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License Taxes on Other Businesses
SECTION 12-23-10. Imposition of tax; rate.
In addition to all other taxes of every kind imposed by law:
(1) every person, except the State, a county, a municipality, or an agency or political subdivision of it, engaged in the business of selling electric power for resale within the State is subject to the payment of an excise, license, or privilege tax of five-tenths of one mill upon each kilowatt hour of electric power sold for resale within the State, except upon such electric power purchased from a vendor, however remote, previously taxed under this subsection. Sales for resale of an electric cooperative to a customer whose sales are taxed under subsection (2) must not be taxed under this subsection; and
(2) except a municipality, every public utility and electric cooperative engaged in the business of selling electric power within the State to the ultimate user of the power is subject to the payment of an excise, license, or privilege tax of five-tenths of one mill upon each kilowatt hour sold within the State to the ultimate user, except such electric power purchased from vendors, however remote, taxed under subsection (1).
HISTORY: 1962 Code Section 65-901; 1952 Code Section 65-901; 1942 Code Section 2558; 1932 Code Section 2558; 1931 (37) 357; 1935 (39) 275; 1937 (40) 610; 1957 (50) 404; 1969 (56) 740; 1991 Act No. 171, Part II, Section 57B.
SECTION 12-23-20. Exemptions from tax.
The provisions of this article shall not apply to:
(1) Electric power manufactured or generated in another state and brought into this State until such power has lost its interstate character and immunities;
(2) Electric power or energy generated in the State by plants constructed after May 1, 1951 and exported to another state;
(3) Any person owning and operating an electric manufacturing or generating plant of ten horsepower or less;
(4) Any industrial plant manufacturing or generating power for its own use or for use upon its own premises by its bona fide operatives or employees, but the tax shall be paid upon so much thereof as may be sold to other than its employees;
(5) A municipality manufacturing or generating electricity for the use of its customers; or
(6) Electric power used in manufacturing or generating hydroelectric power and steam electric power, and electric power used in the operation of such electric power manufacturing or generating plants and auxiliary machinery and equipment necessary thereto; provided, that all such power that is used for generation of power, which is to be exempt from taxation shall be exempt only if it is metered; nor shall they apply:
(7) When the entire capital stock of a corporation owning and operating a plant manufacturing or generating electric power is owned by an industrial corporation, to such power as may be furnished by such generating corporation to such industrial corporation for use and consumption by such industrial corporation or for use upon the premises of such industrial corporation by its bona fide operatives or employees, but the tax shall be paid upon so much of such power as may be sold to other than such industrial corporation's employees.
(8) Electric power sold to industrial customers as a class in excess of the amounts of electric power sold to industrial customers as a class during the corresponding months of the State's fiscal year 1957-1958; but all sales of electric power to any class of customer other than industrial customers shall continue to be assessed and taxed as provided in this article. As used in this section, "industrial customers" shall mean that class of customer engaged in the business of manufacture, fabrication, processing and related work.
(9) electricity used by a technology intensive facility as defined in Section 12-6-3360(M)(14)(b) and qualifying for the sales tax exemption provided pursuant to Section 12-36-2120(65), and the equipment and raw materials including, without limitation, fuel used by such qualifying facility to generate, transform, transmit, distribute, or manage electricity for use in such a facility. The running of the periods of limitation within which the department may assess taxes pursuant to Section 12-54-85 is suspended during the same time period it is suspended in item (65)(d) of Section 12-36-2120.
HISTORY: 1962 Code Section 65-902; 1952 Code Section 65-902; 1942 Code Section 2558; 1932 Code Section 2558; 1931 (37) 357; 1935 (39) 275; 1937 (40) 610; 1951 (47) 710; 1953 (48) 215; 1969 (56) 740; 2006 Act No. 335, Section 4.C, eff June 6, 2006; 2007 Act No. 110, Section 23.A, eff June 6, 2006; 2007 Act No. 116, Section 29.A, eff June 6, 2006.
SECTION 12-23-30. Authority to suspend tax on power sold to Atomic Energy department.
The State Fiscal Accountability Authority may suspend the payment of the electric energy generating and sales tax on electricity sold to the Savannah River Plant of the Atomic Energy department from plants located in this State when, in the judgment of said authority, such suspension is for the best interest of the State.
HISTORY: 1962 Code Section 65-903; 1952 Code Section 65-903; 1951 (47) 710.
Code Commissioner's Note
At the direction of the Code Commissioner, references in this section to the offices of the former State Budget and Control Board, Office of the Governor, or other agencies, were changed to reflect the transfer of them to the Department of Administration or other entities, pursuant to the directive of the South Carolina Restructuring Act, 2014 Act No. 121, Section 5(D)(1), effective July 1, 2015.
SECTION 12-23-40. department shall administer, enforce, and collect tax; rules and regulations.
Such tax shall be paid to and collected by the department, and the department shall administer and enforce the tax and shall make rules and regulations pertinent to such enforcement, which shall have the full force and effect of law.
HISTORY: 1962 Code Section 65-904; 1952 Code Section 65-904; 1942 Code Sections 2558, 2559; 1932 Code Sections 2558, 2559; 1931 (37) 357, 358; 1935 (39) 275; 1937 (40) 610.
SECTION 12-23-50. Certain instruments and records shall be kept; examinations by department; violations.
Every person engaged in the business of manufacturing, generating or selling electric power in this State shall provide himself with and keep the necessary instruments to show the amount of electric power manufactured, generated or sold, expressed in kilowatt hours, and shall keep permanent, legible records showing the amount of power, expressed in kilowatt hours, manufactured, generated or sold each day. Such records and instruments shall be subject to examination by the department or its duly authorized representatives at any time during business hours, and the department may enter upon the premises of any taxpayer and examine, or cause to be examined, any of the instruments, books, records, and other property of any such person and secure any other information directly or indirectly concerned in the enforcement of this article.
Any person required to keep the necessary instruments or records prescribed in this section shall be subject to a penalty of one hundred dollars per day for each day's omission to keep either such required instruments or required records. Such penalties shall be collected in the same manner as provided in this article for the collection of delinquent taxes.
HISTORY: 1962 Code Section 65-905; 1952 Code Section 65-905; 1942 Code Section 2559; 1932 Code Section 2559; 1931 (37) 358.
SECTION 12-23-60. Monthly returns and remittance of tax required.
Every person subject to the provisions of this article shall on or before the twentieth day of each month make a true and correct return to the department in such form as it may prescribe, showing the exact amount of electric power manufactured, generated or sold, expressed in kilowatt hours, during the previous month, and remit the tax therewith.
HISTORY: 1962 Code Section 65-906; 1952 Code Section 65-906; 1942 Code Section 2560; 1932 Code Section 2560; 1931 (37) 359; 1994 Act No. 516, Section 35.
SECTION 12-23-90. Taxes and penalties deemed a debt; lien thereof.
The taxes and all penalties provided for in this article shall be held as a debt payable to the State by the person against whom they shall be charged and all such taxes, penalties and assessments shall be a first lien in all cases whatsoever upon all property of the person charged therewith.
SECTION 12-23-120. Use of tax.
The revenue derived under the provisions of this article shall be turned into the State Treasury for the support of the State government.
SECTION 12-23-130. Exemption of South Carolina Public Service Authority from taxation.
Nothing contained in Sections 12-23-10, 12-23-20, or 12-37-220, shall be construed or interpreted to impose any tax liability on the South Carolina Public Service Authority, and all property leased to and operated by the South Carolina Public Service Authority for the generation or transmission of electric power shall, for all tax purposes, be considered the property of the Authority.
HISTORY: 1969 (56) 740.
SECTION 12-23-210. Municipal privilege or license tax on railroads; maximum allowable amounts.
The maximum amount of privilege or license tax which the several municipalities within this State may annually assess and collect of persons operating railroads in this State as common carriers for the privilege of doing intrastate business within the limits of such municipalities, whether such companies are incorporated under the laws of this State or any other state or whether incorporated at all or not, is fixed as follows: In municipalities having a population of not exceeding two hundred and fifty inhabitants, ten dollars; in municipalities having a population of more than two hundred and fifty inhabitants and not exceeding five hundred inhabitants, fifteen dollars; in municipalities having a population of more than five hundred inhabitants and not exceeding seven hundred and fifty inhabitants, twenty dollars; in municipalities having seven hundred and fifty to one thousand inhabitants, twenty-five dollars; in municipalities having a population of more than one thousand inhabitants and not exceeding five thousand inhabitants, twenty-five dollars for the first one thousand inhabitants and twenty-five dollars for each additional one thousand inhabitants or a major fraction thereof; in municipalities having a population of more than five thousand inhabitants and not exceeding ten thousand inhabitants, twenty-five dollars for the first one thousand inhabitants and thirty dollars for each additional one thousand inhabitants or major fraction thereof; and in municipalities having a population of more than ten thousand inhabitants, twenty-five dollars for the first one thousand inhabitants and thirty-five dollars for each additional one thousand inhabitants or major fraction thereof. But in no case shall any municipality assess or collect such a privilege or license tax exceeding two thousand dollars.
In arriving at the amount of privilege or license tax which may be assessed and collected under the provisions of this section the population of the several cities and towns shall be computed and based upon the Federal census next preceding the year for which such license tax is assessed from year to year.
HISTORY: 1962 Code Section 65-921; 1952 Code Section 65-921; 1942 Code Section 7241-3; 1932 Code Section 7436; Civ. C. '22 Section 4548; 1920 (31) 921.
SECTION 12-23-220. Local licenses for carriers shall be good for interurban carriage.
Any person who shall have paid a license or occupation tax in the city, town or county in which his principal place of business is situated for the purpose of conducting the business of transporting passengers or baggage for hire by means of carriage, hacks, omnibuses, drays or motor vehicles shall be exempt from the payment of any license or occupation tax in any other county, city or town to which or from which such passengers or baggage are transported and a license issued by an occupation tax paid to any county, city or town within the State by a person engaged in any such business shall be good in every county, city or town within the State. But nothing contained in this section shall permit the carrying on of the business exempted in this section within any incorporated city or town or within any other county, except the city, town or county in which the license is obtained or tax paid, except for the purpose of taking on and discharging passengers and baggage which is destined for another city, town or county, and this section shall apply to interurban business only.
HISTORY: 1962 Code Section 65-922; 1952 Code Section 65-922; 1942 Code Section 7241-2; 1932 Code Section 7385; 1924 (33) 985.
Foreign Land Associations
SECTION 12-23-310. Imposition of tax; rate.
Every foreign land association and other business of a like class not incorporated under the laws of this State shall each, before transacting business in this State, pay an annual license fee of one hundred dollars to the Department of Insurance of this State on or before the thirty-first day of March in each year, to be deposited by him in the State Treasury. Such license shall expire on the thirty-first day of March of the succeeding year.
HISTORY: 1962 Code Section 65-941; 1952 Code Section 65-941; 1947 (45) 322; 1948 (45) 1734; 1960 (51) 1646; 1993 Act No. 181, Section 154.
Theatrical Shows, Carnivals and Circuses
SECTION 12-23-410. Imposition of tax on plays and shows in towns or villages not incorporated; rate; payment; disposition.
All persons representing publicly, for gain or reward, any play, comedy, tragedy, interlude, farce or other entertainment of the stage, or any part therein, and those who exhibit wax figures or shows of any kind whatsoever shall pay a tax of three dollars per day when they make such exhibitions at towns or villages that are not incorporated. Such sum of three dollars shall be paid into the hands of the clerks of the circuit courts, respectively, who shall be bound to pay it over into the county treasury.
HISTORY: 1962 Code Section 65-961; 1952 Code Section 65-961; 1942 Code Section 6322; 1932 Code Section 6322; Civ. C. '22 Section 5170; Civ. C. '12 Section 3426; Civ. C. '02 Section 2315; G. S. 1754; R. S. 1866; 1813 (5) 711.
SECTION 12-23-420. Clerks and magistrates shall issue executions for failure to pay tax.
If any person who is required to pay the tax provided in Section 12-23-410 shall neglect to do so before such representation or exhibition, the clerk of the court or any magistrate for the county in which such neglect shall occur shall issue an execution for double the amount of tax so imposed, which may be directed to any sheriff or constable of this State and against the body and goods of the person so being liable and which may be levied in any county in the State. Every magistrate who shall so issue execution shall cause the amount of it to be paid to the clerk of the court for his county and the clerk of court shall pay into the county treasury all such taxes as may come into his hands. Nothing in this section shall apply to such a tax in any incorporated city or town.
HISTORY: 1962 Code Section 65-962; 1952 Code Section 65-962; 1942 Code Section 6323; 1932 Code Section 6323; Civ. C. '22 Section 5171; Civ. C. '12 Section 3427; Civ. C. '02 Section 2316; G. S. 1755; R. S. 1867; 1843 (11) 246.
SECTION 12-23-430. Municipalities may collect tax.
The intendants and wardens of all incorporated cities and towns may collect the tax from persons representing, publicly, within their respective corporate limits, for gain or reward, any play or show of whatever nature or kind which, by Section 12-23-410, is made payable to the clerks of courts, such tax to be used for the purposes of such corporations, respectively.
SECTION 12-23-440. County license fees for circuses and similar traveling shows; amount; disposition.
Any circus or other such traveling show exhibiting under canvas or outdoors for gain shall, before exhibiting in any county of this State, obtain a license from the clerk of the court of such county and shall pay to such clerk for such license one hundred dollars for each day such circus or other show shall be exhibited. The clerk shall forthwith pay over to the county treasurer of such county all the moneys by him received on account of any such license, to be applied to the use of the county.
HISTORY: 1962 Code Section 65-965; 1952 Code Section 65-965; 1942 Code Section 6327; 1935 (39) 288.
SECTION 12-23-450. County license fees for carnivals and similar shows other than a circus; amount; disposition.
Any carnival company or other such traveling show, exhibiting under canvas or outdoors for gain, other than a circus, shall, before exhibiting in any county of this State, obtain a license from the clerk of the court of such county and shall pay to the clerk for such license twenty-five dollars for each day such carnival company or other show shall be exhibited. The clerk shall pay over to the county treasurer of such county all the moneys by him received on account of any such license, to be applied to the use of the county. Provided, that the license fee in counties having a population in excess of two hundred ten thousand inhabitants according to the latest official United States census shall be fifty dollars for each day the carnival company or other show shall be exhibited.
HISTORY: 1962 Code Section 65-966; 1952 Code Section 65-966; 1942 Code Section 6327; 1935 (39) 288; 1962 (52) 2222.
SECTION 12-23-460. County license not required in certain instances.
No county license shall be required under the provisions of Sections 12-23-440 and 12-23-450 when any of the traveling shows and circuses named therein shall pay a town or city license of the amount set forth therein.
SECTION 12-23-470. Municipal authorities of incorporated city or town may require license.
Nothing contained in this article shall be construed to prevent the municipal authorities of any incorporated city or town in this State from levying and collecting such fines or licenses as may be imposed by such municipal authorities.
Indigent Health Care
SECTION 12-23-810. Tax on licensed hospitals.
(A) Every hospital licensed as a general hospital by the Department of Health and Environmental Control is subject to the payment of an excise, license, or privilege tax. Each hospital's tax must be based on the total expenditures of each hospital as a percentage of total hospital expenditures statewide.
(B) [Reserved].
(C) Total annual revenues from the tax, exclusive of penalties and interest, in subsection (A) of this section initially must equal two hundred sixty-four million dollars. The amount of a general hospital's tax must be derived from Schedule B, Part 1 of the hospital's cost report. The initial annual tax must be collected, beginning July 1, 2006, based upon the reconciled account of a general hospital subject to this article, considering partial payments and an uncollected portion of the previous assessment pursuant to this article for the fiscal year ending June 30, 2006. Upon notification from the Department of Revenue, on behalf of and based on calculations performed by the Department of Health and Human Services, a general hospital shall remit the balance due based on a payment schedule as determined by the Department of Health and Human Services.
HISTORY: 1989 Act No. 189, Part II, Section 35I; 1991 Act No. 105, Section 1; 1992 Act No. 501, Part II Section 19A; 1998 Act 419, Part II, Section 41A; 1999 Act No. 100, Part II, Section 7; 2006 Act No. 386, Section 15, eff June 14, 2006.
SECTION 12-23-815. Information to form basis for assessments.
The Department of Revenue shall issue assessments for the tax provided by this article based on information provided by the Department of Health and Environmental Control and the Revenue and Fiscal Affairs Office.
HISTORY: 1992 Act No. 361, Section 40; 1993 Act No. 181, Section 155; 1998 Act No. 419, Part II, Section 41B.
At the direction of the Code Commissioner, references in this section to the offices of the former State Budget and Control Board, Office of the Governor, or other agencies, were changed to reflect the transfer of them to the Department of Administration or other entities, pursuant to the directive of the South Carolina Restructuring Act, 2014 Act No. 121, Section 5(D)(1).
Pursuant to the directive to the Code Commissioner in 2018 Act No. 246, Section 10, "Revenue and Fiscal Affairs Office" was substituted for all references to "Office of Research and Statistics of the Revenue and Fiscal Affairs Office".
SECTION 12-23-820. Department of Revenue to administer article; collection of tax.
The Department of Revenue shall administer and enforce the provisions of this article, and may promulgate regulations to enforce such provisions. The hospital tax levied pursuant to this article must be collected in accordance with the provisions of Chapter 54 of Title 12.
HISTORY: 1989 Act No. 189, Part II, Section 35I; 1993 Act No. 181, Section 156.
SECTION 12-23-830. Payment of tax; schedule of payments.
(A) On the first day of each quarter, each general hospital shall remit one-fourth of its annual tax to the Department of Revenue. The tax must be paid for each quarter a hospital is in operation. If a hospital ceases operations, the taxes not paid as a result of the cessation of operations must be apportioned among other hospitals in operation.
(B) Beginning July 1, 2006, on the first day of each quarter, a general hospital shall remit to the Department of Revenue one-fourth of a second, and each successive, annual tax as calculated pursuant to subsection (A), based upon operations conducted during fiscal year ending June 30, 2007, and each successive state fiscal year. The tax must be paid for each quarter a hospital is in operation. If a hospital ceases operation, the taxes unpaid as a result of the cessation of operation, must be apportioned among other hospitals remaining in operation.
HISTORY: 1989 Act No. 189, Part II, Section 35I; 1991 Act No. 105, Section 2; 1992 Act No. 361, Section 41; 1993 Act No. 181, Section 157; 2006 Act No. 386, Section 16, eff June 14, 2006.
SECTION 12-23-840. Disposition of tax revenues.
Revenues derived under the provisions of this article must be deposited in the Medicaid Expansion Fund created by Section 44-6-155. In addition to the purposes specified in Section 44-6-155, monies in the Medicaid Expansion Fund must be used to provide health care coverage to the Medicaid-eligible and uninsured populations in South Carolina.
HISTORY: 1989 Act No. 189, Part II, Section 35I; 2006 Act No. 386, Section 17, eff June 14, 2006.


