wood – a huge milestone that changed nearly everything. "It was one of those instances where we said, why didn't we do this sooner? It was a game changer," John said. Up until that point, Glacial Wood did everything by hand, giving the company its foundation of a truly custom process. The advent of the CNC lathe only continued that philosophy, and strengthened the capabilities of the craftsmen. Growth and opportunity led Glacial Wood to expand its manufacturing headquarters, and the production facility of today was built in 2002.
John's days are spent in the heart (and brain!) of the operation at Glacial Wood. He's on the floor overseeing our team of craftsmen, and lending his expertise along the entire value stream of manufacturing. He works with the sales team to establish estimates and project expectations. He collaborates with new customers and partners on research and development. "The uniqueness of what I do and see, and what we do and create comes from the designers, architects, and stair builders. The people who are looking outside the catalogue, and demanding something different for their craft and line of work – those are our people. They make our motor run, and they drive us." John explained. "In fact, after 22 years, I still walk through projects and see things that make me say, that's the most gorgeous thing I've ever seen!"
I'm in awe of what we do. What we have done, and what we'll continue to do. Has it always been easy? No. Has it always been important and worth it? Absolutely.
The Future Looks Lean
Right now, Glacial Wood is in a big transition toward lean manufacturing. We've tasked and empowered our team to take it on themselves. Lean is most impacted by the people who embrace and implement it. It's not often the company you work for says, Hey. You see it, you're in it, and you're the best people to implement change to make it better. "You don't really ever see that in companies. The changes are usually issued at the top and instructed to be carried out without much afterthought of how the process ultimately affects the people," John said. "Make it how you want it. That's exciting. We've reconsidered shop layout, scheduling, the Five S's of lean manufacturing, and visual management. And, it's our team pushing it and running it. It makes so much sense. We are becoming a state-of-the-art facility here at Glacial Wood."
Did John have this notion when he started as a lathe operator in 1994, of what Glacial Wood would turn into?
"The truth is, right after I began my career here, I stopped at my dad's. I told him, I'm going to run that place someday. I just had a feeling from very early on that this was going to be special for me, and worth all the work that comes with it," John said.
Topics: Lean Manufacturing, How We're Different, Project Management


City Tour from among the many choices of tours available, recommend Sentosa Tour.
Breakfast at the hotel.Proceed for City Tour at 0900 hrs (Timings subject to change depending on hotel location).Afternoon free at leisure.(You may opt for a tour from among the many choices of tours available. We recommend Sentosa Tour on this day).Overnight at the hotel.
Breakfast at the hotel.Day free at leisure.(You may opt for a tour from among the many choices of tours available. We recommend Universal Studios Tour on this day).Overnight at the hotel.


Keeping Up with the Kandidates: Kardashians Run For LA Mayor – Expanding your culture, one touch at a time.
Okay, maybe it's not true… yet. A Trump win would certainly open the door and if there is anyone that can stir up more non-drama, non-news, and outright nonsense its the Kardashians – sorry, GOP.
Previous Post The TouchMyCulture Caucus: Who are you voting for?


Uncertain how to get started solving your Marrero tree challenges? Hurley Contracting offers expertise and trustworthiness on Marrero tree demands from Marrero tree trimming to extraction, and case-specific work. With our staff in Marrero, LA, your approval is our focus.
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You no longer need to be unready when going into tree work. Check out the commonly asked questions portion here to learn more about our services. If you have any in depth responses or clarification, be sure to reach out to our knowledgeable customer service representatives.
When will trimming trees in Marrero, Louisiana be the most recommended?
The greatest instant to trim a tree in Marrero, Louisiana hinges on the type. Like, cosmetic trees – which are planted more for visual value than a product, including raw wood or fresh fruit – are best treated after losing their flowers, in the fall, while trees including alders, dogwoods, maples and elms are best served through August and autumn. We have an extensive understanding of the assorted tree varieties and when they'll have to be serviced.
Could major equipment have to be put across my Marrero, Louisiana lawn?
There's certain jobs that necessitate large-scale machines to ensure that the labor is performed entirely, correctly, and efficiently. In these situations, you're going to always be notified of what ought to be carried out and the highly trained personnel will do all that they're able to keep the rest of your land unblemished.
How do I identify if our tree in Marrero, LA is dangerous?
Authorities determine the threat your Marrero trees pose with a general inspection and recommend the best plan to end the difficulties. However, at times a tree has grown in such a way that the danger to individuals and homes calls specifically for extraction. Anytime that is the case, Hurley Contracting offers a total removal without delay alongside all disposal duties.
You can find lots of info available for those interested in tree treatments. If you have any questions or concerns don't be afraid to speak to us about scheduling a comprehensive quote of your situation.
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Our rates are rooted in our professionalism, experiences, and high grade of craftsmanship. So, though occasionally you may see another company who gives a quote that is lower than ours, please recall that you get what you pay for. If you're seriously considering an alternate company, check their work history, their feedback, and their credibility. Our costs are determined by the caliber of results we produce, at as practical a price tag as available.
How efficiently could you conclude my tree trimming in Marrero, LA?
The amount of time needed to tend your trees depends on various points. From as little as a quarter-hour on a basic task, to as lengthy as a few hours when there is in depth work managed. The right method to discover how long it's going to take to repair your trees in Marrero, LA definitely is to contact Hurley Contracting for an evaluation. There's no obligation, and you can have an improved idea of what you'll be faced with.
Have you got contacts in OK? Enable them to obtain a zero cost tree trimming Kaw City rate estimate.


"Duke professor supports 'smart guns'" - Daily Targum. 11/13/2014.
Smart guns have devices -- microchips, proximity devices, fingerprint recognition -- that allow them to fired only by designated users. Philip Cook says they can help reduce gun violence. Cook posits that smart guns would reduce gun theft and decrease the number of criminals with illegally purchased guns. He says that, especially when used in conjunction with gun buyback programs and higher transaction costs for gun purchases, smart guns will disrupt illegal gun supply.


Peas and Pasta with EVOO, grated Parmesan and lemon zest. Serves 4 as an appetizer or two as an entree salad. In a large bowl toss one cup of fresh arugula, Sang lee Farms, together with one cup of fresh peas and one cup of pea shoots or pea tendrils.


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9 out of 10 based on 461 ratings. 2,470 user reviews.
Nov 23, 2015On this page you can read or download zimsec a level history question papers in PDF format. If you don't see any interesting for you, use our search form on bottom ↓ .


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Our missionary priests offer Novenas of Masses throughout the year for Valentine's Day, Easter, Mother's Day, Father's Day, Padre Pio, All Souls' and Christmas. Beautiful spiritual cards are available.
Our Special Masses offer support to your loved ones at special times in their lives.
Our missionary priests offer Novenas of Masses throughout the year for Valentine's Day, Easter, Mother's Day, Father's Day, Padre Pio, All Souls' and Christmas.


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Q: jQuery - Treat multiple instances of the same class separately? Goal:

*

*I'm trying to create a parallax scrolling effect.

