1. (78) Martin Truex Jr., Toyota, 186.567 mph.
2. (18) Kyle Busch, Toyota, 186.437 mph.
3. (42) Kyle Larson, Chevrolet, 186.128 mph.
4. (20) Erik Jones, Toyota, 186.047 mph.
5. (3) Austin Dillon, Chevrolet, 185.711 mph.
6. (22) Joey Logano, Ford, 185.577 mph.
7. (41) Kurt Busch, Ford, 185.185 mph.
8. (12) Ryan Blaney, Ford, 185.076 mph.
9. (31) Ryan Newman, Chevrolet, 184.848 mph.
10. (4) Kevin Harvick, Ford, 184.436 mph.
11. (2) Brad Keselowski, Ford, 184.360 mph.
12. (37) Chris Buescher, Chevrolet, 184.341 mph.
13. (6) Trevor Bayne, Ford, 184.743 mph.
14. (21) Paul Menard, Ford, 184.596 mph.
15. (1) Jamie McMurray, Chevrolet, 184.115 mph.
16. (17) Ricky Stenhouse Jr., Ford, 183.819 mph.
17. (13) Ty Dillon, Chevrolet, 183.683 mph.
18. (32) Matt DiBenedetto, Ford, 183.397 mph.
19. (43) Darrell Wallace Jr. #, Chevrolet, 182.848 mph.
20. (23) Gray Gaulding, Toyota, 175.161 mph.
21. (38) David Ragan, Ford, 183.870 mph.
22. (34) Michael McDowell, Ford, 183.603 mph.
23. (00) Jeffrey Earnhardt, Chevrolet, 176.043 mph.
24. (55) Reed Sorenson, Chevrolet, 133.735 mph.
25. (11) Denny Hamlin, Toyota, 0.000 mph.
26. (14) Clint Bowyer, Ford, 0.000 mph.
27. (10) Aric Almirola, Ford, 0.000 mph.
28. (88) Alex Bowman, Chevrolet, 0.000 mph.
29. (24) William Byron #, Chevrolet, 0.000 mph.
30. (19) Daniel Suarez, Toyota, 0.000 mph.
31. (9) Chase Elliott, Chevrolet, 0.000 mph.
32. (47) AJ Allmendinger, Chevrolet, 0.000 mph.
33. (48) Jimmie Johnson, Chevrolet, 0.000 mph.
34. (95) Kasey Kahne, Chevrolet, 0.000 mph.
35. (51) Timmy Hill(i), Chevrolet, 0.000 mph.
36. (15) Ross Chastain(i), Chevrolet, 0.000 mph.
37. (72) Cole Whitt, Chevrolet, 0.000 mph.


Red cabbage is something we usually link to these rich winter dishes, but why stick to the obvious? This vegetable can absolutely can be part of an awesome tropical smoothie! We don't know why we haven't thought of it before! Great color, great flavor. Come on sunshine, we have our Cabana Smoothie!
In need of some nice chill tunes this weekend? Indie folk band Shake Shake Go can provide this! They have released their first self-titled EP last March with England Skies as their first single. This London based band started out in 2012 performing wherever they could and are now touring UK & Europe spreading their pop folk songs. Check their Facebook for tour dates!
And, if you want to listen to the acoustic version of England Skies, click here!


Calgary Commercial Auto Insurance, Calgary Commercial Car Insurance | Del Fisher Insurance Inc.
Calgary Business auto insurance is available to any business owner who owns vehicles used for a commercial purpose. Coverage protects owners against damage and liability claims.
Del Fisher Insurance Inc. Get your free commercial auto insurance quote from Del Fisher Insurance Inc. Call 403-230-3811 for more information. We're located in Calgary, AB.


text:
Q: $\mathbb{R}$ is not contained in $\mathbb{C}$ A teacher of mine says to me that the real numbers is NOT a subset of complex numbers, but that complex numbers has an isomorphic copy of real numbers with the isomorphism $x$ $\rightarrow$ $(x,0)$. I can see this if we consider the complex numbers as $$C=\{(a,b):a,b \in \mathbb{R} \}$$
because the real numbers are not ordered couples.
But what if I consider $$C=\{x+iy:x,y \in \mathbb{R}, i^2=-1\}?$$
Then $\mathbb{R}$ is a subset of $\mathbb{C}$ because $x= x+0$ for all $x \in \mathbb{R}$.
So... $\mathbb{R}$ is a subset of $\mathbb{C}$ or not?
Any help would be appreciated.
NOTE: My question is slightly different from the one "$a=a+0i$?" because I'm taking two definitions of $\mathbb{C}$ but there is more sets isomorphic to $\mathbb{C}$ and I want to know if always the reals are a subset of the complex numbers or not.

A: Well, it is not really true that the complex numbers are ordered pairs. Ordered pairs just give a specific model of the complex numbers.
The difference is best seen when considering the construction of the real numbers. If you look at the linked Wikipedia page, you'll find quite a lot of different constructions. For example, there's the original Dedekind construction, where every real number is a pair of sets of rational numbers. Then there's the modern version, where instead of a pair, only a single set of rational numbers is used. Then there's the construction as equivalence class of Cauchy sequences; in that construction, the real numbers are sets of functions from the natural numbers to the rational numbers.
In all those constructions, the real numbers end up as very different sets. So which of them are the "real" real numbers? Well, all of them. All those construction give different models for the same thing, namely the real numbers. You can show that by doing an 1:1 mapping from one model to another, that preserves the structure (addition, multiplication, etc.). That is, "the real numbers" is not any single of those constructions, it's the structure for which all those constructions generate a model.
Let me suggest yet another, non-standard construction of the real numbers: First, I define the complex numbers as equivalence classes of Cauchy sequences of pairs of rational numbers using e.g. the Manhattan distance. Note that in this construction, the complex numbers are not at all pairs of real numbers (indeed, I bypassed the definition of the real numbers so far), but equivalence classes of sequences of pairs of rational numbers. Then I define the real numbers as complex numbers with zero imaginary part.
Note that in this definition, the real numbers are by construction a subset of the complex numbers. And if done correctly (I've only sketched the way, of course) these thus defined real and complex numbers have exactly the same properties as the real and complex numbers defined in any other valid way.

A: As you have mentioned, it depends on how one defines the complex numbers. From a purely set-theoretic point of view, $\mathbb{R} \not \subset \mathbb{C}$, rather the set of things in $\mathbb{C}$ which resemble real numbers is isomorphic to $\mathbb{R}$. For all intents and purposes however, one can consider $\mathbb{R} \subset \mathbb{C}$.

redpajama_set_name: RedPajamaStackExchange


-You can use Simple Trainer Spawn it by name "jp12"
I don't normally review stuff but this thing is amazing, great work !
Quality model amazing detail, be nice if you could make the spare wheel an extra so that if you use different wheels it don't look silly. Raised suspension to 0.100000 and given suspension bit of body roll to stop it tipping over. But topjob on great model.
Love this! More please! I am a HUGE 4x4 enthusiast in GTAV and this is right up my alley. Would be great to see an FJ Cruiser done in the same manner. Keep it up!
@ANSWER after the last game update the model no longer can be tunned. Any ideas what can be done in order for this to be fixed?
Great model, literally my favorite car in the game. It would be awesome if you could make the spare wheel an extra so it doesn't look weird when you use different wheels. Besides that it's perfect and I hope to see more like this!
Can Someone Please convert this model to MudRunner???
Anyone having the same problem with the back window opening while driving ?
@Arodriguez253 It's not a bug. If you have the full hardtop then pressing CTRL or Shift, or Numpad8 or Numpad5 will open or close it. Pretty dope but to avoid it just use the soft top or the slanted hard top.
When I drive the Vehicle with my Controller the back Window is opened. How can I fix it?
Lit work! I love that there's plenty of options to apply on the car. Awesome really, five stars!
alguien sabe por que no puedo modificarla?
for some reason, game crash when i install this one, I uninstall it, then install another mod from you (Range rover 2014) and game work fine. it's simple installation but i don't know why i have this crash with this specific mod only.
never-mind, i re-download the file and it's working, i guess something went wrong first time i download it.