As promised last week, here is the best Pecan Pie recipe I've ever made.
First of all, you need to toast the pecans. I like the Kirkland (Costco) Pecan halves because a 2 lb. bag is only $12.99 and they are nice solid pieces.
Take the 2 cups of pecans needed for the recipe and spread them on a baking sheet. I added another cup because I always end up eating some and it's nice to have a few extra for decorations, so I'd say I've got 3 cups here. Heat the oven to 350 degrees and bake them for about 12 minutes. Avoid the temptation to leave the kitchen and do something else. I've burned my fair share of pecans because I got distracted elsewhere. Nuts burn fast and there is no bringing them back once they've gone too far. By the 10 minute mark, it's good to be paying close attention to what's going on and give them a stir. Generally speaking, once you can smell the nuts, they are done.
Here are the nuts after they are roasted.
These roasted for exactly 12 minutes and they look good. Only one or two look a bit dark.
The nut circled below is too dark. You want to throw out any that are this color.
I turn on the exhaust fan to get the smell out of the house quick because of my child with nut allergies. Some years I have put them in the patio if it's not too cold or I try to do it when he isn't in the house.
Next, you want to chop them up. I chop mine rather gingerly to avoid having nut fragments flying all over the place on account of my child with allergies. Also, I think the larger pieces are more toothsome than if they were chopped too small.
A terrific all-purpose pie crust from Elinor Klivans. Use it during the holiday season and all year long.
preparationMix flour, sugar and salt in processor. Add butter and shortening. Using on/off turns, process until mixture resembles coarse meal. Drizzle 3 tablespoons ice water over mixture. Process just until moist clumps form, adding more ice water by teaspoonfuls if dough is dry. Gather dough into ball; flatten into disk. Wrap in plastic; chill until dough is firm enough to roll out, about 30 minutes.
Here is the pie crust after it is rolled out.
I also like to use festive cookie cutters to cut out little shapes for decoration later. I actually made an extra pie crust to do this. I sprinkle cinnamon sugar on them and bake them for 10 or 15 minutes on a separate cookie sheet. This comes from my Grandma, who used to do exactly that with the pie crust scraps. The kids loved them.
This pie crust needs to be blind baked, so bake it in the oven and use whatever you prefer to keep the crust flat: beans, pie weights, another pie pan, etc.
Bake it for 15 minutes at 400 degrees. I am using aluminum foil to keep it flat. I also used a fork to poke holes in through the foil to avoid air bubbles forming.
Take off the foil and brush an egg yolk wash in the crust. This should consist of one egg yolk with a tiny bit of water, about 1/8 teaspoon. Bake it for one more minute.
I am never happy with how my pie crusts look, but here it is for the record.
Now I am going to decorate the edges with some of those cookie pie crust leaves I made earlier.
Finally, it is time to make the pie filling.
If you want warm pie, cool the pie thoroughly, then cut and warm it in a 250-degree oven for about 20 minutes.
1. Adjust oven rack to center position, and heat oven to 275 degrees. Place pie shell in oven if not already warm.
2. Melt butter in medium heatproof bowl set in skillet of water maintained at just below simmer. Remove bowl from skillet; mix in sugar and salt with wooden spoon until butter is absorbed. Beat in eggs, then corn syrup and vanilla. Return bowl to hot water; stir until mixture is shiny and warm to the touch, about 130 degrees. Remove from heat; stir in pecans.
3. Pour mixture into warm shell; bake until center feels set yet soft, like gelatin, when gently pressed, 50 to 60 minutes. Transfer pie to rack; let cool completely, at least 4 hours. Serve pie at room temperature or warm, with lightly sweetened whipped cream or vanilla ice cream.
Here is the recipe, step-by-step, with photos.
First of all, mise en place. Assembling the ingredients now will help with baking later.
Melt butter in medium heatproof bowl set in skillet of water maintained at just below simmer.
Remove bowl from skillet; mix in sugar and salt with wooden spoon until butter is absorbed.
Beat in eggs, then corn syrup and vanilla.
Return bowl to hot water; stir until mixture is shiny and warm to the touch, about 130 degrees.
Remove from heat; stir in pecans.
Pour mixture into warm shell; bake until center feels set yet soft, like gelatin, when gently pressed, 50 to 60 minutes.
I had to bake this pie a bit longer for some reason. I don't remember doing it in year's past, but go with the appearance and make sure the filling isn't sloshing around when the time is up. If it is, bake a little longer.
Here is the finished pie. I will take a picture of it tomorrow after I cut a piece and post it for you.
Happy Thanksgiving to you all and thank you for stopping by!