*The parallax-container are implemented like so:

< div class="parallax slide-1" >
< /div >

*I need the parallax effect to start, when its container is scrolled into view.

*Once it has left the view, the effect needs to stop.

The Problem:
The jQuery works fine so far.
But: Since I can have multiple parallax-container on one page (e.g. one at the top + one at the bottom) I need them to be treated independently by jQuery.
At the moment the effect is...

*

*1.) triggered for every parallax-container once the first one is scrolled into view and

*2.) stops for every parallax-container once it has left the view.

So not quite the solution yet.
Thoughts
I think it should work with jQuerys .each(), but I couldn't really get it to work so far.
I think I'm getting confused with the nested functions somewhere, when I try to implement it.
Code
Here's my current code:
$(document).ready(function(){

$.fn.is_on_screen = function(){
    var win = $(window);
    var viewport = {
        top : win.scrollTop(),
        left : win.scrollLeft()
    };
    viewport.right = viewport.left + win.width();
    viewport.bottom = viewport.top + win.height();

    var bounds = this.offset();
    bounds.right = bounds.left + this.outerWidth();
    bounds.bottom = bounds.top + this.outerHeight();

    return (!(viewport.right < bounds.left || viewport.left > bounds.right || viewport.bottom < bounds.top || viewport.top > bounds.bottom));
};

$(window).scroll(function(){ // Bind window scroll event
    if( $('.parallax').length > 0 ) { // Check if target element exists in DOM
        if( $('.parallax').is_on_screen() ) { // Check if target element is visible on screen after DOM loaded

            // ANIMATE PARALLAX EFFECT
            // If Parallax Element is scrolled into view do...

            // Variables
                var speed     = 2.5;
                var calc      = (-window.pageXOffset / speed) + "px " + (-window.pageYOffset / speed) + "px";
                var container = $(".parallax");

            // Function
                container.css({backgroundPosition: calc});

        } else {
            // ...otherwise do nothing
        }
    }
});

})

A: Assuming the scrolling you want to do is identical (using the same parallax methods,etc), you could just use the .each on the class. Example:
$(window).scroll(function(){ // Bind window scroll event
    $( ".parallax" ).each(function() {
        if( $( this ).is_on_screen() ) { // Check if target element is visible on screen after DOM loaded

            // ANIMATE PARALLAX EFFECT
            // If Parallax Element is scrolled into view do...
            // remember to replace ('.paralax') with (this)

            // Variables
                var speed     = 2.5;
                var calc      = (-window.pageXOffset / speed) + "px " + (-window.pageYOffset / speed) + "px";
                var container = $( this );

            // Function
                container.css({backgroundPosition: calc});

        } else {
            // ...otherwise do nothing
        }
    });
});

redpajama_set_name: RedPajamaStackExchange


Prime Minister John Key and Samoa Prime Minister Tuilaepa enjoy the Independence Day celebrations in Apia.
Labour's immigration spokesman Trevor Mallard says Samoa is unlikely to be affected by any potential restrictions to migrants under a Labour Government.
Samoa's Prime Minister earlier today took the unusual step of commenting on another country's domestic politics, saying if Labour went ahead with its plans to restrict immigration it would be "detrimental to New Zealand."
Mr Mallard said any policy changes would focus on restricting entry to people who were offering skills that New Zealand had no demand for.
That was unlikely to impact on Samoans because they were more likely to come under the family reunification category, and not the skilled migrant category, Mr Mallard said.
He said Labour was also likely to target the business migrant categories introduced by National.
"I don't think it's likely to make much difference to Samoa at all frankly. I don't know of any cases of people who have come from Samoa, for example on the ... $10 million investment categories which will certainly be looked at very closely."
Prime Minister Tuilaepa Aiono Sailele Malielegaoi was earlier asked about Labour leader David Cunliffe's recent statements that Labour control immigration further after Treasury predicted net migration would increase to almost 40,000 a year soon.
Mr Tuilaepa said he did not agree with such a policy.
"I think it would be detrimental to New Zealand to introduce that type of politics. You will need people to come in with the skills and the capital to develop a country and create more jobs for your people."
Mr Key made the most of that comment to claim National was better for Pacific Island voters than Labour, saying Mr Cunliffe's position had been hard to clarify but appeared to include cutting down on family reunification numbers.
"I don't think that makes sense. As a general rule people are coming to NZ as long term migrants. If they don't bring their families with them then it's hardly a long term recipe for success."
Mr Key spoke about New Zealand's quota for Samoa, saying New Zealand was looking at ways to improve that because it was not always filled. Workers also came under the Recognised Seasonal Employer scheme, which allows horticulture workers to work in New Zealand for several months a year to take the money home.
Mr Mallard said Samoans who came to New Zealand as seasonal workers were a fraction of total migration and did not have an impact on net migration or put pressure on housing or jobs.
Prime Minister John Key got a taste of Samoan pride at Independence Day celebrations in Apia today.
It is the 52nd Independence Day - Samoa became independent from New Zealand in 1962.
New Zealand had governed it since 1914 when New Zealand troops took over what was then German Samoa as part of Allied action.
A Treaty of Friendship was signed between New Zealand and Samoa soon after and Mr Key had timed his visit to try to ensure he was in Samoa to mark the occasion.
After the flag-raising and national anthems, Mr Key, his delegation and Mr Tuilaepa as well as other dignitaries watched a two-hour long 'march-past' - thousands of Samoan people representing their churches, schools and community groups.
Samoa's Head of State, His Highness Tui Atua Tupua Tamasese Efi spoke to the gathering, recalling that people had questioned how Samoa would cope given its size.
"Why should we celebrate where we are today and how we got here? Because we have shown ourselves and our international supporters that we are a fully functioning democracy with sound financial management systems and we take the rule of law seriously."
He said Samoa continued to receive international support and recognition, showing Samoa was a leader in the Pacific.
However, he ended on a cautionary note about the progress and development. He borrowed an anecdote from his friend, Maori Council co-chair Eddie Durie, about a Maori who was trying to learn English long ago and would practise by writing home to his family. "The hurrier I get, the behinder I become," he wrote.
Mr Key has a formal meeting with Prime Minister Tuilaepa today.
Go here for the Herald's latest coverage of Pacific Island issues.