Nice2Stay, San Lameer Golf Estate, exclusive villa accommodation and rentals on the Kwazulu Natal South Coast!
We offer two beautiful Villas on the San Lameer Golf Estate for rental to holiday makers. Both Villas are centrally positioned on the estate with easy access to all facilities. Other than a very small step at the front door, Villa 2704 does not have any steps, which provides easy access for the disabled.
San Lameer is situated on the South Coast, ±10 km South of Margate on the KwaZulu Natal coast line of South Africa.
San Lameer had humble beginnings when it was proclaimed a private township in 1977. Now this delightful town on KwaZulu Natal's South Coast is a private estate boasting an acclaimed 18 hole championship golf course, hotel, conference centre, restaurant and plenty of stress-relieving sporting facilities all set in a beautifully enclosed nature reserve. It is, therefore, a rather unique property development. Visitors to San Lameer are left with memories of glistening waters, a spectacular tropical layout and indigenous bushes. San Lameer is a truly idyllic and beautiful destination. Herds of Impala and other indigenous buck roam around and make you feel truly at one with nature. There are many places to visit in the area.
The San Lameer Country Club is a majestic 18-hole championship golf course, designed by Peter Matkovitch. It is, in fact, rated among the top courses in South Africa. What sets this golf course from the rest is that it combines breathtaking beauty with an exciting and demanding golf challenge. The golfing clubhouse overlooks a spectacular panorama of golf holes and large expanses of water.
San Lameer also boasts a restaurant, bar and pools at the spectacular Hotel on the lagoon. Besides the main golf course there are fantastic tennis, bowls and squash facilities for the sport lovers. Make use of the canoes or row boats on the lagoon to discover more or go fishing. San Lameer's beach is stunning and is proud to have achieved the Blue Flag status. The waters are warm and ideal for all exciting watersports.


text:
package com.github.swagger.akka;

import com.fasterxml.jackson.annotation.JsonInclude;
import com.fasterxml.jackson.core.JsonFactory;
import com.fasterxml.jackson.databind.DeserializationFeature;
import com.fasterxml.jackson.databind.Module;
import com.fasterxml.jackson.databind.ObjectMapper;
import com.fasterxml.jackson.databind.SerializationFeature;
import com.fasterxml.jackson.dataformat.yaml.YAMLFactory;
import helloscala.common.jackson.Jackson;
import io.swagger.jackson.mixin.ResponseSchemaMixin;
import io.swagger.models.Response;
import io.swagger.util.DeserializationModule;

public class ObjectMapperFactory {

    protected static ObjectMapper createJson() {
        return createJson(true, true);
    }

    protected static ObjectMapper createJson(boolean includePathDeserializer, boolean includeResponseDeserializer) {
        return create(null, includePathDeserializer, includeResponseDeserializer);
    }

    protected static ObjectMapper createYaml() {
        return createYaml(true, true);
    }

    protected static ObjectMapper createYaml(boolean includePathDeserializer, boolean includeResponseDeserializer) {
        return create(new YAMLFactory(), includePathDeserializer, includeResponseDeserializer);
    }

    private static ObjectMapper create(JsonFactory jsonFactory, boolean includePathDeserializer, boolean includeResponseDeserializer) {
        ObjectMapper mapper = jsonFactory == null ? Jackson.defaultObjectMapper : Jackson.createObjectMapper(jsonFactory);

        Module deserializerModule = new DeserializationModule(includePathDeserializer, includeResponseDeserializer);
        mapper.registerModule(deserializerModule);
        mapper.setSerializationInclusion(JsonInclude.Include.NON_NULL);
        mapper.configure(SerializationFeature.FAIL_ON_EMPTY_BEANS, false);
        mapper.configure(SerializationFeature.WRITE_DATES_AS_TIMESTAMPS, false);
        mapper.configure(DeserializationFeature.FAIL_ON_UNKNOWN_PROPERTIES, false);

        mapper.addMixIn(Response.class, ResponseSchemaMixin.class);

        return mapper;
    }
}

redpajama_set_name: RedPajamaGithub


I made 13 quilt tops on my annual quilting retreat with my friends. I've now quilted them all, and have donated some to the Community Quilts program (Community Quilts 280, 281, 282, 283, 284, and 285).
The others I'll either give as gifts or list for sale on my Etsy store in the next few days. Below are the ones I've kept for these purposes.


text:
OGCI announces $1 billion investment to accelerate development and deployment of innovative low emissions technologies
OGCI Climate Investments to fund new ventures and projects that have the potential to significantly reduce emissions
Initial focus on deploying carbon capture, use and storage on a wide scale; enhancing the role of gas by reducing methane emissions along the value chain; and improving energy efficiency in both transport and industry
LONDON, UK, NOVEMBER 4, 2016 – The Oil and Gas Climate Initiative (OGCI) today announced an investment of $1 billion over the next ten years, to develop and accelerate the commercial deployment of innovative low emissions technologies.
OGCI Climate Investments (OGCI CI) will aim to deploy successfully-developed new technologies among member companies and beyond. It will also identify ways to cut the energy intensity of both transport and industry. Working in partnership with like-minded initiatives across all stakeholder groups and sectors, the OGCI CI believes its emission reduction impact can be multiplied across industries.
In a joint statement, the heads of the 10 oil and gas companies that comprise the OGCI said: "The creation of OGCI Climate Investments shows our collective determination to deliver technology on a large-scale that will create a step change to help tackle the climate challenge. We are personally committed to ensuring that by working with others our companies play a key role in reducing the emissions of greenhouse gases, while still providing the energy the world needs."
This investment represents an unprecedented level of oil and gas industry collaboration and resource-sharing in this space. This new, additional investment will complement the companies' existing low emissions technology programs and will draw on the collective expertise and resources of the member companies.
Through discussions with stakeholders and detailed technical work, the OGCI has identified two initial focus areas: accelerating the deployment of carbon capture, use and storage; and reducing methane emissions from the global oil and gas industry in order to maximize the climate benefits of natural gas. The OGCI believes that these are areas where the oil and gas industry has meaningful influence and where its collaborative work can have the greatest impact.
Beyond this, OGCI CI will make investments that support improving energy and operational efficiencies in energy-intensive industries. OGCI CI will also work closely with manufacturers to increase energy efficiency in all modes of transportation.
A CEO and management team for OGCI Climate Investments will be announced in the near future. The closing of OGCI Climate Investments is subject to customary conditions including regulatory clearances as required.
About the Oil and Gas Climate initiative
The Oil and Gas Climate Initiative is designed to catalyze practical action to reduce greenhouse gas emissions.
Led by the heads of 10 oil and gas companies that aim to lead the industry response to climate change, OGCI member companies – BP, CNPC, Eni, Pemex, Reliance Industries, Repsol, Saudi Aramco, Shell, Statoil and Total – together represent one fifth of the world's oil and gas production.
The OGCI was established following discussions during the 2014 World Economic Forum Annual Meeting, and was officially launched at the UN Secretary General's Climate Summit in New York in September 2014.
To learn more about OGCI, visit oilandgasclimateinitiative.com.
BP press office, London +44 (0)207 496 4076, bppress@bp.com
OGCI press office: +44 (0)203 047 2132, OGCIMediaEnquiries@edelman.com
Alternatively, please direct enquires to individual member companies.
Also on bp.com
Sign up for BP news
Follow BP Press on Twitter

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: AWS ECS Fargate target group health checks pass, but access from ALB times out I have an ECS Fargate Cluster with one service running in it.
The service has two tasks running on the same task definition. Both tasks, for debugging, have public IP addresses - and I can make requests to the health check endpoints on both tasks/containers that return a 200. So the service seems fine and accessible. No problems there.
The service also has a target group and has registered targets for both containers - the health checks for the target group use the same health check endpoint on the container that I can access directly, and both are healthy.