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Q: Adding accordion menu into tabs: merging JS I am trying to merge ACCORDION menu into my existing TABS menu. Well, I have a working example of Accordion menu withing Tabs, taken from here.
Honestly speaking, I failed to fully understand how it works; whereas html structure is clear, JS is not. I am using Dreamweaver, which can generate tabs and accordion from scratch, using jQuery UI library. For tabs DW generates:
<link href="jQueryAssets/jquery.ui.core.min.css" rel="stylesheet" type="text/css">
<link href="jQueryAssets/jquery.ui.theme.min.css" rel="stylesheet" type="text/css">
<link href="jQueryAssets/jquery.ui.tabs.min.css" rel="stylesheet" type="text/css">

<script src="jQueryAssets/jquery-1.8.3.min.js" type="text/javascript"></script>
<script src="jQueryAssets/jquery-ui-1.9.2.tabs.custom.min.js" type="text/javascript"></script>

and for ACCORDION, DW generates a similar set:
<link href="jQueryAssets/jquery.ui.core.min.css" rel="stylesheet" type="text/css">
<link href="jQueryAssets/jquery.ui.theme.min.css" rel="stylesheet" type="text/css">
<link href="jQueryAssets/jquery.ui.accordion.min.css" rel="stylesheet" type="text/css">
<script src="jQueryAssets/jquery-1.8.3.min.js" type="text/javascript"></script>
<script src="jQueryAssets/jquery-ui-1.9.2.accordion.custom.min.js" type="text/javascript"></script>

The question is: how to merge ACCORDION JS into my existing TABS JS. Is there a single JS file covering the entire functionality.
Pardon if this question sounds bizarre and unprofessional.

A: Goto https://jqueryui.com/download/
Select which widgets you want to use and you will get 1 custom file having these two widgets.

redpajama_set_name: RedPajamaStackExchange


Buying an island in the Bahamas or the Caribbean costs less than acquiring one hectare of Italian vineyard: it seems absurd, but a private island in the Central American havens can be acquired with just over 2 million euros, while one hectare of Barolo reaches up to 2.5 million euros: the Coldiretti, directly from Vinitaly 2019, which will be staged until April 10 in Verona, where the Italian farmers' association inaugurates the "Casa Coldiretti", a space for meetings and discussions in which an exclusive sensorial museum is also set up, displaying over 405 lands of Italian wine designations, to be observed closely.
The superstar is, therefore, the Piedmontese Barolo, while for Brunello di Montalcino and Prosecco the figures reach up to one million euros per hectare. To get a hectare of Barbaresco, Coldiretti continues, it takes between 500 and 600,000 euros, as well as Amarone Della Valpolicella, Bolgheri Toscano and the vineyards of Trentino Alto Adige, which amount to a million of Euro. Other prestigious Docs are less expensive, from Franciacorta, which reaches 300,000 euros, to Chianti, at 200,000 euros, but the same figures also include Lugana, a wine that is growing so much to be at the top of the top ten of the bottles that have recorded the greatest increase in sales in value in large-scale distribution.
Even though it has very variable quotations for the type of wine produced, the average value of vineyards in Italy, Coldiretti points out on the basis of data Crea-Consiglio for research in agriculture and analysis of the agricultural economy, is about 51,000 euros per hectare, more than two and a half times the average of agricultural land. In terms of territory, the highest average prices are recorded in Trentino Alto Adige, with values higher than 200,000 euros, followed by Veneto, which is just below 140,000 euros per hectare, double of those of Piemont, which with 68,000 euros ranks third. Quotations above the national average also for Friuli Venezia Giulia (61,000 euros), Lombardy (57,000 euros) and Tuscany (55,000 euros). Success at the basis of the land, recalls Coldiretti, which in Italy has recorded an extraordinary and unique variety. The volcanic soils, for example, guarantee the ideal conditions for growing grapes from which wines are produced, especially white wines characterized by great minerality.


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This buffet was designed by Woodleaf Studios to compliment the client's existing dining room furniture from Century. The buffet incorporates lion head ring pulls, black lacquer engaged pilasters with gold leaf capital, and base elements. The primary door and drawer panels are banded with ebonized bead. The unusually deep niche allowed for an elevated upper tier at the rear for additional serving surface.