text:
An oversight on oversight: The Federal Home Loan Bank
Mark Cassell, Susan Hoffmann 22 September 2010
While many policymakers concerned with suppressing the global crisis are looking to the Great Depression as a guide, this column suggests that many are missing a trick. In a new book, the authors argue that the Federal Home Loan Bank, set up to solve the financial crises of the 1930s, is an unparalleled source of housing finance expertise which, with reform, could be vital to policymakers today.
Debate over financial regulatory reform has been far-reaching (see Brunnermeier et al. 2009 and Wyplosz 2009). Yet one set of institutions has gone largely unnoticed: the Federal Home Loan Bank (FHLBank) system, a government sponsored enterprise composed of 12 regional bankers' banks that has been at the centre of sustainable home ownership finance in the US since 1932 .
The lack of attention by lawmakers is not entirely a surprise. The Federal Reserve has long overshadowed the FHLBank system. Moreover, FHLBank leaders and supporters may well prefer flying under the Congressional radar to wait out the present financial storm. Regardless of the reason, we show in our recent book Mission Expansion in the Federal Home Loan Bank System (Cassell and Hoffmann 2010) that by neglecting the FHLBank system, lawmakers miss a chance to tap the most important source of housing finance expertise in the federal government. In addition, we lose an opportunity to reform the FHLBank system, which, while not at the centre of the current foreclosure and financial crisis, was certainly a player.
Tap the FHLBank system's housing finance expertise
Responding to the home mortgage foreclosure crisis of the Great Depression era, President Herbert Hoover spearheaded construction of a national system of Home Loan Banks. Modelled on the Federal Reserve, the FHLBank system's size and implied government guarantee enables Home Loan Banks to raise money collectively and cheaply in the capital markets and make wholesale loans – termed 'advances'– to member institutions, primarily for homeownership lending. Thus, for 78 years the FHLBank system has been the primary source of housing finance expertise in the US. Lawmakers should take advantage of such expertise in two ways.
First, Congress and the administration should recognise that the FHLBank system has demonstrated administrative capacity to understand and oversee the range of functions necessary for responsible, sustainable home ownership finance including regulating mortgage structure, supervising mortgage origination, and licensing mortgage bankers. Consumer protection in housing finance should be placed with the FHLBank system's regulator, the Federal Housing Finance Agency, and not with the Federal Reserve or the proposed Consumer Financial Protection Agency.
Second, federal policies to minimise the societal harm from foreclosures, including the Home Affordable Foreclosure Alternatives Program, should be placed in the FHLBank system, the agency whose primary mission for the past seven decades has been housing finance. At present foreclosure policies are housed mainly in the Department of Treasury, an agency with relatively little housing finance expertise.
The FHLBank system requires reforms
While it is an important resource that should be tapped, the FHLBank system also requires reform. IndyMac Bank and Countrywide Bank, two of our most notorious dealers of toxic loans, were both enabled by the cheap liquidity they received from the FHLBanks of San Francisco and Atlanta, respectively. A recent report by the Federal Housing Finance Agency found that in 2008, a fifth of the collateral used to secure advances from the FHLBanks were either non-traditional, subprime or Alt-A loans. The FHLBank system has taken important internal steps to tighten its lending and underwriting standards. Despite this, we suggest three major institutional reforms are also needed.
First, a cap should be placed on the size of depository institutions eligible for FHLBank system membership. There are approximately 8,000 members of the FHLBank system, most are small- and medium-sized commercial banks and savings and loan associations serving all regions of the country. Yet four institutions - Bank of America, JPMorgan Chase, Citigroup, and Wells Fargo – control 31% of the stock in the Federal Home Loan Bank system. Enabling such large institutions to grow even larger through access to cheap liquidity is unnecessary and destabilising. These private institutions are large enough to raise capital on their own without the support of the federal government and taxpayers.
Second, lawmakers should refocus the FHLBank system's attention on its public purpose by making the system more like the Federal Reserve Banks and less like Fannie Mae and Freddie Mac. While FHLBanks' boards of directors would have discretion regarding the dividend they pay to member institutions, Federal Reserve Banks would pay members a dividend that is fixed in statute. Federal Reserve system earnings, after covering the system's costs of operation, would be turned over to the Treasury. Such a reform would not guarantee that Federal Home Loan Banks stays on mission, but it would relieve pressure on FHLBank managers to make policy decisions intended to maximise dividends potentially at the expense of taxpayers.
Edward DeMarco, acting director of the Federal Housing Finance Agency, recently criticised FHLBanks' risky investments and called on them to return to their core mission of providing advances for home mortgage lending. Capping dividends is one step to achieving that goal.
Finally, again in keeping with the Federal Reserve model, Congress should eliminate fixed assessments on FHLBanks. Currently, FHLBanks are obligated to make an annual payment to cover the Savings and Loan bailout of the 1980s and a 10% assessment to fund affordable housing programmes. As a practical matter, the S&L obligation is almost paid off and should be wound down as planned, but we recommend eliminating the obligation for affordable housing. Let FHLBanks make decisions based on the need for housing finance in the economy, the viability of member institutions, best practices in home mortgage structure, and the institutional stability of the FHLBanks – not on an imperative to make money. Let earnings after the cost of operations revert to the Treasury or be restricted for housing and community development needs. The latter option is likely to result in more, not fewer, funds for affordable housing and community development.
Comparisons between the present financial crisis and the Great Depression are often overstated. Yet, the public institutions that helped solve the financial crises of the 1930s offer a resource to lawmakers today, albeit with some needed adjustments. As reforms to America's financial regulatory structure are finalised, elected officials should finally take note of the FHLBank system, America's greatest resource in housing finance.
Figure 1. FHLBank System Assets, 1989-2007 (Dollar amounts in billions)
Cassell, Mark K and Susan M Hoffmann (2010), Mission Expansion in the Federal Home Loan Bank System, SUNY press.
Brunnermeier, Markus K, Andrew Crockett, Charles A Goodhart, Avinash Persaud, Hyun Song Shin (2009), The Fundamental Principles of Financial Regulation, CEPR Geneva Reports.
Snowden, Kenneth A (2010), "Is this your grandfather's mortgage crisis?", VoxEU.org, 10 September.
Wyplosz, Charles (2009), "The ICMB-CEPR Geneva Report: "The Future of Financial Regulation", VoxEU.org, 27 January.
1 A notable exception being this month's Vox column by Snowden (2010).
Topics: Financial markets Global crisis
Tags: subprime crisis, global crisis, housing finance
Mark Cassell
Associate Professor of Political Science at Kent State University
Susan Hoffmann
Professor of Political Science at Western Michigan University


If you are looking for me on another site, my user name is always Piggie4299. Please, feel free to drop me a hello where ever you might find me!
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text:
Una fitxa és una targeta de forma rectangular de cartolina o paper de fil resistent que es fa servir per a registrar i un resum de les dades sobre persones o coses i que permeten una classificació alfabètica o temàtica. Els desavantatges tècnics com manteniment manual, poca flexibilitat, molta mà d'obra per fer les fitxes, mantenir-les, actualitzar-les o de refer-les quan estan gastades, l'espai físic necessari per als fitxers van fer desaparèixer les fitxes ràpidament quan l'informàtica va crear les bases de dades.

Contenen dades d'identificació de qualsevol subjecte com per exemple persones, adreces, companyies, clients, d'obres, conceptes, idees, resums, síntesi, espècies, col·leccions…. Les bases de dades electròniques van reprendre la terminologia i de vegades les imatges de les antigues carpetes o mobles de fitxer per a crear les icones.

Fitxa tècnica
La fitxa tècnica és un document en forma de sumari que conté la descripció de les característiques d'un objecte, material, procés o programa de manera detallada. Els continguts varien depenent del producte, servei o entitat descrita, però en general sol contenir dades com el nom, característiques físiques, la manera d'ús o elaboració, propietats distintives i especificacions tècniques.