The target group receives traffic from an ALB.

The ALB has two availability zones, two public subnets that allow incoming traffic from the internet. I know that I can access the ALB because configuring it like so:

And using curl --location --request GET 'somewhere-in.ap-southeast-2.elb.amazonaws.com/123'
yields
works!
When I curl --location --request GET 'somewhere-in.ap-southeast-2.elb.amazonaws.com/actuator/health the request times out, and I don't know why.
I know that my containers are fine and can send and receive traffic directly, I know that my ALB is reachable on the internet and that my target groups know that my containers are healthy. All these resources are in the same VPC with permissive security groups. Ideally I want these containers to live in a private subnet without a public IP address, but I can't do that until I've solved this access issue, and can access both containers via the ALB.
So I think there must be some misconfiguration I've made somewhere that is preventing the ALB from sending traffic through to the target group (even though it can return a fixed response on the same URL).
Does you know how I can find out where that misconfiguration is, or how I can fix this?
EDIT: Adding more screenshots of config:
ECS Service Config:

Target Group Config:


Well done to all 130 runners who took part in the DCC 5km last night with many pbs on the evening. First male home was Sean Doran in a fast 16:35 closely followed by Paul Fleming and Thomas Sherlock. The first female home was Catherine Thornton in 18:33 followed by her club mate Ilona McElroy and Karla Doran. Congratulations everyone and thanks to all the volunteers from Dublin City Council who made the event happen.


An innocent young woman fighting to survive in a foreign land. A powerful overlord longing to leave his dark past behind. The moment they meet, worlds clash as forbidden love ignites.
Twice a year, Lord Toric demands a selection of young women to compete for a place in his harem. Maya must get through just one more selection and then she can marry the man of her dreams. She should have been safe, but the sudden death of a girl who was meant to enter the Tournament forces Maya into the competition.
Thrown into the fight of her life with no preparation, Maya must shed her innocence and win Lord Toric's favor. And there is only one winner in the competition. The losers will be sacrificed. As Maya clings to survival, Lord Toric is inexplicably drawn to her and she's unexpectedly falling in love with the powerful overlord. Will she survive the first round, or will she pay the ultimate price for her inexperience?
A Shade of Vampire meets The Hunger Games in a faraway land filled with danger and intrigue!
Sapient Salvation Series — Complete, All Books Available!
Want to know when our new releases hit? Text CCJFBOOKS to 24587, and we'll send new release updates straight to your phone.


text:
Jakarta MRT
Photo Credit: Kevin Al Sheridan
Jakarta, Indonesia | C.2019
Today it's easier than ever to get around Indonesia's most populous city. Within the last decade, the city has constructed its first subway system, the Jakarta Mass Rapid Transit, or Jakarta MRT. Known locally as "Ratangga," which means war chariot in the ancient Javanese language, the Jakarta MRT officially opened on March 24, 2019 and operates 285 trips daily from 5am to midnight.
With 10 million residents, Indonesia's capital city has been dealing with increased traffic jams for decades. In fact, an estimated four million residents commute to and from the city each day! Until the introduction of the MRT, Jakarta's public transportation consisted mainly of taxis and the TransJakarta, the world's longest bus transit.
The Jakarta MRTwas first proposed 40 years ago, but it wasn't until former Governor Joko Widodos called for action in 2012 that the project moved forward. Now covering over 10 miles, there are 13 stations in the first phase of the MRT. The stations start in the southern city of Lebak Bulus and stretch to the central city of Sisingamangaraja. When complete, the MRT is expected to cover 67 miles.
The MRT has garnered favorable reviews, with passengers reporting that the cars are modern and polished. Traveling speeds upwards of 80 kph (50 mph), the ride is quick, smooth, and comfortable. Currently, the MRT has an average daily ridership of 95,000 across its 10 operating lines. Phase 2 of the MRT began in March 2019 with tunneling slated to begin later this year.
Turquoise White On The Rails Transport
More Places Tagged: On The Rails
Illiers-Combray Station
Southern Fuegian Railway
Tierra del Fuego, Argentina
Jane Station
More Places Tagged: Transport See All >
Montjuïc Cable Car
This cable car in Barcelona celebrates its 50th anniversary in 2020.
Rajmahal Palace
Home to the Maharaja of Jaipur, India for over 250 years.
Port Vell Aerial Tramway
Decimated by the Spanish War, this tramway was restored in 2000 to serve its intended purpose: a tourist attraction offering exceptional views of Barcelona.


effort and concentration. It needed to be nourished by hope.
Zoey and her mother's new husband.
had said the dog must go.
die if they took him.
Thank you so much to Helen for stopping by today, remember to check out the other blogs on the tour for more exclusive content!