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An interactive animation that clearly and concisely communicates each step in the mutation-testing pathway.
The tool was independently endorsed by an international panel of oncology experts, and is helping improve understanding and support increased genetic testing uptake across the world.
How can NexGen help you create behaviour change?
We needed a way to help physicians address these needs that would provide maximum benefit to the clinical community.
The meeting strongly resonated with the clinical community and booked up weeks in advance, with many delegates already eagerly anticipating next year's meeting.
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Maeda's made so many enemies and done so many wrong-headed things in such a short amount of time that I am reminded once again that IQ and intelligence are not the same thing. He's made many sweeping administrative errors, but it is this that bothers me: he thinks himself more intelligent than those who surround him and those who have gone before him. And since he believes himself more intelligent and advanced than the people that went before him, he assumes that what they believed is not true anymore, is outdated. This is a false syllogism.


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Greenville's culinary scene has gained national attention and is often cited for its great array of lunch and dinner destinations. In recent years opportunities to find equally unique and quality breakfast cafes has been added to the foundation of destinations that have served up consistent traditional selections for many years. On this tour we want to highlight some of the not-to-miss delicious selections for a truly memorable breakfast tasting experience. This driving tour will begin on Greenville's Main Street and will tour you through some of our city's "hot spots" as well as some of the city's most beautiful neighborhoods on the way to the restaurants.
Our first destination, The Spoonbread Restaurant, has been part of the fabric of downtown Greenville since 1925 when the Poinsett Hotel opened as the grandest hotel in town. After a $25 million renovation, the hotel re-opened in 2000 as the Westin and the Spoonbread resumed delighting its guests with the best daily breakfast buffet in downtown as well as a la carte menu items. On this tour you'll feel charmed and special in this beautiful environment sampling an array of fresh items from its hot and cold breakfast selections. You'll also get good insights to the history and significance of this special hotel.
Next we'll make our way to a trendy spot in the South Ridge complex on one of Greenville's gateway corridors. Normally you'll see people lined up outside the doors waiting to get a taste of their breakfast fare at all times of day. We'll beat the crowds and get a personalized experience from chefs who may serve us one of their "crowd favorites" or may treat us to something off-menu for a special one-of-a-kind indulgence. To take your taste buds further, you're encouraged to try selections from their home-made jam and flavored-butter bar.
Before you start thinking how far you'll be putting off lunch, we've got one more stop that will bring a perfect ending to your vacation in Flavor Land. Greenville's business climate is one of the most internationally thriving areas in America—especially through the presence of Michelin (France) and BMW (German). One of the greatest spots where the European influence is most deliciously felt is at Le Petit Croissant. Chef Vincent Caradonna grew up and learned the art of pastry and chocolate making in France. You'll savor hand-crafted, flaky creations that will make you feel like you've been transported to a Parisian café with each bite. The variety of chocolates will melt in your mouth and satisfy any sweet tooth. If you like a nice French coffee to complete your experience, go ahead and indulge on that too...they roast that in house.
You will leave full and satisfied with the delicious food portions and drink selections available at each stop. The restaurants are all very unique and will serve up great examples of what make each place a great breakfast destination. If it isn't already, you may leave with breakfast being your favorite meal of the day!


text:
Q: Armadillo linking error: ld: symbol(s) not found for architecture x86_64 I am currently trying to compile a simple C++ test program using optim.
This library uses Armadillo and I keep getting the following error message

Undefined symbols for architecture x86_64:   "ddot", referenced
  from:
        double arma::blas::dot(unsigned long long, double const*, double const*) in main.cpp.o ld: symbol(s) not found for
  architecture x86_64 clang: error: linker command failed with exit code
  1 (use -v to see invocation)

My program code looks like this
#include <iostream>
#include <armadillo>
#include "optim.hpp"

double sphere_fn(const arma::vec& vals_inp, arma::vec* grad_out, void* opt_data)
{
    double obj_val = arma::dot(vals_inp,vals_inp);
    //
    if (grad_out) {
        *grad_out = 2.0*vals_inp;
    }
    //
    return obj_val;
}

double booth_fn(const arma::vec& vals_inp, arma::vec* grad_out, void* opt_data)
{
    double x_1 = vals_inp(0);
    double x_2 = vals_inp(1);

    double obj_val = std::pow(x_1 + 2*x_2 - 7.0,2) + std::pow(2*x_1 + x_2 - 5.0,2);
    //
    if (grad_out) {
        (*grad_out)(0) = 2*(x_1 + 2*x_2 - 7.0) + 2*(2*x_1 + x_2 - 5.0)*2;
        (*grad_out)(1) = 2*(x_1 + 2*x_2 - 7.0)*2 + 2*(2*x_1 + x_2 - 5.0);
    }
    //
    return obj_val;
}

int main()
{
    //
    // sphere function

    const int test_dim = 5;

    arma::vec x = arma::ones(test_dim,1); // initial values (1,1,...,1)

    bool success = optim::lbfgs(x,sphere_fn,nullptr);

    if (success) {
        std::cout << "lbfgs: sphere test completed successfully." << std::endl;
    } else {
        std::cout << "lbfgs: sphere test completed unsuccessfully." << std::endl;
    }

    arma::cout << "lbfgs: solution to sphere test:\n" << x << arma::endl;

    //
    // Booth function

    arma::vec x_2 = arma::zeros(2,1); // initial values (0,0)

    bool success_2 = optim::lbfgs(x,booth_fn,nullptr);

    if (success_2) {
        std::cout << "lbfgs: Booth test completed successfully." << std::endl;
    } else {
        std::cout << "lbfgs: Booth test completed unsuccessfully." << std::endl;
    }

    arma::cout << "lbfgs: solution to Booth test:\n" << x_2 << arma::endl;

    return 0;
}

Similar questions have been asked over and over again in this forum. I read so many threads and I still can't figure out how to solve this problem.
People say it would help linking with -larmadillo. For some reason this does not work me. So here is my CMAKE script
cmake_minimum_required(VERSION 3.6)
project(TESTPROJECT)

set(CMAKE_CXX_STANDARD 14)
# set(CMAKE_CXX_FLAGS "-framework Accelerate")

set(SOURCE_FILES main.cpp)

find_package( ARMADILLO REQUIRED )

add_executable(TESTPROJECT ${SOURCE_FILES})

link_directories(... /usr/local/lib)
include_directories(... ${ARMADILLO_INCLUDE_DIR} /usr/include /usr/local/include/optim)

set( CMAKE_CXX_FLAGS  "${CMAKE_CXX_FLAGS}  ${GCC_ARMADILLO_LINK_FLAG}")
set(CMAKE_EXE_LINKER_FLAGS  "${CMAKE_EXE_LINKER_FLAGS} ${GCC_ARMADILLO_LINK_FLAG}")

target_link_libraries(TESTPROJECT ${ARMADILLO_LIBRARIES} optim)

Running make after cmake results in the error above on my macOS. However, if I uncomment set(CMAKE_CXX_FLAGS "-framework Accelerate"), it does work. But then the I get incorrect results for the above test functions.
I am very grateful for any help.


Dr Helen Snaith, Prospect branch chair at the Natural Environment Research Council, says leaving the EU is likely to make it even harder to secure funding and recruit specialist staff.
As a data scientist at the British Oceanographic Data Centre – based at the National Oceanography Centre in Southampton – Dr Helen Snaith understands better than most the global nature of climate sciences, the range of skills needed to do the job and how much money it takes.
"Most of the data we look after has been collected on research cruises, which are incredibly expensive. It costs a lot of money to send a fully-crewed ship out to the Southern Ocean or the Atlantic," she says.
The data collected by the BODC, such as sea level, sea surface temperature and full-depth temperature measurements, are distributed across the research and wider marine community.
"We want to get the best use of that data so that people can reuse it within other projects. The records are free for people to access and can also be used for commercial purposes.
It is because of the BODC's data that we know the oceans have been getting warmer – and by how much – over the last half a century, she adds.
Working across international boundaries and with international colleagues is intrinsic to the National Oceanography Centre, which is the BODC's parent body.
This might mean working with countries such as India or Indonesia on coastal defence programmes, says Helen.
"The nature of what NOC does relies on expertise that is spread across the globe and we have to ensure that continues after Brexit… We rely on very specialist skills. Globally, there are not a lot of people who can do this work.
Even now, before Britain has formally left the EU, the NOC regularly has to make special cases to recruit scientists with the necessary skills from outside Europe.
The NOC and other research bodies are now facing a period of uncertainty and possible disruption to their work through no real fault of their own, says Helen.