La correcta redacció de la fitxa tècnica és important per garantir la satisfacció del consumidor, especialment en els casos on la incorrecta utilització d'un producte pot resultar en danys personals o materials o responsabilitats civils o penals.

Fitxes d'inventaris d'objectes o de documents
Ja a l'època de les fitxes de cartró, les bibliotèques van assatjar d'estandartizar l'estructura i la tipografia de les fitxes. La informatització va augmentar aquesta necessitat per tal de facilitar l'intercanvi de la informatització. Un exemple d'estandardització informàtica és la fitxa utilitzada per a descarregar un fitxer a Commons: «Carrega». Que siguin els objectes d'un museu, els llibres, revistes i altres documents d'una biblioteca, arxius… cada aplicació necessita una fitxa apropiada.

El 2007, la Generalitat de Catalunya va publicar una Norma de Descripció Arxivística de Catalunya (NODAC) 2007 que està basada sobre la Norma Internacional General de Descripció Arxivística adoptada a Estocolm el 1999 pel Comité de Normes de Descripció del Consell Internacional d'Arxius. L'Organització Internacional per a l'Estandardització (ISO) va publicar una norma sobre la norma ISO 21127:2006 sobre la informació i la documentació del patrimoni cultural.

Fitxes de persones
Per a fitxer de persones, l'estructura d'una fitxa depèn de les necessitats de l'ús: les fitxes de la policia de l'inventari de criminals necessiten altres camps que les fitxes d'un metge, d'una administració, d'un banc o d'una escola. Camps comuns sovint són adreça, data i lloc de naixement, número nacional ecc. La facilitat d'accés autoritzat o criminal a les fitxes informàtiques, per comparació amb els antics fitxes de cartró molt més fàcils per a protegir contra intrusions, va suscitar la qüestió de la protecció de les dades personals. Una altra mostra d'estandardització de fitxes personal és la introducció dels números bancaris IBAN al nivell europeu.

Vegeu també
 Fitxa (jocs)
 Fitxa tècnica

Referències

Biblioteconomia
Gestió

redpajama_set_name: RedPajamaWikipedia


European Truck & Trailer Care is the right address for you for the full-service solution for your vehicle fleet. You can call on us for repair or maintenance of your truck, trailer, cooling engine, tyres and all other parts. In other words: everything from the front to rear bumper!
With workplaces in Holten and Duiven we can be of service to you in Eastern and Central Holland. But thanks to our well-equipped mobile workplaces, repair and maintenance on your own premises or on the road is also one of the options offered to you by European Truck & Trailer Care. Our 24-hour service is available day and night to help you on your way in the case of a breakdown at home or abroad.
We know that minimal costs, and minimal immobility in particular, are crucial to you as a transporter. ETTC's Repair Management System gives you the opportunity to plan both periodic maintenance and testing and occasional repairs and notify them directly to one of our workplaces. In addition, you will get an insight into the costs and availability of your vehicle fleet. A convenient 'tool' for the planners and valuable information for the general management and the vehicle fleet management.


text:
PVH Corp.
PVH Corp. operates as an apparel company in the United States and internationally. The company operates through Calvin Klein North America, Calvin Klein International, Tommy Hilfiger North America, Tommy Hilfiger International, Heritage Brands Wholesale, and Heritage Brands Retail segments. It designs, markets, and retails men s and women's apparel and accessories, branded dress shirts, neckwear, sportswear, jeans wear, intimate apparel, swim products, handbags, footwear, golf apparel, fragrances, cosmetics, eyewear, socks, jewelry, watches, outerwear, small leather goods, and furnishings, as well as other related products. The company offers its products under its own brands, such as Calvin Klein, Tommy Hilfiger, Van Heusen, IZOD, ARROW, Warner's, Olga, and Eagle; and licensed brands comprising Speedo, Geoffrey Beene, Kenneth Cole New York, Kenneth Cole Reaction, Sean John, MICHAEL Michael Kors, Michael Kors Collection, and Chaps, as well as various other licensed and private label brands. It also licenses its own brands over various products. The company distributes its products at wholesale in department, chain, specialty, mass market, club, off-price, and independent stores; and through company-operated full-price specialty and outlet stores, as well as through e-commerce sites. PVH Corp. was founded in 1881 and is based in New York, New York.
US$ 0.19 (0.2%)
Want to invest in PVH Corp. ?


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text:
Q: javax.xml.crypto custom CanonicalizationMethod for old specefications I'm trying to validate xml signed with
<CanonicalizationMethod Algorithm="http://www.w3.org/TR/1999/WD-xml-c14n-19991115"/>

But I get an exception:
javax.xml.crypto.MarshalException: java.security.NoSuchAlgorithmException: no such algorithm: http://www.w3.org/TR/1999/WD-xml-c14n-19991115 for provider XMLDSig
I don't like option to change xml input. Looks like implementing of some custom canonicalization method or force java to use other is much better, but I can't figure out how to do this.
final NodeList signatureNodeList = document.getElementsByTagName(SIGNATURE_TAG_NAME);
  if (signatureNodeList.getLength() == 0)
    return false;
  for(int i = 0; i < signatureNodeList.getLength(); i++){
    final DOMValidateContext validateContext = new DOMValidateContext(
      new KeyValueKeySelector(), signatureNodeList.item(i));
    final XMLSignature signature = xmlSignatureFactory.unmarshalXMLSignature(
      validateContext);
    if(!signature.validate(validateContext))
      return false;
  }

A: These are the CanonicalizationMethod values defined in JDK 8:

*

*http://www.w3.org/2001/10/xml-exc-c14n#

*http://www.w3.org/2001/10/xml-exc-c14n#WithComments

*http://www.w3.org/TR/2001/REC-xml-c14n-20010315

*http://www.w3.org/TR/2001/REC-xml-c14n-20010315#WithComments
Specifically, the 1999 working draft that you're using (http://www.w3.org/TR/1999/WD-xml-c14n-19991115) isn't among them.

I don't like option to change xml input.

From the implementation of XMLDSigRI you can probably work out how to create a new provider that implements that specific version.
However, I'd seriously consider whether it's valuable to have an implementation of an obsolete draft, especially when cryptography is involved.