text:
most popular art & design
All Design Classes > Fundamentals > Color For Designers: Exploration, Theory, & Application > Color In Action: Designer Pablo Delcan
Color in Action: Designer Pablo Delcan
Lesson 11 from: Color for Designers: Exploration, Theory, & Application
Richard Mehl
Fundamentals > Color For Designers: Exploration, Theory, & Application > Color In Action: Designer Pablo Delcan
11. Color in Action: Designer Pablo Delcan
Meet Pablo Delcan, independent graphic design studio owner, and learn how he has applied color theory knowledge to his work across various media, including book covers, illustrations, and animations. Pablo shares his approach and thought process behind design decisions, as well as advice on designing for clients.
Why Study Color?
Natural Awareness of Color & Playing
Colors and Their Relationships
Color Contrast of the Color Wheel
Hands On Color Grids
Color Illusion in Practice
Interaction of Color Practice - Part 1
Illusion of Transparency
Hands On Free Study Experiment
Color in Design: Tangrams
Hands On: Tangrams
Hands On: Leaf Composition
Expression of Color & Opposites - Part 1
Hands On: Cut Paper Illusion
Everyday Found Color 2
Colors in Nature with Rachel Gregg
Let's welcome Pablo Delk in Hey can hear his there. You Hey, how's it going? Good. How are you doing? Good. It's strange. I can't really see you guys, but I think we'll make this work. But we can hear you and see you, Pablo. For tablet placing to introduce yourself for the creative live audience. Yeah. My name is Pablo Ville con. I'm a graphic designer in New York City and I run a small design studio. Um, we do a lot of animation, work illustration and, um, book design. You're very welcome to creative life. Thank you for joining us today. Thank you. Bubble. What's that? You've cut apart the earth in the background there. I see what you're mass destruction. That's that's just work in progress. We have two pieces back together at some point. How are things in New York? Everything's nice. It's dark now. It was a nice day until they sitting on this chair. Uh huh. It's good. It's Monday. So it's it's good that it's over. How's how's everything? Were there. I kind of like follow the the clas...
s to be a little bit. Looks looks fantastic. It's the future. Well, you know all this stuff already. So, yeah. Um, so we're here to basically, uh, here you talk a little bit about your use of color and your design work. And, uh uh, we checked in a little bit in terms of what? The things air that we're going to talk about. So, um, uh, I'm gonna bring up the, uh, limits. I'm gonna bring up the Jules Verne covers first. Cool. So can you tell us a little bit about this? Um, I don't know if you can see what we have here, but I've got the, uh, the slipcase with the covers where we see the spines and it looks like there's a color bar on the side. Just tell us a little bit about this project thing. This is, I think, my first book design product. I think this is a student, and the assignment was to select a series of books and and package them or random us as one book series. Um, and I chose Is the jolt burn books? I haven't read them in a long time. And Wells re reading them. I was kind of amazed by the buries sublime way he had of describing things, especially like landscapes and things like that. And I started looking at naturalist painting self landscapes, and I want you cannot invoke this idea through design. And after doing some research, I found the series of naturalist illustrations off people looking into, um, the details and birds and minerals, and I was kind of it was fascinating looking at people looking at these things in such detail. Um, I thought, How can we take these things and create something that IHS fictional thes is a series of books a fictional books come. So the first idea was just having the naturalist drawings and, um, kind of experimenting with the idea of three D movies when you put those glasses on and you have this strange illusions of some colors coming forward, another receding on, and that didn't work. But the process of trying to do that came to this experiment of breaking down seem like a printing and creating, um, abstract patterns that playing with this idea of of the naturalist illustrations and the science of printing. So it was a way to to hit back at the idea of France fiction by distorting or abstracting something as concrete as naturalists. Illustrations. So these shapes are based on natural forms. Yeah, the girl. It's a collection of, for example, we're 20,000 Leagues under the Sea. It's all a collection of naturalised drawings of fish and sea creatures that we can. I'm sorry, but we can't actually see the title. So which one are you talking about? There's one that's predict prominently. Blue. That's probably the one That's the one. About 20,000 leagues under the sea. Does it have a little head of a parrot in it? No, that's probably about when was the one that brings about the birds? Yeah. Okay. And then another one that has There is one that has birds. No, there's one that has fish. Yeah, man had birds and trees. And another one that has met minerals. The minerals one. This is for, ah, journey to the center of the earth. It's all a collection of minerals. Natural. This drawings of minerals that have been digitally extracted to create this this abstraction of or this it was almost like using extraction to vote fiction within science. You were talking about breaking down the CME like a technology or the process. Can you elaborate a little bit on that, because when I look at this, I definitely gets a magenta yellow. And then I'm seeing, um, the black gradation bar, the gray scale bar on the side, and you have a color bar on the other side. So you chose to use those, or you decided to have those bars in there as well as these very organic forms. So you have this heavy geometry. Contrast it with these very kind of psychedelic kinds of forms. Yeah. So what were you expressing? I think when I was trying to do there, it was kind of reinforce this idea of the science of printing and this or kind of like, reinforce this idea off four color printing with these crop marks and these print marks that are never seen in final prints. But I thought there was something very beautiful about them, and they kind of in some way they contrasts nicely with this. These very organic forms, huh? So that's a good kind of second into the next project, which is a series of book covers for Jeff Vandermeer. Can you talk about those? It's funny, cause that's that seriously of books were commissioned to meet after an art director saw the jewels burn covers and he was like, Please try to do something that's along this line and immediately I reacted, trying to not do something that I have done in the past. Um, and I think by not making them pattern like and making them a little bit more iconic, it was a way to react against that. But, um, part of this series that it's it's the Southern reach trilogy by death Vandermeer and these books were the Spanish fish in There were the Spanish translations, and it's similar to tell, Osborne said, that it's also science fiction, and it's the whole trilogies based on this. This area in the world that that's been somehow locked against people because everyone that comes in, comes out disease or and then dies a little bit later or something. So this side, the idea off this border that distorts the reality, and there's am I gonna explain the whole book? But at some point there's like rabbits that dumped through it, and they kind of mutate into these things. So it's it's kind of illustrating this. The transition from one place to another science fictional place, and you decided to use a black background here, in contrast to the white you used on the Jules Verne. Can you talk about that? Um, that was I think that was marketing. They are beginning. I was I I showed these with a page background, so it kind of looked it evoked more this idea of naturalist illustrations on off white paper. But they thought that these books should be presented, um, in a mord genre efficient way. So that it it kind of a long on more to a darker, darker audience. I guess it definitely comes off that way. It's spooky. Yeah, exactly. And the covers look as if they're at least in this display, their their trip to excite by side. So they look like certain images and colors move from one cover to the next to the next. Yes. So what? One of the issues with this that they wanted to avoid was to have each book look two months its own and not, uh, not be relevant to the Siri's itself. So they they the art director of my collaborating with on this, um, wanted everything to if you put the three books together, side by side, the all connect. So this was all designed as one image and then kind of displaced apart. So they pizza at the room cover, but yeah, even in the 1st 1 is a little bit of that blue. It was about kind of unifying everything in a subtle way, so that once you saw the next book, you would immediately kind of link it to when you have already seen and the choices of the colors where they based on the natural forms that you were attempting to represent. So you have green and then this sort of, ah, a brown color for the rabbit. And then the, uh, the owl looks like he's blue and yeah, yeah, So for for that what happened? Waas For the 1st 2 it was as if to both naturalist illustrations that I re appropriated. I didn't draw any of that. Um, and the 3rd 1 looked at some point too much like the second when it still had that brown color. We have to alter it a little bit. So look this. Think that it enough but itself and not too much to the 2nd 1 So It was more brownish before. And then we made of Blue Owl. Which the existing I love the use of just the black. Actually, I like the black a lot. And, umm where did, uh, the typography at the top is very simple and elegant. Did they Did they Were you compelled to do that? Or was that your choice? Um, yes, I think the the image I wanted the admits to Oh, enough. And I compete with any overwrought typographic execution. Um, so I thought something like, very this classic up flush, Lex. Um, Corner would kind of do the job and let that image speak for itself and not I gotta compete with it. Do these designs also wrap to the spine? Like the Verne covers? Yeah. Yeah, they are up to the spine and to the front flat. Yeah. Yeah. Is there a box? I don't think there's a box yet. My box at some point, I think they just came out with the 3rd 1 Hasn't come out yet. Like anything it's printed. Um, so maybe after really? I don't know. Yeah, publishers go. They probably released 1st 3 and then will come up with a box set. I also like the proportion of the rectangle. It's very unusual. Yeah, very long. So the next thing I think we're showing is the New York Times cover the book review. Yeah, and and the students have just been working with the illusion of transparency. So this is perfect for some transparency in the other pieces as well, but really prominent here. So the way we learn, Yes. Oh, so for this one, and this was almost an experiment for myself, and I kind of didn't see the execution of it until it was our everywhere, which is it was kind of scary, and I would have maybe edit some things. It was a fellow just experimenting how colors overlap. And, um, I just to do this the business of book reviews special about education. And it's titled The Way We Learn. And, um when when Nicholas Blackman and I were working on this two months like we're talking about education just for Children, we want to have something that was a little bit more universal about education. So the idea of the the classic questions of why what? Who, where, Um, it seemed interesting to me and they seem to all kind of have something to do with each other. So this idea of obscuring and making them hard to read and having them still be a very nuclear driven design work, it's still very there's, there's the composition is very much all centered and spinning in different directions. Eso the words themselves don't compete with each other. Although you could say maybe by some colors, having more contrast with background probably see them look better. So it looks like a color wheel set the primaries and the secondaries. Yeah, a little bounce. Yeah. Um, yeah, it was, I think my first reaction This was too put color for the for the simple fact of finding things read on their own if you really tried hard enough. But I still wanted to keep kind of, uh, hard to read approach to this so that you have to first, to the immigrant experience that emits, as in a very formal way and then kind of looking to find meaning. And did you use the color wheel is part of an expression of Children's education. I don't think I was thinking of that at the time. I think maybe subconsciously in some way there was something of that came in. Um, I definitely I thought that there was something about education and color that and are No. It's an obscure way they have. They have to be with each other. It's a good way to kind of show variety. And even when you're I mean, there's so many things that from Children's toys when they're growing out, I thought there was a little bit of that in there and then from I don't know, highlighters in textbooks and things like that, I thought it had some relevance in the color choices. The last piece we want to show is Thea Modern love. Can we take a look at that part of it? So, um, I don't think we're gonna hear the sound on this right? So you can talk over this Pablo and just kind of tell us. And as it runs so it's a beautiful range of blues, and these great shapes does this This on an animation of a collaborative with Brian Ray was artist in California and were commissioned by The New York Times to create a animation for their modern love column, and we way we started off with just wanting to do something with cut paper because we have never done that before and enemy cut paper scene easy enough to do since we had a very tight that line. Um, and we started this cutting paper and I start experimenting with the camera, and that's something I discovered just overlaying white pieces of paper on the like box and for tracking them, read this very interesting effect. And also like with the settings of the camera itself, there was so much control of that color that we could interpret the light by altering the white balance or the shutter speed. We could have, like more brightness to less brightness, though amount of paper that we used to overlap. So it's all it's all made with white paper and different kinds. There's a little bit of tracing paper for some elements, but it's predominately all like this toilet paper. That's very impressive. I I really thought that this was all generated somehow in the computer and and somehow made to look like cut paper. Oh, no, that was That was all that was all paper. I love the effect of the light in the dark and the changing temperature. You know how the blue gets warmer in certain areas, They almost goes toward a blue violet. Yeah, yeah, in there is some of it that was done in post production, of course, and in terms of maybe doing some color correction or even like adding some, um, altering the speed of things. But most of the whole thing was was creating on the lightbox and the transparency effects again are that's paper, actually, his physical transfer translucency coming through the light bucks. So paper on paper. Yeah, it's gorgeous. I love these shapes. Yeah, Yeah, brains work. It's very beautiful. Beautiful. Yeah, it's gorgeous. So the setting was basically just a light box and then a camera just above it. And, um, I was just sitting behind the camera, taking pictures and moving things. I think there's maybe 12 photographs for every second. I mean, I think it's like a three minute video or something. So it was It was, ah, hideous process. But there was so many so many surprises along the way of just experimenting with light and paper. Isn't animation always tedious? Yes, it always is. So, um, what are you working on now. Um, right now, I just finished two animations for a source E. And I actually just finished them like, two days ago. And I've been kind of sitting looking out the window for three days. Um, not really waiting, just like really enjoying not doing anything. Eventually, something will come along and yeah, but right now it's pretty slow. We're working on a brand new product for a coffee shop. That's but that's also like, kind of a slow project. It's it's kind of that time were like it's things slow down and then they pop up again. Coming in from online audience, if you wouldn't mind, Is that that's that work for you? Yeah, Sami's interest is saying public when you design a book cover, Must you be intimately familiar with the book? And also the author as the designer? Is it important for you to like the author and appreciate the book? I think it is always important to no, with the book is about, and if you can read it all the better. I don't think liking a book is all that necessary. I think it's a desire interview need to be able to step back and really address things for what they are and almost like the more you like a book, the harder it is to design a cover for it. Because you're so personally involved in the process that whatever you do, it's never gonna be good enough for what you're setting yourself up for. So I think it's just, um, really taking some distance from the work and making sure that you're addressing the book for what? Today's a lot not putting. I know it's a tricky question. I feel like them the covers that I'm most happy with our four books that I liked. So maybe I think it isn't important to fill full failed at the end of your designing something for a book that you don't like. It's kind of, but you're probably just doing it for the money. Otherwise, you're just doing it for getting the book that face that it deserves, or do you think and it should have. So I think yes, it's it's important you like the book that you're designing better than not liking it. Do you always read the book from cover to cover before you start work? Um, most of the time. Yes, a lot of times they don't get me manuscript, and I have to read either a little plot summary a bit. Other times it It's like a very dense history book. I can read a little bit of it, kind of assume. What? What the thing is about for, I think for fiction and for novels, I think it's good to read the whole thing. Fantastic. Pablo. I know everyone online and here in the studio as well. I really enjoyed your Do you have questions here? I'm sorry. I was just wondering how to go about approaching a book cover. Like, what are things that you want to make sure that you include in order to get the book. I mean, I would think that the goal is to get the book off the shelf. So, like, what type of things do you Yeah, I What's your process when you when you go through design herbal cover? Um, I think first of all, is just making a list of things that the book of oaks, whether it's references to objects or references to places, Um and then from there, you kind of this story designing and really. I mean, there's, I think the process could either go very easy and what's you just all right. You go to the bookstore, you can see very different kinds of book covers. There's the ones that are more marketable or the ones that look a very specific way. And I think normally when you're designing a book like that, you were told to kind of address that issue. Can you tell us how many covers you've had killed? I think I have killed many more covers than I've had proved. I mean, I think I think I don't think I've ever made a cover that's gonna prove the first round. I think it's always been second or third rounds that have made it lately. I've been having covers that are always killed and are never approved, which is a bummer. But I mean often times you see the book cover just going down the wrong way, and you have to just stop. But in terms of process, I think I think with book covers, it's still one of those things that graphic designers and really put themselves into, and it's almost like the one of the more artistic forms of graphic design And what you're creating a little RPG's that is going to represent something else. What problem? This has been really fantastic to have you as a guest. Unfortunately, Well, one thing we can never fix on Creativelive is that we've run out of time so very, very quickly. How can people find you online? You're gonna go to my website, which is not working right now, but it will be working eventually. It's silicon. That CEO was one for Pablo. Thank you so much for being with us today. I know already have really enjoyed it. And good luck with all of your future projects is great to have you here. Thanks. Thanks, man. Well, Richard, any final thoughts from session one today? I hope everyone has fun, and definitely I hope you learned something. I think that's a big part of this, but, you know, always approaching color in the context of play. I think that's really important. And tomorrow we're gonna be back, and we're going to be applying some of the ideas. Most of the ideas we talked about today to some, uh, really designs were working with 10 grams. We're gonna be working with leaves with some organic forms of color expression. And I actually have an assignment for you guys. Roughly. It's the expression of opposites, so I'd like you all to choose two opposite ideas. It could be emotions. Emotions is a good place to start, so it could be, um, happiness and sadness. Oh, are something, maybe a little bit more personal about it, and you're gonna find ways to express these two ideas. These two opposite ideas. Using very simple colors and more elaborate colors, colors and forms, simple shapes and creating a dip tick. Ah, composition. That is two pieces that inform each other and using color to expresses emotions or whatever these ideas are. These opposites. So tonight, if you would think about what it is, you like to express these two opposites and maybe make some sketches, maybe make some of this about what colors you might think are good ways to express these ideas. These opposites you worked with colors today that clearly have opposite attractions. Complementary colors are mutually attractive and repulsive to each other. They attract or repulse. You'll find ways to do this, but that's kind of your assignment
Playing With Color - Color Design Glossary
Playing With Color - Color Wheels
Playing With Color - Leaf Collage
Playing With Color - Patterns
Color Grid Template
Tangram Template
Playing With Color - Wallpaper - 1280x800
Playing With Color - Wallpaper iPad
Playing With Color - Wallpaper iPhone
Richard Mehl has taught two-dimensional design, color theory and typography at the School of Visual Arts for over 12 years. His students have gone on to become successful, award-winning designers and art directors for prestigious design studios, including Bloomberg, New
Fundamentals Color Theory Graphic Design
The course was great. Richard was a very good teacher, appreciating the students' work and helping them expand and improve on it. I learned from that alone. I feel more confident in choosing colors, and hope to bring a greater sense of fun to my design work. Thanks again.
How wonderful to have such an experienced, thoughtful teacher, who takes educating others so seriously. The depth and breadth of his teaching skill is matched by his knowledge of the subject. I studied art in school, own some of the color books he recommends, and learned far more than I thought possible. And he does it all in such a kind, affirming, supportive way. What a calm guide. How lucky are we to have access to a class with him!
Joe Loffredo
I was concerned that I wouldn't like watching everyone work, but I found that it was the best part! It allowed you to see Richard's lessons being put into action by the various students, each of which is talented in their own right. And Richard is great. Knowledgeable, intelligent, and supportive, he's got the attributes a great teacher should have. I'm a painter, not a designer, but the class really helped me a lot. When I go back to the canvas, it will be with a much deeper understanding of color, and how colors interact with each other.
Adobe Illustrator CC: The Complete Guide
Color for Designers: Exploration, Theory, & Application
Learn to Draw: An Introduction
Fundamentals Classes