text:
Interview Under the spotlight: Little Simz
After emerging from a difficult time with a renewed focus, with new album 'GREY Area' Little Simz is making her boldest and most honest statement yet.
Words: Rachel Finn
Photos: Carolina Faruolo
It's safe to say the last few years for Little Simz have been something of a whirlwind. New album 'GREY Area' is her third in four years, following four mixtapes and a staggering seven EPs. She's also found time to curate two festivals at the Roundhouse, toured with Anderson .Paak, Lauryn Hill and Gorillaz, and travelled the world several times over with her own headline show. All of this, while remaining an independent artist.
"I think I would have been quite unhappy, but I also might have been a lot more successful," Simz - aka Simbi Ajikawo - muses, on how things might have been different if she'd inked a deal early on. "I'm the kind of person who has a vision for things and what I want my aesthetic to look and feel like, what I want my music to sound like, what I want my videos to look like. I've been blessed in that sense that I can actually do what I want but obviously there are challenges. When you get the invoices and it's up to you, you really know what it feels like to be a boss."
'GREY Area' sees Little Simz taking charge more so than ever before. Whereas 2016's 'Stillness In Wonderland' opted for a conceptual approach, using multiple personas and surrealist interludes to blur the boundary between her own life and the characters she'd created, this time she's more direct, offering up a record that's candidly her. When she began writing towards the end of 2017, it came in a year during which her relentless touring schedule had begun to wear her down.
"I was mentally and physically drained. I'd been on the road for so long and I felt like I was just burning myself out and then on top of that I'm away from family and friends and relationships are suffering. Everything just started taking its toll," she remembers. "And it was just like, so what? Am I just going to go through life not really knowing who I am because things can change at any minute? This album felt more like a coming of age album, like I was peeling back another layer of trying to discover myself and just finding out that I'm a lot more complex than I even thought I was."
"I'm a lot more complex than even I thought I was."
The album punches hard from the very first beat. On single 'Offence', she's full of bravado, comparing herself to Picasso, Shakespeare and Jay-Z on her "worst day", while on 'Venom' she spits a fearless attack at men who are intimidated by powerful women. But there's plenty of vulnerability too. On 'Therapy' and the Little Dragon-featuring 'Pressure', she attempts to untangle herself from a web of dark, depressed thoughts; 'Flowers', a collaboration with Michael Kiwanuka, meanwhile finds her stepping outside of herself for the only time on the record. Using the perspective of some of her musical heroes - Amy Winehouse and Jimi Hendrix - it finds Simz asking herself soul-searching questions about how she wants to be remembered: "I'm erratic / confession of an addict / how they let me sing to the masses / lost what I had, staring in the face of tragic".
Focusing on the bigger picture as ever, it's not just the songs she spearheaded this time around: she also shot the artwork for each of the album's singles herself, turning what began as a hobby on tour into a legitimate part of her career. "I just kind of felt like I was always being captured," she explains. "I was always getting my photo taken, but I just wanted to have something for me to document stuff that was happening in my life, like I travel so much and I don't really remember half the places I've been to. I started to get a bit more artsy with it and more creative and it turned out that I actually had a passion for it."
A deeply personal record, it's perhaps unsurprising that the making of 'GREY Area' came with its raw moments: something that most came to the fore when working on key track 'Wounds'. It would prove one of the most difficult moments of making the album after she received a phone call telling her about the death of a friend. "I went to the studio that same day, just sat in the room by myself in the dark and just cried," she recalls. "I must have been sitting in the dark for about three hours. I don't think anyone even knew I was in there and then I got the instrumental up and just started writing.
"This album felt more like a coming of age album."
"I needed to get up and go to the studio everyday. I needed to be productive, I needed to get myself up and be around good people and do what I love, especially because I know that person would have wanted that."
And while it may be a record born out of emotional turmoil, when it came to recording, over a month between LA and London with producer Inflo, spending time in the studio turned out to be the soothing force she needed to straighten out her thoughts. "It was very zen," she says. "There wasn't pressure to create something every minute. Trying not to force things, I think is important."
Although Simz professes that she "always knew growing up that [she] was going to play to huge audiences", she still regularly finds herself having 'pinch-me' moments. It's something she encountered while touring with Gorillaz, starting off at their Demon Dayz festival in Margate, before being whisked around the world to play with Damon Albarn and his crew across Europe, the US and South America.
"[I get them] all the time. For sure!" she explains with a laugh. "But I think that just gives me more fire in my belly and it kind of affirms that thoughts become things and you can actually manifest things. So that gets me excited for the personal goals I've set myself now. It makes me excited to get to the place where I've achieved them just as proof again, you know what I mean? Anything's possible."
'GREY Area' is out now via Age 101.
As featured in the March 2019 issue of DIY, out now at stockists across the UK. Alternatively, read below, get a copy sent to your door, or subscribe for a full year.
Tyler, The Creator, FKA twigs, Charli XCX and more to play Lovebox 2020
The first wave of names for the Gunnersbury Park based festival have been revealed.
A brief look into… Little Simz's 'GREY Area'
Ahead of the 2019 Hyundai Mercury Prize, we've taken a brief look at some of the shortlisted albums.
IDLES, The 1975 and slowthai all shortlisted for 2019 Hyundai Mercury Prize
Foals and Fontaines DC are also among the acts who'll be vying for the prize this September.
Little Simz announces further UK live dates
She's added four shows to her upcoming run, which will all take place in December.

redpajama_set_name: RedPajamaCommonCrawl


text:
ADM Baseball
Conference: Raccoon River
Conference Record: 6-8
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Seth Williamson 14 Senior
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06/03/19 22 3 3 1 0 0 2 2 0 vs Winterset
06/05/19 39 19 6 3 0 0 6 1 0 @ Ogden
06/06/19 35 14 7 3 0 0 7 2 2 @ Dallas Center-Grim
06/10/19 24 4 0 0 0 0 0 0 0 @ Ballard
06/12/19 33 14 11 1 1 0 9 11 2 vs Perry
06/13/19 16 0 0 0 0 0 0 1 1 @ Carlisle
06/15/19 28 12 7 2 0 0 7 5 4 vs Sergeant Bluff-Lu
06/15/19 34 12 8 4 1 0 7 2 2 @ Glenwood
06/19/19 29 4 4 0 0 0 3 1 4 @ Boone
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text:
IT'S A GUY THING
1.4 min read| Published On: June 1st, 2016|
Women often forge deep and lasting friendships with other women, some within minutes of meeting one another.
But what about the men? Do they get as close to their male counterparts as women do with their gal friends? How do men feel about their close friends?
When asked how their group got started, Philadelphia transplant Tom Salerno spoke up. "It started with a Pittsburg hat," he says. "A guy that sat here all the time had on a Pittsburg hat. Then another guy with a Pittsburg hat joined him. More men joined in. As men walked by or were seating themselves, someone would invite him over.
"It seems to me that's a pretty common occurrence throughout the country," Tom says. "Guys get together to have coffee in the morning. For me, it's a big part of my day."
John Marro moved to The Villages from Rochester, New York. "We may come from all different places," he says, "but I consider all of these people a part of my extended family. We help each other all the time."
What do they talk about each morning?
"We razz each other a lot," Tom says. "Kinda like a roast thing. John will say something and just for kicks we'll disagree with him. But he might be right once in a while.
"You can't really describe what we talk about each day because it depends on who you sit next to. It's not like a forum where somebody gets up and talks to the group.
" How do male friends differ from their female counterparts?
"We're not as emotional as women are," John offers. "Even with tragedies, we tend to bring a little levity to it, you know, to make people feel better. We men do get emotional but we're not as outward about it as women are.
" Pittsburg part-timer Ron Demsher said the first time he came to Starbucks and saw the group of men, he just joined in. "When I first came to this table, we were strangers," he says. "Now we're all friends. We even got our wives involved. That's what it's all about." Friendship.


text:
Q: Overlapping subproblem in a dynamic problem question (Coin change problem) I am trying to develop a good intuition of Dynamic Programming questions but I am not able to understand a particular aspect of the questions.
I will take an example of Coin Change problem as provided on leetcode https://leetcode.com/problems/coin-change/
In many tutorials, a bottoms-up approach is mentioned such as in this one - https://www.topcoder.com/community/competitive-programming/tutorials/dynamic-programming-from-novice-to-advanced/
In this approach, we start from the optimal solution and then build up the array towards our solution. Example - We find the optimal solution of finding sum 2 then 3 and so on. In the end, we will have our solution. This is the approach which I understand.
I am having trouble wrapping my head around another approach of recursion with memoization. I have written a backtracking approach to the problem but am not sure how to apply memoization to it.
public int changeCoins_BT(int[] coins, int target, int min, int num_curr) {

    if(target == 0) {
        return min < num_curr ? min : num_curr;
    } else if(target < 0) return min;
    else if(num_curr > min) return min;

    for(int i=0;i<coins.length;i++) {
        min = changeCoins_BT(coins,target-coins[i],min,num_curr+1);
    }

    return min;
}

A: Before finding recursive solution for DP, try identifying sub-problems of the problem in question. Since, each sub problem is same as parent problem and same algorithm will be applied.
Let's take the example for coin change where you are given list of denominations, d[] and sum, S and we need to find minimum number of denominations, count (of denominations) for summing up to S. If we want to define a solution (method) for finding count that would be
int findMinDenom(int[] d, int S). At this point we don't know what implementation it would be but we do know what parameters are required for the problem which is d and S.
Keeping in mind that sub-problems would also have same solution but with lower sum. Hence, we try to implement in such way that findMinDenom solves for each of sub-problems. This will lead us to a recursive solution where we call same method with lower sum, s.
int findMinDenom(int[] d, int S) {
  if (S == 0) {
    // If Sum is zero, then no denomination is required.
    return 0;
  }
  int result = Integer.MAX_VALUE; // Define Integer max
  for ( int i = 0; i < d.length; i++) {
    int s = S - d[i] // Reduced to a sub-problem
    // Handle case where s < 0
    if (s < 0) {
      continue;
    }
    int r = findMinDenom(d, s); // Solution for lower sum, s
    result = Math.min(result, r + 1); // Plus 1 because we have just used one denomination.
  }
  return result;
}

We have just solved using DP. However, there is no memoization. We will introduce using array to hold results. Because we don't if a sub-problem has already been solved. If yes, then just return the result of that sub-problem. For sum 0, denomination would be zero. There solution[0] = 0 and we wish to find solution to problem S, in coding terms, solution[S]. Therefore size of solution array is S+1.
// Initialize solution
int[] solution = new int[S+1];
solution[0] = 0;
for (int i = 1; i <= S; i++)
  solution[i] = -1; // Just to denote that solution is not found yet.