text:
What do we need to make the finals?
Author Topic: What do we need to make the finals? (Read 4290 times)
Re: What do we need to make the finals?
gouki88
2019 & 2021 CS Historical Draft Champion
Quote from: celticbos on January 12, 2021, 07:23:30 PM
Al Horford is what we need. Smart and Theis along with a portion of TPE would be worth the deal. Should leave us with enough to help bench after.
1) don't think TPE's can be combined with salary.
2) that is a genuinely awful deal for us. Horford is barely better than Theis and is much worse than Smart, let alone for his horrible contract
Fire Brad
Quote from: gouki88 on January 12, 2021, 07:34:11 PM
I'm positive about Horford, but he's on a salary a year and a half beyond when the Celtics were already unwilling to pay it. Does even that player still exist? He didn't do a lot last season to make us believe it. I wouldn't bet on the Celtics taking the back end of that contract, when they wouldn't take a risk on the front end.
As for the trade proposal, Smart is a core player and Theis had a better year than Horford. Yes, their games are different; but so, obviously, are their salaries.
trickybilly
Antoine Walker
I know we've talked about this a million times, but we really should throw a lot the Wolves for Karl Anthony Towns. Not sure if it gets done without one of the Jays included, but even that might be worth it. I am prepared to cop a lot of spit for this suggestion.
"Gimme the ball, gimme the ball". Freddy Quimby, 1994.
GreenlyGreeny
First and foremost, we need to wait for the Nets to have their turn. I'm just not seeing how we can add a third piece that brings Tatum/Brown up to the level of early 30s Harden/Durant/Irving. Not in 2021 and maybe not in 2022. Maybe if KAT becomes disgruntled and we get him somehow without giving up more than picks. Maybe if we somehow bring Jokic here in 2023. We definitely need an elite big man to get past them.
Quote from: trickybilly on January 13, 2021, 11:50:30 PM
TWolves are struggling. Maybe this deal gets it done if you add 2022 and 2024 swaps:
https://tradenba.com/trades/LZtq4D6sP
Paul Silas
KANSEI DORIFUTO
Quote from: Jvalin on January 12, 2021, 12:45:48 PM
Quote from: ETNCeltics on January 12, 2021, 12:01:51 PM
if you come up with a reasonable way to get Jokic, let everyone know.
Tatum + fillers for Jokic. Poison pill provision would be a problem. I bet both teams would say no.
Personally speaking, I'd do it for the C's. We'd probably have to make more moves to balance the roster, but imo Jokic is a top 5 player in the league. Worst case scenario, top 6. Never gonna happen obviously. Just saying.
We can do that in the offseason
Jaylen for All-NBA
I love Towns, but we really need to know whether he's in a good state of mind right now after a horrible 2020 for him and his family. I think he definitely has the potential to be that next level guy (he's really close right now), but he needs to improve defensively while being able to shoulder a heavier offensive load/become elite at passing, and that doesn't happen if he isn't focused on playing basketball.
Quote from: Hoopvortex on January 12, 2021, 04:11:02 PM
I wouldn't do it, but not because the value isn't there - it is. And it would be a fit for the long-standing visions of both Ainge and Stevens to play through a big.
When Ainge became an executive with the Celtics he mentioned two offenses that he'd like to emulate: Sacramento and Minnesota. The Kings at that time were playing through Divac and/or Webber and the TWolves were playing through Garnett. And of course it was only a few seasons later that Garnett was doing that in Boston.
Olynyk and especially Al Horford were used in that role effectively later on, but Jokic is a cut above the rest, maybe above every big ever.
On the other hand that is not such a great role for Theis or Thompson.
All the same, I think that the franchise's best long-term practice is to avoid churn and drastic changes, unless they're forced. Is Tatum a top-10 NBA player? Good chance, and his future looks even better than his present. If he's 11th best, and Jokic is 5th (or however you rank them), I say that's not a good enough difference.
I'm uncomfortable with ranking players so specifically anyway. How a guy is used, fatigue and injury, decline, different variabilities in performance, a big measure of plain luck, and, not least, the method you use to rank players, all affect how your list sorts out; and the number differences are minuscule.
Add to that that you're comparing players who do vastly different things on the court (e.g., Jokic and Tatum), and those comparisons really don't seem possible - at least at the level of #3, #9, #21, etc.
Can you win a championship with Tatum? I'd say yes, of course you can.
So, what does Boston need to get to the Finals.
I'll say first that I'm a little disappointed in the question. As Celtics fans, isn't the question supposed to be, 'how do you win Championship 18?' But oh well.
I'm opposed to acquiring James Harden. His willingness to damage the Rockets with irresponsible and team-detrimental behavior cannot be acceptable to the Boston Celtics. It's team-first around here, in case you hadn't heard.
I'm not excited about potential Orlando Magic trade targets, either, since the price tags are inflated for the value return.
No doubt there are other trade targets possible, but more than anything Boston needs a guy who can push the ball up the floor quicker, get the ball anywhere he needs to off the dribble, and then make a play. They need Kemba Walker.
He's a brilliant pnr ballhandler, and if he returns fully healthy, Thompson and especially Daniel Theis will have their games open up.
I pushed back most of last season on the idea that Boston needed a scorer 'off the bench', since there weren't enough shots to go around as it was. But with Hayward gone and Kemba injured, the usage is overwhelmingly shifted to two players.
Tatum is at 30.9% and Brown is at 29.2%. Third among rotation players is Teague at 18.3%. While this might be sustainable, if those two have good luck with injuries, it's a poor recipe for a really effective offense and for a rested duo in the playoffs.
They need Kemba. His usage last year was between the two Jays at 27.2, and his turnover% was between them, too.
Boston needs to get to the line more. Kemba did more often per fga than either of the Jays.
They need Kemba. If his knee is going to fall apart every spring, then they need someone else like him.
1. Tatum isn't near the top 11 right now with the return of KD and Curry, that's probably his ceiling.
2. The difference between a guy good enough to knock on the door of the "inner circle" MVPs like LeBron/Giannis/Kawhi/AD/KD/Curry and a perennial All-NBA player that Tatum's hoping to be is pretty significant - it's really difficult to break into the range that Jokic is in right now from the "All-NBA" band. I'm not saying that you can't win with that kind of guy as your best player, but you need a lot of talent around him (good examples would be the '04 Pistons and '14 Spurs where they had two players on that level with the Pistons having two more top 30 players and another top 40-50 defensive specialist, while the Spurs had three top 40-50 players in Manu/Kawhi/Green and a platoon of good role players to support Duncan/Parker). We can definitely do that if Kemba comes back 100% and Jaylen makes the leap, but it's infinitely more easy to compete for a title if you have a Jokic level guy where you can pair him with another star and a couple of Smarts instead of trying to vie for two Tatums, a Kemba and a couple of Smarts.
« Last Edit: January 14, 2021, 02:06:41 AM by Somebody »
jpotter33
Quote from: Somebody on January 14, 2021, 01:54:44 AM
2. The difference between a guy good enough to knock on the door of the "inner circle" MVPs like LeBron/Giannis/Kawhi/AD/KD/Curry and a perennial All-NBA player that Tatum's hoping to be is pretty significant - it's really difficult to break into the range that Jokic is in right now from the "All-NBA" band. I'm not saying that you can't win with that kind of guy as your best player, but you need a lot of talent around him (good examples would be the '04 Pistons and '14 Spurs where they had two players on that level with the Pistons having two more top 30 players and another top 40-50 defensive specialist, while the Spurs had three top 40-50 players in Manu/Kawhi/Green and a platoon of good role players to support Duncan/Parker). We can definitely do that if Kemba comes back 100% and Jaylen makes the leap, but it's infinitely more easy to compete for a title if you have a Jokic level guy where you can pair him with another star and a couple of Smarts instead of trying to cobble two stars and a couple of Smarts to support Tatum.
Tatum is pretty clearly better than Curry this year. Their counting stats are a wash, but Tatum is substantially more efficient and also is much better and more impactful defensively.
Fully onboard the Fire Brad Train.
Quote from: John Stuart Mill on February 09, 2018, 08:03:25 PM
Whatever crushes individuality is despotism, by whatever name it may be called and whether it professes to be enforcing the will of God or the injunctions of men.
nickagneta
Quote from: GreenlyGreeny on January 14, 2021, 12:30:51 AM
Lol...KAT's going to be your new "Make a million trade proposals for" Binkie, isn't he? 😉😄😁😂
Quote from: jpotter33 on January 14, 2021, 02:09:52 AM
Without getting into how the counting stats don't even come close to measuring player impact all that well (you usually miss qualitative stuff with the raw numbers), they aren't a wash at all.
Curry box stats per 75: 27.9 points, 6.38 assists, 3.1 TOs
Tatum box stats per 75: 27.98 points, 3.98 assists, 2.48 TOs
Curry dwarfs Tatum when it comes to playmaking even in the box score (the box score doesn't even quite capture Curry's insane gravity and passing ability that is in a different universe compared to the likes of Tatum), and that's not even taking Curry's incredibly scalable game into account, his ability to be an offensive savant that can oscillate on and off the ball is something that Tatum can only dream of.
Also not sure where are you getting the numbers that say Tatum is more efficient than Curry unless you're still in love with the raw efficiency slash line, Curry has a 59.9% TS this season with uncharacteristically poor shooting while Tatum is at 58.8% on the back of a scorching hot start to the season by his standards - the gap between the two will only widen as both players regress to the mean.
Tatum is definitely way better than Curry on defence (rebounds/stocks as well as the eye test, adjusted +/- metrics and tracking data make this very obvious), but he isn't a titanic big man who vaults teams into the upper stratosphere defensively by himself, so any advantage he has over an average to above average guard defender like Curry doesn't even come close to closing the massive chasm between the two offensively.
Jvalin
Jim Loscutoff
We may need nothing. If we have no major injury concerns during the playoffs (which is a huge if), it's possible that we make the Finals this season. I'm relatively low on Brooklyn. Their D sucks. Harden is possibly the most ball dominant player in the NBA. To a lesser extent, the same goes for Kyrie, plus he's a drama queen. Don't think he'll be happy as the 3rd banana. Anyway, my #1 concern is still Milwaukee. Imo, we match up terribly against them. But then again, they match up poorly against Miami. Thompson should be a solid option for us against Giannis.
Can't think of 1 single realistic move that would make us legit contenders this season. If I were Danny, I'd be open to the idea of trading Kemba with the view to rebuilding the team on the fly around the Js.
I'm kind of disappointed that we weren't part of the 4-way blockbuster for Harden. Imo, it was a great opportunity to land our starting Center for years to come in Jarrett Allen.
« Last Edit: January 14, 2021, 07:06:56 AM by Jvalin »
Satch Sanders
Let's Go Celtics!
Lolololol, what?
There's always going to be a superteam in the NBA. Always. That's where the league is these days. Whether it's Lebron's Heatles, the Curry Warriors, Lebron's Cavs, the KD/Curry Warriors, or Lebron in LA, there's always going to be a team that people believe to be invincible and while you're waiting for them to fade out, another superteam we didn't foresee is going to take it's place.
You build your team, you compete and you put yourself in a situation to take advantage of an opportunity to do something special like Dallas and Toronto. This wait to get your turn is so nonsensical. Turns aren't guaranteed one way or the other.
There's virtually no overall difference between the two players this year as the advanced stats show.
https://tinyurl.com/SCvsJT
Quote from: Jvalin on January 14, 2021, 06:54:37 AM
- I fear BKN more than MIL, but who knows until we see what's up with Kyrie, never mind their defensive issues.
- Tell me what's available at the trading deadline and I'll tell you if there's a deal that can help us.
- Why would BKN include us in the deal when they could ship Allen to the Cavs where he won't come back to haunt anyone in the near future?