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Clint Eastwood Defies Film Boycott Of Georgia (Because Of Course He Does)
By Sarah Lee | Jun 26, 2019 5:00 PM ET
In a brain twisting bit of irony, Hollywood icon and legend Clint Eastwood will defy other Hollywood actors' (but let's face it, none that even approach his stature in talent or reputation) attempted boycott of Georgia over recent pro-life legislation the state passed to make a film that will likely portray pro-lifers as less than sympathetic.
I know. Wrap your head around it.
Eastwood, a filmmaker known for authenticity in his work, frankly had no better option than Georgia to make his film since its subject matter deals with the media frenzy accompanying the 1996 Olympic games bombing in Atlanta; a frenzy that helped point the finger at the wrong man, security guard Richard Jewell.
(Although I like to think Eastwood would have chosen Georgia for his film anyway because he shoots where he damn well wants to shoot. *spits tobacco*)
Clint Eastwood's next film "Richard Jewell" is listed among the Georgia Film Commission's projects set to shoot in the state this summer — despite the calls for a boycott of production in Georgia over the state's new anti-abortion "heartbeat" law.
Previously titled "The Ballad of Richard Jewell," the film tells the true story of a security guard who was falsely accused in the bombing that took place at Atlanta's Centennial Park during the 1996 Summer Olympics. Paul Walter Hauser plays Jewell alongside a cast that includes Sam Rockwell, Jon Hamm, Olivia Wilde and Kathy Bates.
That cast is a little interesting as more than one of them have been known to speak out about political and policy issues on their respective social media accounts (ahem, *cough* Rockwell and Wilde).
But the actors aren't alone. The Wrap notes Warner Bros., which will be releasing Eastwood's film, is under the umbrella of WarnerMedia, who said in May they were watching (Big Brother-style I guess) the state and the movement of the Heartbeat Bill legislation and would "reconsider" filming in Georgia if law takes effect next year.
We'll give you a minute to roll your eyes.
"We operate and produce work in many states and within several countries at any given time and while that doesn't mean we agree with every position taken by a state or country and their leaders, we do respect due process," the company said in a statement. "We will watch the situation closely and if the new law holds we will reconsider Georgia as the home to any new productions. As is always the case, we will work closely with our production partners and talent to determine how and where to shoot any given project."
My, how bravely non-committal.
There's a lesson here for Hollywood types: hang with the Eastwoods, not the Milanos. You won't have to make statements you have no intention of living up to or take stances you'll have to walk back later because Eastwoods don't bully and they don't deal in intimidations and threats. They just get the job done.
And they don't feel compelled to explain themselves to the Milanos of the world.
Tags: ABORTION CLINT EASTWOOD FETAL HEARTBEAT BILL GEORGIA HOLLYWOOD BOYCOTT