Now, pass solution of our recursive method.
int findMinDenomMemo(int[] d, int S, int[] solution) {
  if (solution[S] > -1) {
    // Solution exists
    return solution[S];
  }
  int result = Integer.MAX_VALUE; // Define Integer max
  for ( int i = 0; i < d.length; i++) {
    int s = S - d[i] // Reduced to a sub-problem
    // Handle case where s < 0
    if (s < 0) {
      continue;
    }
    int r = findMinDenomMemo(d, s, solution); // Solution for lower sum, s
    result = Math.min(result, r + 1); // Plus 1 because we have just used one denomination.
  }
  // Just now solved for sub problem S. So store it.
  solution[S] = result;
  return result;
}


text:
Sumatra holidays | The best Sumatra holidays packages 2018 | DuaBenua
Indonesia in a nutshell
Bali – the Island of the Gods
Volcanoes, Islands and Dragons
Sumba – Mysteries of megalithic culture
Sumatra – the Jungle Kingdom of the Orangutans
Maluku – The Spice Islands
Papua – Baliem Valley Adventure
Sulawesi – People of Toraja – Ancient Culture
Indonesian Highlights
Featured trips
Sumatera – is a large island in western Indonesia that is part of the Sunda Islands. It is the largest island that is entirely in Indonesia (two larger islands, Borneo and New Guinea, are shared between Indonesia and other countries) and the sixth-largest island in the world at 473,481 km2 (including adjacent islands such as the Riau Islands and Bangka Belitung Islands). Sumatra is an elongated landmass spanning a diagonal northwest-southeast axis. The Indian Ocean borders the west, northwest, and southwest sides of Sumatra with the island chain of Simeulue, Nias and Mentawai bordering the southwestern coast. On the northeast side, the narrow Strait of Malacca separates the island from the Malay Peninsula, an extension of the Eurasian continent. On the southeast, the narrow Sunda Strait separates Sumatra from Java. The northern tip of Sumatra borders the Andaman Islands, while on the lower eastern side are the islands of Bangka and Belitung, Karimata Strait and the Java Sea. The Bukit Barisan Mountains, which contain several active volcanoes, form the backbone of the island, while the northeast sides are outlying lowlands with swamps, mangroves, and complex river systems. The equator crosses the island at its centre on West Sumatra and Riau provinces. The climate of the island is tropical, hot and humid with lush tropical rain forest once dominating the landscape. Sumatra has a wide range of plant and animal species but has lost almost 50% of its tropical rainforest in the last 35 years, and many species are critically endangered such as the Sumatran ground cuckoo, Sumatran tiger, Sumatran elephant, Sumatran rhinoceros, and Sumatran orangutan. Deforestation on the island has also resulted in serious haze over neighbouring countries, such as the 2013 Southeast Asian haze causing considerable tensions with affected countries such as Malaysia and Singapore
Medan – is the capital of North Sumatra province in Indonesia. Located along the northeastern coast of Sumatra Island, Medan is the fourth biggest city in Indonesia, behind Jakarta, Surabaya, and Bandung. With 2,097,610 inhabitants at the 2010 census, Medan remains the largest settlement outside of Java Island. Bordered by the Strait of Malacca, Medan is a busy trading city as the strait is one of the most important shipping lanes in the world. Medan is the gateway to the western part of Indonesia, accessible via the Port of Belawan and Kuala Namu International Airport (the second largest airport in Indonesia). Both the seaport and the airport are connected to the city centre via toll road and railway. Medan became the first city in Indonesia to have an airport supported with train service
Bukit Lawang – is a small tourist village at the bank of Bahorok River in North Sumatra province of Indonesia. Situated approximately 86 km northwest of Medan, Bukit Lawang is known for the largest animal sanctuary of Sumatran orangutan (around 5,000 orangutans occupy the area), and also the main access point to the Gunung Leuser National Park from the east side. Bukit Lawang rehabilitation centre for orangutans was founded in 1973. The main purpose is to preserve the decreasing number of orangutan population due to hunting, trading, and deforestation. A flash flood hit Bukit Lawang on 2 November 2003. The disaster destroyed the local tourist resorts and had a devastating impact on the local tourism industry in the area. Around 400 houses, 35 hotels and guest houses were destroyed by the flood, including 239 people were killed and around 1,400 locals lost their homes. Local authorities and an environmental NGO attributed it to illegal logging. Thanks to several international cooperation agencies, the site was rebuilt and opened again in July 2004.
Napisz biuro@icm.net.pl
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Huge News! My work is in Country Living magazine!
The panel was over-nighted to their offices in New York and then I waited anxiously to see if it actually made it into the magazine. It is one page of a two page introduction to an article called " Arsenic and Old Lace", an article about old-fashioned fall and Halloween themed home decor including lacework. The actual panel was cropped for the magazine page and shot up close. It is on page 84. My name and web address are on the seam side of the page.
I am soooo excited to have been noticed and asked to attempt this task. Yahoo!!! Another good thing that came out of this project is that now I have a basis for a tatted script alphabet.
The detail of the lacework: I tried to be as perfect as possible!
I continue to count my blessings as I continue my career as a fiber artist. And I thank everyone, especially my husband, for all the support and encouragement I continually receive. It truly means so much to me.


text:
Q: Qt GraphicsScene drawing items I'm trying to test QGraphicsView and QGraphicsScene. I've created an class, Brick, that inherits QGraphicsItem. The Brick class will draw a brick ar the coordinantes specified when calling constructor. Now i'm trying to fill the first row of the program with bricks. The Brick sprite is 32x32.
Brick class constructor:
Brick::Brick(int x, int y)
{
pixmap = new QPixmap("brickblock.jpeg");

setPos(x, y);
}

Window's constructor:
    for(int i = 0; i <= 768; i+=32){ // 24 bricks
    Brick *abrick = new Brick(i, 0); // x = i; y = 0;
    scene->addItem(abrick);}

The problem is that the program draws these bricks somewhere in the middle of the screen, not on the first row. The GraphicsView is occupying the entire screen.

A: Try using:
scene->setSceneRect(0, 0, 768, 768);

In short, this will tell the scene and the view that the top-left coordinate is (0, 0), and that the scene is 768 units wide by 768 units tall. Otherwise the scene and view will consider (0, 0) to be the middle coordinate.


text:
Q: DOMPDF style and image rendering issue on windows 7, CodeIgniter 3 I am trying to render an HTML page as PDF in using DOMPDF version 0.8 on CodeIgniter running on Windows 7 64 bit. My development machine runs PHP 7 on XAMPP on a Windows 10 Pro but the production server runs PHP 5.6 on Windows 7 professional 64bit.
I realize that when I run the application on my local machine, everything works well and the PDF is properly generated with the images and styles properly displayed in place. But when I deploy to the production machine, the styles and the images dont render properly again. The images dont display and the styles are not rendered.
Please I will appreciate any suggestions to resolve this issue
Here are some parts of my codes below:
//Application/libraries/pdf.php
<?php
defined('BASEPATH') OR exit('No direct script access allowed');

require_once("./vendor/dompdf/dompdf/src/autoloader.php");
use Dompdf\Dompdf;

class Pdf
{

public function generate($html, $filename='', $stream=TRUE, $paper = 'A4',
$orientation = "landscape")
{
    $dompdf = new DOMPDF();
    $dompdf->loadHtml($html);
    $dompdf->setPaper($paper, $orientation);
    $dompdf->render();

    if ($stream)
    {
        $dompdf->stream($filename.".pdf", array("Attachment" => 1));
    }
    else
    {
        return $dompdf->output();
    }
}
}

//Application/controllers/report.php
...some code removed for brevity
$this->load->library('pdf');
$html=$this->load->view('parts/pdf-head',NULL,true);
$html.=$this->load->view('admin/reports/periodic/pdf',['results'=>$_SESSION['students_result']],true);
$this->pdf->generate($html,'report');

//Application/views/admin/reports/periodic/pdf.php
<?php

if(empty($results))
{
echo "
 No result found in record for the selected parameters
";
}
else
{
    foreach($results['scores'] as $student=>$scores)
    {
        ?>

                    <?php echo img(['src'=>"style-resources/logo2.png", 'width'=>"50px"]);?>

                    <?php echo $results['campus'];?>

                    <?php echo $results['title'];?>

                    <?php echo strtoupper($scores['student_info']['student_names']);?>

                    <?php echo $scores['student_info']['class'].', '.$scores['student_info']['class_arm']; ?>

                Number of class contacts 	<?php echo $scores['student_info']['attendance'];?>	Student's Attendance	<?php echo $scores['attendance_score'];?>

                C.A.1 (10%)	<?php echo $scores['ca1']; ?>	C.A.2 (10%)	<?php echo $scores['ca2']; ?>	Classwork (15%)	<?php echo $scores['classwork']; ?>	 Attendance (5%)	<?php echo $scores['attendance_score'];?>	EXAM (60%)	<?php echo $scores['exam']; ?>	TOTAL (100%)	<?php echo $scores['total'];
                    ?>	Grade	<?php echo $scores['grade']; ?>	POSITION	<?php $this->load->helper('ordinalize'); echo ordinalize(array_search($scores['total'],$_SESSION['result_total'])+1);  ?>