I suppose I don't count for the gift LOL!
Don't have a blog to link to but I wanted to say....LOVE the card!!!
love this on it's side!! very, very cute!!
Cool card! Fab giraffe and I love your little forest!
I love how you flipped the sketch. The trees are so fun and I love the giraffe!
THis is a very fun and fresh card! I love the girafee and the pattern paper! Your card definitely meaures up!
I meant to say Giraffe instead of girafee.


text:
Q: Read xmlhttp object I make a javascript query to the bing API. Using the XML-http function in javascript for that.
If I print
xmlhttp.responseText;

it correctly returns an object like this:
{
   "d":{
      "results":[
         {
            "__metadata":{
               "uri":"Data.ashx/Bing/SearchWeb/v1/Web?Query=\u0027weltall\u0027&$skip=0&$top=1",
               "type":"WebResult"
            },
            "ID":"ec45ae51-c52b-4172-b64e-97f0db106110",
            "Title":"Universum – Wikipedia",
            "Description":"Universum, Weltall und Weltraum. Das Wort "Universum" wurde im 17. Jahrhundert von Philipp von Zesen durch das Wort "Weltall" eingedeutscht.",
            "DisplayUrl":"/wiki/Universum",
            "Url":"/wiki/Universum"
         },
         {
            "__metadata":{
               "uri":"Data.ashx/Bing/SearchWeb/v1/Web?Query=\u0027weltall\u0027&$skip=1&$top=1",
               "type":"WebResult"
            },
            "ID":"8703f1c8-f3b7-48b0-b2cf-e33071b5006e",
            "Title":"Weltall - Wissenschaft - SPIEGEL ONLINE",
            "Description":"Nachrichten aus der Wissenschaft über Mensch und Technik, Natur und Weltall. Aktuelle Reportagen, Analysen, Interviews.",
            "DisplayUrl":"/wissenschaft/weltall",
            "Url":"spiegel.de/wissenschaft/weltall/"
         }
      ]
   }
}

So far so good. But when I try to access individual properties of said object, nothing gets returned:
document.getElementById("main").innerHTML = xmlhttp.d.results.uri[1];

There seems to be an error in that line. I thought of the object like a database with nested columns (the .d.results.uri part) and rows (the [1] part).

A: The xmlhttp object contains response data in it's responseText property. Since you are dealing with JSON you also have to parse it using javascripts JSON.parse() thus, you should be able to get your desired response data using this snippet:
    data = JSON.parse(xmlhttp.responseText);

Also, I don't think that you are trying to access the right node, because d.results.uri[1] doesn't exist in the json you have shown us.
Try visualizing your json. I usually use this. It allows you to get your desired node by simply clicking on it and copying it's path.


text:
Halfdan Fenton Harbo Hertzberg, kanadski general, * 1884, † 1959.