The state is requiring applicants for rideshare jobs to provide more information during the background screening process.
The state is requiring potential rideshare drivers to provide more information when going through the background screening process.
Illinois House Bill 4416 (HB 4416) requires people who apply for rideshare driver jobs to provide specific data points to prospective employers. This includes their full legal name, Social Security Number and Date of Birth in addition to the information that was already required. Applicants must also list any commonly used nicknames or aliases.
The law was put into effect on July 1, 2018.
Businesses that offer rideshare services have been under intense scrutiny. A 2018 investigation by CNN discovered numerous counts of sexual abuse, assault and other criminal activities had been committed by Uber and Lyft drivers. This revelation resulted in stricter and more frequent background screenings for employees and contractors at these companies.
HB 4416 is intended to create safer circumstances for people who utilize the services of rideshare companies. Biss started working on the bill after a rideshare driver in his district was arrested for a DUI while on the job. The driver was already under court supervision for a previous DUI.
Businesses that hire rideshare drivers in Illinois should be aware of and compliant with HB 4416. As long as employers are taking steps to follow this law they should have no issues. The bill states that any "transportation network company that reasonably relies on the information provided by an individual shall not be liable for violation of the Section concerning driver requirements." Failure to follow this law, however, will make the employer liable.
Best practice for employers is to document their screening policies and expectations. If an issue does occur, then they can show they have guidelines in place that include the regulations established in HB 4416.
It is essential for employers to be aware of and compliant with laws that are in effect where they operate. The team at Backgrounds Online strives to keep up with these laws and provide educational resources that can help with your compliance efforts.


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Browsing: / Home / Database / Music / Just a Faded Petal from a Beautiful Bouquet
Just a Faded Petal from a Beautiful Bouquet
(C. E. "Hank" Snow)
Country song by Hank Snow that describes the bittersweet last stages of a love affair. In the song, the titular petal is enclosed in what is presumably a Dear John letter. The narrator reminisces about the end of the relationship as he writes his own letter in reply. Ambiguous lyrics seem to leave the door open for the possibility of romance somewhere down the line. The faded petal is used consistently as a metaphor for their faded love.
The song appears on several Hank Snow compilations, including Cowboy Songs by Hank The Yodelling Ranger, The Best of the Early Hank Snow: Wanderin' On, More Hank Snow Souvenirs, and This is My Story. The song originally appeared on the B side of a Bluebird 78 dating from 1946, with "Just Waiting for You" on side A. It is also included in the DVDs, Country Style U.S.A.: Season 3 and Road to Nashville. Several artists have covered the song, including Hank Ballard, Carl & Pearl Butler, George Longard, Marty Robbins, Al Runyon, Smokey Montgomery & The Light Crust Doughboys, and A Smoky Montgomery. The 45 by A Smoky Montgomery curiously lists the song as "(Faded Petal From) A Beautiful Bouquet". It is a straightforward instrumental with twin fiddles harmonizing on the chorus and the pianist taking up the melody on the verses.
A Smoky Montgomery recordings
(Faded Petal From) A Beautiful Bouquet (C. E. "Hank" Snow)
http://www.metrolyrics.com/just-a-faded-petal-from-a-beautiful-bouquet-lyrics-hank-snow.html
http://beemp3.com/download.php?file=2914684&song=A+Faded+Petal+From+A+Beautiful+Bouquet+(Rm)
http://www.martyrobbins.net/dscalbum.htm
http://www.songlyricscollection.com/h/Hank%20Snow%20lyrics.htm
http://tvpog.com/country-music/60488-faded-petal-beautiful-bouquet-carl-butler.html
http://www.rocky-52.net/chanteursb/butler_carl.htm
http://www.pandora.com/music/song/hank+snow/just+faded+petal+from+beautiful+bouquet
http://new.music.yahoo.com/smokey-montgomery/tracks/faded-petal-from-a-beautiful-bouquet–198486363
http://www.chizmax.com/show-artist-Hank+Ballard+&%3B+The+Midnighters-title-Just+A+Faded+Petal+From+A+Beautiful+Bouquet.html
http://rocky-52.net/chanteurss/snow_h.htm
http://www.lpdiscography.com/s/Snow/snow1.htm
http://www.the-forum.com/ephemera/PGCOUNT.HTM
http://www.bestprices.com/cgi-bin/vlink/603497284825.html
http://www.arovideo.co.nz/film.php?FilmID=9541&added=yes#basket
http://blog.barrywass.com/archives/2008/12/
http://www.45rpmrecords.com/press/RITE2.php
http://www.smartchoicemusic.com/store/Country-Style-U.S.A.-Season-3-DVD-pr-2546.html