                Highest Score	<?php echo max($_SESSION['result_total']); ?>	Lowest Score	<?php echo min($_SESSION['result_total']); ?>	Class Average	<?php echo array_sum($_SESSION['result_total'])/count($_SESSION['students_result']['scores']) ?>	Effort	<?php echo $scores['effort'];?>

                                Accomplishments for the Term

                            Exercise/Activity
                            Score

                        <?php
                        if(empty($scores['scores'][1]))
                        {
                            echo "
 No lesson exercise found for this student
";
                        }
                        else {
                            foreach ($scores['scores'][1] as $a => $b) {
                                if ($a != 'total') {
                                    echo "
" . $a . "	" . $b . "
"; ?>
                                <?php }
                            }
                        }
                        ?>

Summary of report

                            <?php echo $scores['comment']; ?>

                                Skills/Strengths demonstrated

                                <?php echo $scores['student_info']['skills'];?>

                                Observed Weakness(es)

                                <?php echo $scores['student_info']['weaknesses'];?>

                                Remedial steps taken

                                <?php echo $scores['student_info']['remedies'];?>

                                Further improvement steps to be taken

                               <?php echo $scores['student_info']['further_actions'];?>

                Educator's Name	<?php echo $results['educator']; ?>	Educator's Signature

                Coordinator's Name	<?php echo $results['coordinator'];?>	Coordinator's Signature

    <?php }
}

A: .HTACCESS file looks like this:
<IfModule mod_rewrite.c>
  RewriteEngine On

  #RewriteBase /
  RewriteCond %{REQUEST_FILENAME} !-f
  RewriteCond %{REQUEST_FILENAME} !-d
  RewriteRule ^(.*)$ index.php?/$1 [L]
</IfModule>

in this check your RewriteBase.
Then Check your application/config/config.php for $config['base_url'] = 'http://localhost/project_name'; line of code.


text:
Street Photography Interview: @w_faich
This time round I have something a little different for you. Initially I was following @w_faich to feed my interest in graffiti. In his work you get a glimpse of London from his perspective; High-rise to the underground and everything in-between. We get a natural view of London, as from someone who has lived there, and knows it inside out. Not only that; he discusses his fascination with trains including train-hopping one of the worlds most dangerous trains and explains his ongoing project and fascination with Northern Ireland.
1. Hey. Good to talk to you. Exploration clearly plays a big part in a lot of what you're shooting whether it be high views, train lines, or other countries. Photography naturally falls hand in hand. How did you get started to doing what you do and is that where photography began for you?
Since I was a teenager, around 14 years old I've been travelling around London on the bus, trains, tubes and on my bike. That's how I got my feel for the city, and became interested in exploring lesser seen areas and places. I've carried a digital camera of some sort over the years, and slowly moved up the ladder to an SLR. I was originally really interested in trains quite a bit as a kid, so you could almost call me a trainspotter back then, but through friends and places I became more interested in graffiti, high rise buildings, views of London that not many people appreciate. It's all come together through many days and nights just criss-crossing all areas of London, seeing what I can find. This has also made me want to explore other cities around the country and even venture abroad.
2. You're showing London as most people never see it. Is there anything you are specifically trying to capture in your photos?
I've had an interest in social housing and tower blocks for years, and have kind of made it my personal mission to photograph as many estates and blocks as possible. This started by me going to the Heygate Estate in south London in 2011, which was a huge estate that eventually got demolished back in 2014. From there I've pretty much been in and up every single major tower block and estate in London, almost systematically recording the buildings, especially as more and more get demolished, as the tide of gentrification and redevelopment sweeps across the city. I see it more of a project of an important part of the country's social history, which is slowly being erased and forgotten, and at the same time an architectural snapshot of some very unloved and under appreciated buildings.
3. Do you go out with intentions in mind of what you're wanting to shoot, is it more about the experience or a combination of both that keeps you going out there?
Sometimes, there's a particular view I'll want to capture, or a certain place I'll want to go and check out, so I'll make it my mission to go and get that done. However, a lot of my work has been captured from me just wandering and meandering around the streets and estates, late at night, early in the morning. So many hours have been put into this, and I am so glad I've put this time and effort into doing it. The experience is really important, as I know I'm getting something done which in my mind, is really worth it. I'll listen to some music, zone and and really get in my state of mind for shooting. It just seems the right way to go about it.
4. You travelled to Mauritania, North West Africa to ride the desert train. I have no idea what that is but it sounds nuts. What the story behind that journey? The image you've shown from that trip looks pretty crazy. Any stories from that trip?
As well as what I do with tower blocks, I cross over into the urbex (urban exploration) world. So through that, this idea eventually came about. I've known about this train for years from watching a BBC documentary, and then when it came up in a conversation around 2 years ago a few of us made it our mission to get it done, and it finally came together on Christmas Day last year. Mauritania is a country that barely anyone has heard of, and is one of the least visited countries in the world. Our government advise against all travel to the country, and don't have an embassy to give any help when you're there. However, it is one of the most amazing places I've ever been to. The train itself runs from the mining centre of Zouerate in the middle of the desert, runs through what is pretty much bandit country on the border with the disputed territory of Western Sahara, then after 17 hours reaches its destination at the port city of Nouadhibou.
The attraction for people like me, is the opportunity to ride in a freight wagon for the entirely of the journey, through the desert, and no one giving a f***. Some other locals use it to transport their own goods and even livestock (we saw donkeys on board and even a herd of goats). On top of this, it is one of the longest trains in the world, at around 2 and a half miles. I rode the train two legs, there and back, the first one the wagons were empty, and he second they were loaded with Iron Ore. I still remember waking up at dawn, as the wagons smashed around against each other, the dust from the iron ore and sand from the Sahara swirling round into my bivvy bag, making me and all my belongings filthy. We had some tea with some local guys on one of the wagons further up, then watched the sun rise over the desert, one of the most amazing things I've ever done or witnessed.
Another thing I liked a lot was all the old cars, particularly completely battered Mercedes 190's. This is a third world country so I guess they make do with the spare parts they have, as two thirds of all cars I saw were this model, even if it meant running your car with panels missing, collapsed suspension and 7 people squeezed inside ! A truly crazy and amazing place. More travels to come!
5. More recently you've been heading over to document Northern Ireland. What sparked your interest over there? The murals shown over on your Instagram are amazing. It reminds me of a place that time forgot from many images I see in some areas.
For a long time, I've had an interest in the conflict in Northern Ireland. I studied it in GCSE history, and became so interested that I decided to continue researching, reading and watching things about it all. I always had it in my mind that I'd go over to see it all, and for some reason I never did. With Brexit looming, I decided in November last year to fly out once and for all. I think my style of photos fits in quite nicely with what there is to see, particularly in and around Belfast. In the end, I planned my trips around photographing the murals, which themselves are slowly changing to reflect a changing society. Masked gunmen with assault weapons depicted on the side of homes are being changed, although many still remain. I still think it's crazy that there exists a place in this country that has large walls separating very divided communities, that being the Protestant Unionists and the Republican Nationalists, and many people back here in London know little about it all. In the end, I have returned again twice and have already booked flights for a fourth trip very soon. A big thanks has to be given to Ryanair for the cheap tickets!
6. What's next? Are you currently working on any projects? Where can we keep up to date with your goings on?
The social housing project is ongoing and will probably never be complete, but I'd love to release a zine or even a book on the whole thing in a couple years time, as that would mark 10 years that I've been documenting them. Other cities and towns are on my hit list in the UK at the moment , so stay tuned for that.
In particular I want to do something related to Grenfell Tower, as I have photos before, during and after the tragic fire which occurred a year and a half ago. Yes, I was nearby in the middle of that night and got a phone call, so naturally went down to see what was going on. I'll release some London based graffiti work at some point, as I've become quite known for taking 'good' photos of trains painted which are running in service, through a lot of sitting around at stations!
You can find me on Flickr, which is using my screen-name, 'w_faich'. I have an awful backlog at the moment, and am saving a lot of my work for future publication, but there's plenty to look through already.
Instagram: w_faich
Flickr: w_faich
It was great to speak with W_Faich - it had been on the cards for a very long time. Appreciate you giving us a glimpse in to your world. There's an insane amount of content on his Flickr page as well as his Instagram.
Enjoy the post? Let me know via Instagram, direct messaging or email! I'd love to hear your thoughts.
Jordan Murray Street Photography
www.500px.com/jordanmurrayphoto


BlackBerry Z30 is available for 16,799 Rupees on Snapdeal. This price is vaild for all major cities of India including Delhi, Mumbai, Kolkata and Chennai.
The latest price of BlackBerry Z30 was retrieved on 21st April 2019.