Viri

Glej tudi

 seznam kanadskih generalov

Kanadski generali
Kanadski vojaški pedagogi
Veterani druge svetovne vojne


text:
Carolina Beach Votes to End Unconstitutional Food Truck Law
Press Release | August 29, 2018
J. Justin Wilson, Senior Director of Communications, Institute for Justice
Carolina Beach, N.C.—Last night, after an extended meeting behind closed doors, the Carolina Beach town council repealed a law that makes it illegal to operate a food truck in the town unless the owner also owns a brick-and-mortar restaurant in town. The unanimous vote came a week after the Institute for Justice (IJ) partnered with four Wilmington-area food trucks to file a lawsuit to strike down the unconstitutional law.
These Food Truck Pioneers Celebrate A Milestone Anniversary
Chicago Wins Food Truck Fight, But The Shrinking City May Come To Regret Its Protectionism
Food truck life versus personal life – striking a balance


text:
Exposure Q&A's
Crew Photos
Phedon Papamichael, ASC takes viewers down the Hollywood road less traveled in the black and white road movie, Nebraska
The landscape last November in drought-parched Plainview, Nebraska, was severely muted. Post-harvest, the gently rolling fields running off to the horizon were straw-colored, and the town's grain elevators and brick storefronts were all browns and grays. The town evoked memories of The Last Picture Show, its best days many decades past, wind sweeping in off the plains into the main square. A team of filmmakers, many from Hollywood, looked out of place.
But nothing in this tableau was unfamiliar to director Alexander Payne, who grew up in Omaha and makes capturing places like his hometown a cornerstone of an approach he describes as several parts "documentary."
"Alexander has a real connection with people and place, and can convey this like no other director I have ever worked with," key grip Ray Garcia explains. "Although the scenes are scripted and worked out with his actors, the many unique faces he includes are people who live in the town. He spends a lot of time observing his locations prior to shooting. So if his pictures feel like we are observing reality, it's because of this."
A big part of Payne's verisimilitude is cinematographer Phedon Papamichael, ASC, who shot the director's last two (Oscar-winning) films, The Descendants and Sideways. Those projects revealed aspects of Hawaii and the central coast of California, respectively, that had not been seen much in Hollywood movies. Payne's latest project, Nebraska, turns the cameras on another unique corner of America rarely visited in narrative films.
Nebraska follows a Montana man (Bruce Dern), who, approaching senility, takes a marketing flyer that says that all he has to do to claim a sweepstakes prize is to show up in Lincoln. His son (Will Forte) decides to travel with him, in part as an attempt to patch up their rocky relationship. Along the way, they stop in the old man's hard-bitten hometown and get caught up in old grievances.
Papamichael says the choice to shoot the film in black and white – a rare animal indeed these days for a Hollywood release – was an instinctual, not intellectual, decision. "Alexander always envisioned [Nebraska] in black and white, going back to our earliest conversations, before we made Sideways," he explains. "Although the story and the landscapes lend themselves to black and white, we never know what to say when people ask why. When I'm working on stills at home, some of them are better in monochrome. It just seems to feel right."
It didn't necessarily feel right to the film's distributor, however. Although Payne is one of the rare directors who has maintained final cut (thanks to careful budgetary parameters), when Paramount realized he was serious about choosing black and white, they pulled funding. Eventually the studio came back to the table with a diminished offer of $13 million, and the project was back on track.
That's when Papamichael set about doing tests. Kodak even offered to provide a 400 ASA black-and-white emulsion (which did not work out). But main testing compared the ARRI ALEXA, RED Epic, Eastman Double-X Negative Film 5222, which has a recommended exposure index of 250 in daylight and 200 in tungsten-balanced light, and KODAK VISION3 500T 5219 Color Negative Film with the color drained in post. The 5219 approach compared to other recent black-and-white films The Man Who Wasn't There and Schindler's List.
Technicolor's Skip Kimball put the DP's 5222 test footage through a digital intermediate, identified an ideal contrast level, and projected printed film to establish a benchmark. Knowing that the vast majority of release prints would be digital, the process was followed through to a DCI version. Then Papamichael asked Kimball to match the 5219 and ALEXA footage to the DCI. Kimball found that a grain flavor based on the old 5248 stock worked best. Much later, in the actual DI, the filmmakers were considering a heavier grain overlay, and they had Paramount send over a print of Paper Moon, which they split-screen projected, and found that the 5248 grain was matching pretty well.
Part of the decision to shoot ALEXA was based on the system's low-light capabilities. The filmmakers shot at speeds as high as 1200 ASA, using natural light in the streets of towns like Plainview. To those who insist digital has less latitude, Papamichael notes: "The black-and-white film stocks we were considering don't have the latitude of modern color stocks, either. And since the final image would be higher contrast, the curve wasn't as much of a factor.
"Digital obviously has advantages in night exteriors and low-light situations," he continues, "which makes the filming process easier. The image on the monitor includes the LUT I set. So I'm able to discuss with [Payne] where we want to go. I'm able to see my final result, almost. Those are all qualities I like. And what some people point to as drawbacks of shooting digitally aren't a problem when you're shooting for black and white."
Another key aspect was using C Series anamorphic lenses from Panavision. An estimated 80 percent of the movie was done on the wider end of the range, the 40-, 45- or 55-mm focal lengths.
The C Series was introduced in the 1960s. Panavision's lens guru Dan Sasaki retrofitted them with modern spherical elements to improve contrast and sharpness. He also re-spaced the cylinders to create a more gradual fall-off along the edges. According to 1st AC Jeff Porter, the initial plan was to use a set that Sasaki had fine-tuned for Bojan Bazelli, ASC, on The Lone Ranger. When that film's schedule was extended, Sasaki began working on another set. The Lone Ranger wrapped a week prior to Nebraska's start, so in the end, Porter and Papamichael got to choose the best lenses from both sets.
"Dan created an anamorphic lens with classic characteristics that could stand the test of today's high-resolution digital cameras," Porter shares. And Papamichael says the lenses have optical qualities that helped take the curse off the digital image. "We joked with Alexander about even adding projector flicker and destabilization," he smiles. "Hopefully, by adding the grain and using these C-series anamorphics, we can still convey that nice black-and-white film look without going overboard."
Shooting ALEXA required a bit of leading-edge technology. Convergent Design Gemini 4:4:4 Recorders were chosen for the ARRIRAW capture because they were compact and light. The combination of the ALEXA 4:3 sensor and anamorphic was still relatively new in the autumn of 2012.
"Convergent Design was just getting ready to release new firmware for the Gemini that would allow for 4:3 capture, but they couldn't give us a firm date," Porter continues. "And Arri hadn't yet released their SUP 7 software, which allows the SxS module to become activated and record 2K ProRes as a backup. Our first break came from Stephan Ukas-Bradley of Arri, who allowed us to use the beta version of the SUP 7. Then, Convergent Design released its 4:3 capture software. The test was a bit of a disaster, but our DIT, Lonny Danler, spent the next two weeks working with Arri and Convergent Design to eliminate the bugs, and we didn't experience a single problem during production."
The Gemini recorded images at 2880×2160 resolution with simultaneous recording to in-camera SxS cards at 2048×1536 ProRes 4444 Log C. "I'd always have a separate BNC feed to monitor the Gemini out Log C for exposure," Danler explains. "At my cart I would flip the live image back and forth from color to black and white [using a live LUT from Technicolor] on a 25-inch Sony OLED monitor so that gaffer Rafael Sanchez, Garcia and I could keep an eye on the frame while Phedon stayed close to the set. After the footage was ingested, I would load it into DaVinci Resolve and begin refining the live look into a dailies look that would then travel with the shuttle driver to post. We kept within the ASC-CDL specs for dailies, but in a few cases where Phedon wanted some power windows and secondary adjustments, to bring down a sky for example, I would generate some stills out of Resolve – the same software that Technicolor uses in the DI."
The road-movie framework of the narrative required extensive car scenes, and Payne didn't want any process shots. An ALEXA M allowed for easy placement inside vehicles and through-the-window rigs. Often the M head was on a slider in the back seat of the hero vehicle, a Subaru Outback wagon, or mounted on a leveling head on the passenger side.
"We then cabled it to the body, which we mounted inside a ventilated beverage cooler to protect it from the elements," says Porter. "Will [Forte] even drove us through the drive-through at McDonald's one day – try doing that with an insert car and a 25-foot process trailer!"
Payne gave Papamichael ample freedom to frame the image, "and with that big, open landscape – the roads, cornfields and skies – everything fell into place," he says. "Bruce Dern's face is quite fascinating with the texture, and the hair and his eyes. It was nice framing close-ups of him with a widescreen frame in the middle of nowhere. And you're not struggling with a cacophony of colors and skin tones. It's just a lot of fun."
Although the filmmakers saw black and white on the set, the ALEXA/Gemini rig captured full color to provide maximum flexibility throughout the pipeline; in post, a color could be isolated and manipulated to affect the black-and-white image. Papamichael used this capability on the set, but sparingly, in part because a color deliverable was required, and he didn't feel comfortable giving it strong colors. Asked about László Kovács' oft-told story about the advice he got from Orson Welles about shooting Paper Moon in black and white – "Use a red filter, my boy" – Papamichael says that the color deliverable precluded that as well.
Conversations with production designer J. Dennis Washington often concerned how dark a wall should be. Papamichael sometimes said that if the wall was a certain color, he could isolate it in the DI and make it darker or lighter according to Payne's wishes.
"Sometimes, as we were doing the DI, it got a little scary because I didn't know what Skip was doing," Papamichael admits. "He was playing with the colors and contrast, and manipulating the sky or skin tones. Sometimes things looked a little strange, and I couldn't really pinpoint why. Often we would just scrap it and start over, because there are so many options when you're playing with the color tonality to affect the black-and-white image.
"On the set, I did do certain things with color in consideration of that," he continues. "We painted buildings red so I could make them darker or lighter by affecting the red channel. But it's not as easy as you might think, because if there's some sheen on the wall, that doesn't get affected as much. And if you push it too much, it doesn't look real."
Gaffer Rafael Sanchez did warm up some of the colored lighting. "And if there was a kick off an asphalt road surface at night, if it had some color, it was easy to dial out," Papamichael continues. "Sometimes in dusk situations, because it's so blue, we could dial it down without affecting the rest of the scene. At night, we'd shoot HMI straight up behind buildings or on rooftops, which gave an atmospheric glow that was very controllable in post. We could make it really strong or almost eliminate it, as if I'd never put it there."
A handful of Nebraska's prints are being filmed-out to black and white print stock, and Papamichael says that these are the best versions of the movie. "When we premiered at Cannes, the DCP looked great. But once you go back to black-and-white print stock, you're picking up additional film stock grain, and you get the film projection element coming back to you," the DP reflects. "At that point, you'd be hard-pressed to say it was shot on a digital camera."
Looking back at this experience, the cinematographer recalls how Payne's emphasis [no matter the project or location] is on the people. "It's always about the subtleties and facial expressions. Alexander doesn't want to miss any of the nuances of the performance, so the camerawork is subtle, and nothing is wasted. The actor's work is never covered up by a particular style – movement, rack focusing or lighting – that would distract or take away from the story. This film, like all his movies, is very precisely crafted, and I think that's why they're so successful. You feel the love and the labor, and the thought behind everything."
CREW LIST > Nebraska
Director of Photography: Phedon Papamichael, ASC
Operators: Jacques Haitkin
Assistants: Jeff Porter, Martin Moody, Steve Wolpa
Digital Imaging Tech: Lonny Danler
Still Photographer: Merie Weismiller Wallace
2ND UNIT
Dir. of Photography: Radan Popovic
Assistant: Harry Zimmerman
By David Heuring. Photos by Merie W. Wallace
Alexander Payne – Nebraska
President's Letter – November 2013
Race to the Finish
Large and in Charge
Words To Film By
Ruff and Ready
S.J. Clarkson – The Defenders
Edgar Wright – Baby Driver
Damien Chazelle – La La Land
Jonathan Nolan – Westworld
Jon Favreau – The Jungle Book
Ryan Murphy – The People vs. O.J. Simpson: American Crime Story
Melissa Rosenberg – Jessica Jones
Sammy Sheldon Differ – Ant-Man
Patrick Crowley – Jurassic World
Ross Dunkerley
ANGELINA JOLIE – UNBROKEN
Bennett Miller – Foxcatcher
Ilene Landress – Girls
Joel Cox – Jersey Boys
Chris Edwards – The Third Floor
Jim Berney – Divergent
Akiva Goldsman – Winter's Tale
Spike Jonze – Her
The Coen Brothers – Inside Llewyn Davis
GEAR: Panasonic AG-DVX200
GEAR: Blackmagic URSA
GEAR: Pictorvision Eclipse™ Multicam Array
© IATSE Local 600 / Los Angeles, CA
About Local 600