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'Victor Frankenstein' Trailer: James McAvoy and Daniel Radcliffe Twist the Classic Story
by Adam Chitwood August 18, 2015
20th Century Fox has released the first Victor Frankenstein trailer. Directed by Paul McGuigan (Sherlock) and written by Max Landis (Chronicle), the latest take on Mary Shelley's classic horror tale stars James McAvoy as the eponymous mad scientist and Daniel Radcliffe as his famous assistant Igor. The film is slightly reminiscent of Guy Ritchie's Sherlock Holmes films as the crux of the movie is the dynamic between Radcliffe and McAvoy. The two look to be having a lot of fun together, and I imagine the ups and downs of their relationship will be the highlight of the film. Indeed, at Comic-Con McGuigan described the movie as a love story between Victor and Igor, so get to shipping, folks!
Check out the US and UK trailers for Victor Frankenstein below, via 20th Century Fox, and click here for our interview with McGuigan about the movie from Comic-Con. The film opens in theaters on November 25th, and also stars Jessica Brown Findlay, Andrew Scott, and Freddie Fox.
Here's the official synopsis for Victor Frankenstein:
James McAvoy and Daniel Radcliffe star in a dynamic and thrilling twist on a legendary tale. Radical scientist Victor Frankenstein (McAvoy) and his equally brilliant protégé Igor Strausman (Radcliffe) share a noble vision of aiding humanity through their groundbreaking research into immortality. But Victor's experiments go too far, and his obsession has horrifying consequences. Only Igor can bring his friend back from the brink of madness and save him from his monstrous creation.
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• Andrew Scott • Daniel Radcliffe • Freddie Fox • James McAvoy • Jessica Brown Findlay • Paul McGuigan • Trailer • Victor Frankenstein


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Suncrest Bank
Suncrest Bank is an FDIC-insured bank started in 2008 and currently headquartered in Visalia, CA. As of December 31, 2017, the bank had equity of $60.8 million on assets of $528.9 million.
With 73 full-time employees in 5 offices in CA, the bank holds loans and leases worth $350.0 million, including real estate loans of $295.1 million. U.S. bank customers currently have $466.9 million in deposits with the bank.
Overall, Bankrate believes that, as of December 31, 2017, Suncrest Bank exhibited a good condition, earning 4 out of 5 stars for safety and soundness. Keep reading for a look at how the bank fared on the three important criteria Bankrate used to evaluate American banks.
Capital is a crucial measurement of an institution's financial strength. It works as a buffer against losses and affords protection for depositors when a bank is experiencing economic trouble. From a safety and soundness perspective, more capital is better.
Suncrest Bank received a score of 12 out of a possible 30 points on our test to measure the adequacy of a bank's capital, failing to reach the national average of 13.13.
One commonly used measure of this buffer is a bank's Tier 1 capital ratio. Suncrest Bank's Tier 1 capital ratio was 13.63 percent, exceeding the 6 percent level considered adequate by regulators, but under the national average of 25.65 percent. The higher the capital ratio, the better the bank will be able to stand up to economic challenges.
Overall, Suncrest Bank held equity amounting to 11.50 percent of its assets, which was lower than the national average of 12.03 percent.
This test is intended to estimate how the bank's reserves set aside to cover loan losses, as well as overall capitalization, could be affected by problem assets, such as past-due loans.
Having lots of these types of assets suggests a bank could have to use capital to cover losses, decreasing its equity buffer. It also means that there are likely to be many assets that are in non-accrual status and no longer earning money, resulting in diminished earnings and potentially more risk of a future failure.
Suncrest Bank scored above the national average of 37.49 on Bankrate's asset quality test, racking up 40 out of a possible 40 points .
A helpful indicator of asset quality is the percentage of problem assets a bank holds compared to its total assets. As of December 31, 2017, 0.19 percent of Suncrest Bank's loans were noncurrent -- in other words, they were more than 90 days past due or were in non-accrual status. That's below the national average of 1.01 percent.
Banks maintain a reserve known as an "allowance for loan and lease losses" to deal with troubled assets . Comparing the reserve's size to the total amount of problematic loans can be a helpful indicator when evaluating a bank's ability to manage troubled assets. Unfortunately, the FDIC did not provide information on Suncrest Bank's loan loss allowance in its most recent filings.
A bank's ability to earn money affects its safety and soundness. A bank can retain its earnings, increasing its capital buffer, or use them to deal with problematic loans, potentially making the bank better able to withstand economic shocks. Conversely, losses take away from a bank's ability to do those things.
Suncrest Bank did below-average on Bankrate's earnings test, achieving a score of 12 out of a possible 30.
One important way to measure a bank's earnings is return on equity, calculated by dividing net income (essentially profit) by total equity. The most recent annualized quarterly return on equity for Suncrest Bank was 5.70 percent, below the national average of 8.10 percent.
The bank recorded net income of $3.4 million on total equity of $60.8 million for the twelve months ended December 31, 2017. The bank had an annualized return on average assets, or ROA, of 0.69 percent, below the 1 percent deemed satisfactory in accordance with industry standards and below the average for U.S. banks of 1.00 percent.


Will lemon water dehydrate you?
Will lemon water dehydrate you more?
Thus, drinking more than 12 to 16 ounces of lemon water per day in place of plain (clean) water could lead to dehydration.
There is nothing that replaces the biological need for plain H20 in the body.
Of course, by plain water, I am referring to water that is filtered of contaminants with nothing else added.
As Dr. Batmanghelidj, author of "Water for Health, for Healing, for Life" writes: "The body needs water—nothing substitutes for water. Coffee, tea, soda, alcohol, and even milk and juices are not the same as water."
In general, for every 8 ounces of lemon water you drink, you should replenish with 8 ounces of plain filtered water.
Compare that to coffee and tea (stronger diuretics), for every 8 ounces of coffee or tea you drink, you should replenish with 12 to 16 ounces of plain water.
"It is true that these beverages contain water, but most of them also contain dehydrating substances, such as caffeine. These substances rid the body of the water they are dissolved in, plus additional water from the body's reserves. . . . If you measure your urine volume after the beverage is taken, you will see that you have passed more urine than the volume of the drink."
Thus, even though lemon water does not contain caffeine, it still has a mild diuretic effect and it should not replace one's daily intake of water.


text:
wbmm
Alabama News Network Adds Two New TV Channels
Posted: Jul 20, 2021 11:45 AM CDT
Alabama News Network has added two new channels to our over-the-air lineup.
New "Start TV" Channel Launches Monday on Alabama News Network
Posted: Sep 28, 2018 3:14 PM CDT
Alabama News Network will be home to a new TV channel starting Monday, Oct. 1. The new "Start TV" will air on WBMM, Channel 22.2, which can also be found on some cable TV systems. Start TV bills itself as a channel with programs that showcase strong women in leading roles in a lineup of contemporary dramas. Some of the…


Our 'Flying Ducks' design is based on our own hand-drawn illustration of three English mallards - we wanted to take that old classic interior design motif, update it and make it desirable again.
This cushion is hand screen-printed in dark chocolate and stone onto shimmering pebble silk.
We do hold a small amount of stock, so if you require your cushion in a shorter period of time, please give us a call on 07912 384651 or email jen@jenrowland.co.uk to see if we have your desired design in stock or are expecting it soon. We will try our best to work something out for you!