text:
Bonus Prizes
<< Return to Main Contest page
All bonus prizes are based on Newgrounds.com rating system. We will update the main contest page with every submissions title and Newgrounds.com score. Bonus prizes will be given to all entries that qualify for the bonus. If you don't make the top 10 in prize money you can still earn a lot of money via these bonuses so everyone has a chance to win.
Weekly Top 5 Bonus : If you achieve a weekly top five award on Newgrounds.com you will receive a $1,000 U.S. bonus.
Best of July Bonus: The top three entries submitted in July will each receive a $1,000 U.S. bonus based on Newgrounds.com rating system. (Bonus will pay out within the second week of August).
Best of August Bonus: The top three entries submitted in August will each receive a $1,000 U.S. bonus based on Newgrounds.com rating system. (Bonus will pay out within the second week of September).
Best of September Bonus: The top three entries submitted in September will each receive a $1,000 U.S. bonus based on Newgrounds.com rating system. (Bonus will pay out within the second week of October).
Best Physics Game Bonus: The judges will vote at the end of the contest on the best game containing collision detection for a $500 U.S. bonus. here are some examples of physics games. Orb Avoidence, Draw Bounce, Vorticube 3D.
Best Fighting Game Bonus: The judges will vote at the end of the contest on the best game centering around fighting for a $500 U.S. bonus. here are some examples of fighting games. Battle in Megaville, Newgrounds Rumble, Matrix Rampage.
Best Car Racing Game Bonus: The judges will vote at the end of the contest on the best game featuring car racing for a $500 U.S. bonus. here are some examples of racing games. 3D Rally Racing, Pedal to the Metal, King of Skeleton.
Best RPG Game Bonus: The judges will vote at the end of the contest on the best RPG (Role Playing Game) game for a $500 U.S. bonus. here are some examples of RPG games. Weird Adventure 2, Max Mesiria 2, Murloc RPG.
Best Shooting Game Bonus: The judges will vote at the end of the contest on the best shooting game for a $500 U.S. bonus. here are some examples of shooting games. Smileys War, Stranded, Last Stand.
Best Platform Game Bonus: The judges will vote at the end of the contest on the best Platform game for a $500 U.S. bonus. here are some examples of platform games. Pacman Platform 2, Ultimate Flash Sonic, Fancy Pants Adventures.
Best Graphics Game Bonus: The judges will vote at the end of the contest on the best game with the best art/graphics/animation for a $500 U.S. bonus.
Most Original Game Bonus: The judges will vote at the end of the contest on the best game with the most originality/creativity for a $500 U.S. bonus.
Best Games Main Menu Bonus: The judges will vote at the end of the contest on the game with the best menu screen, the menu screen should be creative, unique, clean and easy to navigate for a $500 U.S. bonus.
Most Creative MaxGames Intro Animation Bonus: The judges will vote at the end of the contest on the game with the best intro animation, the intro should be a creative animation based on the MaxGames logo and theme for a $500 U.S. bonus.
Note: On top of the final prizes and bonuses. Each game can include mochi ads or Newgrounds ads . Please consult the adittional ad revenue page for more information.


For Don Roth, CEO of Northbrook-based AmpliVox, it is always a treat to see his company's products pop up in unexpected places.
A few months ago, his phone started ringing when friends saw an AmpliVox megaphone being used to guide daredevil Nick Wallenda on his blindfolded tightrope walk between Chicago's Marina Towers.
In a short clip, a product staff member uses the AmpliVox Mity-Meg to deliver instructions to hundreds of contestants as they wait to audition.
That same week, a similar megaphone was pictured in a local paper being used at a community sidewalk sale.
"Our megaphones are extremely versatile, so it's not really a surprise to see them used in so many ways," notes Roth.
"They're lightweight, powerful, and run for hours on rechargeable batteries. It's no wonder that they're so popular."
US Marines, Naval Officers, veterans and community members gathered on July 25 at Fort Sheridan, Illinois for a somber and dignified ceremony in memory of armed forces members killed by a gunman in Chattanooga, Tennessee.
They were joined by 10th District Congressman Bob Dold, who came to honor the four marines and one sailor who died at the Chattanooga Navy Reserve Center on July 16, 2015.
The outdoor service was enhanced by the use of a portable PA from AmpliVox Sound Systems, based in nearby Northbrook, Illinois.
The system used at the ceremony, AmpliVox's SW915 Digital Audio Travel Partner, is a convenient and versatile all-in-one system for indoor or outdoor use.
The 250-watt amplifier clearly projects voices for audiences up to 7,500 people, and its built-in Bluetooth™ module enables music streaming directly from smartphones or other devices.
The portable unit runs for up to 10 hours on its rechargeable batteries, allowing for easy set-up in outdoor venues.
"AmpliVox is honored to have been part of this important remembrance ceremony at Fort Sheridan," noted Don Roth, AmpliVox CEO.


A sophomore with an off-killer major.
Fast-food orders go long distance.
The debate over immigration: 200 years & counting: America may be a nation of immigrants, but we haven't always welcomed newcomers with open arms.
Do Americans pay enough for gas? Americans are screaming about $3-a-gallon gas, but fitting up in other countries can cost twice as much.
The day that changed the world: five years after 9/11, the U.S. and the world are very different places.
India: quotas vs. the caste system: affirmative action can be an even more emotional issue in India than in the United States.
Is our planet in peril? Many scientists fear that global warming is slowly threatening Earth's future.
Should Iraq be split up in order to save it? Violence between Sunnis and Shiites could destroy Iraq. One idea is dividing the country along sectarian lines.
9/11/01: A school day like no other.
In Connecticut, it's ok to win--just not by too much.
The class of 2006 at Montgomery Blair High.


text:
← Marguerite (2015) ☆☆☆(3/4): By George, she can't sing well…
Elvis & Nixon (2016) ☆☆(2/4): When Elvis met Nixon →
Miles Ahead (2015) ☆☆1/2(2.5/4): Miles before moving ahead
Shortly after the screening of "Miles Ahead" during this Saturday afternoon, I happened to have a brief conversation with one of the audiences. He pointed out how the movie was not so different from another recent jazz musician biography film "Born to Be Blue" (2015), and I could not agree with him more because I kept making comparisons between these two films throughout the screening. Like "Born to Be Blue", "Miles Ahead" tries to do something different through its own improvisation, but it still feels like a conventional musician biography as dealing with many familiar elements you can expect from a troubled jazz musician's life, and the overall result is less successful in comparison despite its admirable intention.
Its story casually moves back and forth between two different periods in the life and career of Miles Davis (Don Cheadle), one of the legendary American jazz musicians during the late 20th century. During the late 1970s, Davis has been in a self-imposed retirement status for years, and it looks like he reaches to the end of his career when he is visited by David Braden (Ewan McGregor), a Rolling Stone reporter who wants to scoop any good writing material from Davis. While his record company is still expecting him to make a comeback, Davis does not seem to be particularly interested in recording anything new for now, and his current life has been in disarray as reflected by his despondent appearance mixed with aggressiveness and drug addiction.
While their first encounter at Davis' residence in New York City was not so pleasant to say the least, Braden accompanies Davis when Davis makes a surprise visit to his record company, and it turns out Davis has a recording session tape he made a few years ago. Many people are interested in that tape although Davis does not want to reveal its contents for now, and one of them is Harper Hamilton (Michael Stuhlbarg), a shady music producer who wants the tape for whatever he is planning behind his back. When Davis' tape happens to be snatched by Hamilton later, Davis is determined to retrieve the tape by any means necessary, and Braden soon finds himself acting as a reluctant helper in Davis' rather reckless attempt.
In the meantime, a series of occasional flashback scenes give us the glimpses into Davis' relationship with his ex-wife Frances Taylor (Emayatzy Corinealdi) in the past. Although Davis was not that faithful to Frances even before their marriage in 1958, their love was evident when they met each other for the first time, and she even gave up her promising dancing career just because he demanded that not long after they married.
They have been happy together for a while since their marriage, but then, not so surprisingly, there comes a point where she begins to run out of her patience because of her husband's personal problems. She becomes more frustrated about his continuing infidelity, and that leads to a big domestic fight between them. While struggling with drug addiction around their later years, Davis terrorizes Frances with his paranoia fueled by drugs, and that is when she finally decides that enough is enough.
The screenplay by Steven Baigelman and Don Cheadle, which was developed from the story written by Baigelman, Cheadle, and their two co-writers Stephen J. Rivele and Christopher Wilkinson, incorporates a considerable number of fictional elements into its free-flowing narrative intended to reflect the uncertain and hesitant mood of its hero. For example, Braden is a fictional character to function as our observer, and I must tell you that his potentially dangerous adventure with Davis during the second half of the movie is purely the writers' creation.
This is surely an interesting storytelling attempt for reaching to the human essence of its subject, but the movie somehow ends up merely scratching the surface on the whole. While constantly intertwined with each other like two rhythms being played together, its two main storylines do not generate enough narrative syncopation effect between them, and the finale feels lackluster especially when it eventually reveals the answer to the main curiosity in the movie.
Cheadle, who also directed and co-produced the film, gives an engaging performance to watch. Besides looking convincing during the musical performance scenes in the film, he humbly embodies his character while not stepping back from his character's negative sides at all. It is indeed a cliché to say that some talented artists are difficult jerks, but Cheadle presents that conventional contradiction with honesty and respect, and he also provides a number of good musical moments including when Davis is trying to get a right performance as working closely with his studio session players. As we can expect from any movie about jazz music (or 'social music', as pointed out by Davis at one point in the film), the soundtrack is filled with numerous recognizable jazz pieces, and there is also a nice surprise to be enjoyed around the end credits.
"Miles Ahead" is deficient in several aspects including its underdeveloped supporting characters, and it is disappointing to see talented actors like Ewan McGregor, Emayatzy Corinealdi, Michael Stuhlbarg, and Lakeith Lee Stanfield being stuck with rote supporting roles. "Born to Be Blue" is a little more successful in its similar storytelling experiment in my opinion, but "Miles Ahead" is not a total waste of time thanks to its few better parts including Cheadle's performance, and these two jazz music films will probably make an interesting double feature show together in their common ground.
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