With the band having more or less disbanded and the project, Dirty Projectors, once again becoming a solo project under David Longstreth, it's fair to say that this next album (the 8th one) has both a fair amount of anticipation and trepidation around it. The singles leading up to it's February 24th release have been fuelled by his break-up with ex-Dirty Projectors vocalist Amber Coffman. Both on 'Little Bubbles' and 'Keep Your Name', beyond the silky smooth production is a raw emotion. On the former Longstreth reminisced about a time when the couple had their own 'little bubble' as well as the anguish caused by it's popping; he sings, 'I want to sleep with no dreams, I want to be dead'. This sentiment echoes through this single too. The bitterness of the chorus about 'love burning out' is offset by the verses which describe the pure elation of the love the couple had shared on first meeting. Even when the two go their separate ways they remain connected even if he's driving through New York listening to Kanye and she's in Echo Park 'blasting 2pac'. The production is clearly more up-beat and eccentric compared to the previous two singles too, with more jazzy elements mixed in with the expected smooth and catchy electronics that Dirty Projector fans are accustomed to. With yet another intensely personal track (Longstreth even references the first time the two played together) with delicate and intricate lyrics as well as the superb production we're accustomed to, the next Dirty Projector album is shaping up quite nicely.
Thanks for sharing this music! It's awesome 🙂 Haven't heard of them before, but I'm glad I stumbled to your website to discover them. If I'm just starting to listen to them, what other songs should I look up?
Try another of their recent tracks Little Bubbles!