text:
Bath in the Great War (Paperback)
Local History WWI Towns & Cities in the Great War Military
By Derek Tait
Series: Towns & Cities in the Great War
You'll be £9.99 closer to your next £10.00 credit when you purchase Bath in the Great War. What's this?
When news of the war broke out in 1914, nothing could prepare the citizens of Bath for the changes that would envelop their city over the next four years. The story of Bath in the Great War is both an interesting and intriguing one. This book covers this historic city's involvement from the commencement of the Great War in July 1914, to the Armistice in November 1918, describing in great detail what happened to the city and its people, including their everyday lives, entertainment, spies and the internment of aliens living within the city.
Bath played a key role in the deployment of troops to Northern Europe as well as supplying vital munitions. Local men responded keenly to recruitment drives and thousands of soldiers were billeted in the city before being sent off to fight the enemy overseas. The city also played a vital role caring for the many wounded soldiers who returned home from the front. As the end of the war was announced there were tremendous celebrations in the streets, but the effects of war lasted for years to come. By the end of the conflict, there wasn't a family in Bath who hadn't lost a son, father, nephew, uncle or brother. Bath features many forgotten news stories of the day and includes a considerable collection of rare photographs last seen in newspapers nearly 70 years ago.
If you had any ancestors living in Bath at the time [of the Great War] then this book is for you, painting a picture the scene of what they experienced.
Bristol & Avon Family History Society
About Derek Tait
Derek Tait is a full-time author who lives in Plymouth. Born in 1961, he lived his early years in Singapore and Malaysia and has written several books about his time there, including 'Sampans, Banyans and Rambutans'. A former photographer and cartoonist, his work has been featured in newspapers and magazines around the world. A keen historian, his books include '1950s Childhood,' 'A 1970s Childhood,' 'Butlins An Illustrated History' and 'Houdini the British Tours' as well as many books in the 'Through Time' series for Amberley Publishing.He has also written many local history books including 'Plymouth,' 'Plymouth at War,' 'Saltash Passage,' 'St Budeaux,' 'Plymouth Hoe,' 'Mount Edgcumbe,' 'Saltash,' 'Memories of St Budeaux,' 'Plymouth Tales From the Past' and 'Images of Plymouth.
Foul Deeds and Suspicious Deaths in Bath (Paperback)
Foul Deeds and Suspicious Deaths in Bath takes the reader on a sinister journey through centuries of local crime and conspiracy, meeting villains of all sorts along the way - cut-throats and poisoners, murderous lovers, assassins, prostitutes and suicides. There is no shortage of harrowing - and revealing - incidents of evil to recount in the long dark history of this respectable town. Kirsten Elliott's fascinating book records crime and punishment in Bath in all its shocking variety. Among the many acts of wickedness and despair the author records are robbery and revenge in Roman times, the brutal…
By Kirsten Elliott
More titles by Derek Tait


text:
Q: grep to find "print" not "#print" In debugging, I use a lot of 'print' and commenting out it with '#print'. How can I use grep to find the line without '#' before 'print'?
# print <- not detect
#print <- not detect
abc # print <-- not detect
print <- detect

A: grep '^[^#]*print'

Would be print only preceded by non-# characters.

A: Classic solution:
grep -v '^#' <input |grep 'print'

A: The easiest approach is probably going to be to use two greps, piped together.
$ grep 'print' <input | grep -v '#[[:space:]]*print'

With the file input containing your examples, that  gives:
print <- detect

That works for all of your examples. Which is probably good enough, but as manatwork and I point out in comments, its going to be very difficult to defeat all the edge cases with grep.

A: I'm still learning but wouldn't the ff work as well?
grep -v '#[ ]*print' input_file


Gio is a Toronto-based visual storyteller and photo editor. Since graduating from Loyalist College's Photojournalism program in 2010, he's worked as a photojournalist, videographer and photo editor for publications large and small, and corporations and companies of every shape and size. His career, while admittedly still emergent, has taken him across the globe over five continents.
He's interested in offbeat stories which give viewers an insight into a different way of doing things, another way of life. With a creative eye, and a keen curiosity, he holds a very special place in his heart for portraiture and photo essays, as photographers of these disciplines have held a large influence on his practice. He's taken quite the interest in Latin America, following two long stays in Costa Rica and Ecuador, and also has a keen interest in seeing much of his own vast homeland "A Mari Usque Ad Mare".
Gio has had the privilege of contributing photography, videography, picture and video editing services to a multitude of editorial clients including, but not limited to: The Canadian Press, Anadolou Agency, The Globe and Mail, Maclean's Magazine, HELLO! Canada, Toronto Life, National Post, The Grid Magazine and other local and international publications. As someone committed and interested in giving back to his industry, he's also involved in the promotion and advancement of professional photojournalism, namely as a volunteer on the executive of the News Photographer's Association of Canada, NPAC.
When he's not on assignment or on the desk, Gio is always making images in some fashion, often in various places around the city with a smartphone in-hand. He fills his time with a love of cooking, books, long form journalism, the outdoors, looking at photography and the occasional video game.
2013 : The DIY Storyteller – A combined self-publishing workshop and grant/proposal writing workshop with photographers Rob Hornstra and Donald Weber.


The Osteopathic Heritage Foundations are pleased to announce the appointment of Gretchen Brandt to the position of Executive Administrator. In this role, Ms. Brandt will support executive leadership, assist with grants management and coordinate strategic funding priorities and initiatives.
Ms. Brandt comes to the Foundations with more than 10 years of experience with nonprofit, philanthropic and research organizations, and most recently served as Supporting Foundations Grants Management and Outreach Coordinator at The Columbus Foundation. Ms. Brandt is active in the community, including serving on the YWCA Columbus Marketing and Communications Committee and as Financial Secretary and member of the bell choir at Trinity Lutheran Evangelical Church.
Ms. Brandt earned a Master of International Affairs degree from Texas A&M University and a Bachelor of Arts in International Studies and German from The Ohio State University.
"Gretchen's philanthropic experience will greatly benefit the Foundations and assist in advancing our mission to improve the health and quality of life in the community through education, research and service consistent with our osteopathic heritage," said Terri Donlin Huesman, the Foundations' president and CEO.


text:
Amazon books mp3 downloads The Moment of Lift:
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The Moment of Lift: How Empowering Women Changes the World
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"The Moment of Lift is an urgent call to courage. It changed how I think about myself, my family, my work, and what's possible in the world. Melinda weaves together vulnerable, brave storytelling and compelling data to make this one of those rare books that you carry in your heart and mind long after the last page." —Brené Brown, Ph.D., author of the New York Times #1 bestseller Dare to Lead A debut from Melinda Gates, a timely and necessary call to action for women's empowerment. "How can we summon a moment of lift for human beings – and especially for women? Because when you lift up women, you lift up humanity." For the last twenty years, Melinda Gates has been on a mission to find solutions for people with the most urgent needs, wherever they live. Throughout this journey, one thing has become increasingly clear to her: If you want to lift a society up, you need to stop keeping women down. In this moving and compelling book, Melinda shares lessons she's learned from the inspiring people she's met during her work and travels around the world. As she writes in the introduction, "That is why I had to write this book—to share the stories of people who have given focus and urgency to my life. I want all of us to see ways we can lift women up where we live." Melinda's unforgettable narrative is backed by startling data as she presents the issues that most need our attention—from child marriage to lack of access to contraceptives to gender inequity in the workplace. And, for the first time, she writes about her personal life and the road to equality in her own marriage. Throughout, she shows how there has never been more opportunity to change the world—and ourselves. Writing with emotion, candor, and grace, she introduces us to remarkable women and shows the power of connecting with one another. When we lift others up, they lift us up, too.
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text:
Q: Getting data from HTML table into a datatable Ok so I need to query a live website to get data from a table, put this HTML table into a DataTable and then use this data. I have so far managed to use Html Agility Pack and XPath to get to each row in the table I need but I know there must be a way to parse it into a DataTable. (C#) The code I am currently using is:
string htmlCode = "";
using (WebClient client = new WebClient())
{
htmlCode = client.DownloadString("http://www.website.com");
}
HtmlAgilityPack.HtmlDocument doc = new HtmlAgilityPack.HtmlDocument();

doc.LoadHtml(htmlCode);

//My attempt at LINQ to solve the issue (not sure where to go from here)
var myTable = doc.DocumentNode
.Descendants("table")
.Where(t =>t.Attributes["summary"].Value == "Table One")
.FirstOrDefault();

//Finds all the odd rows (which are the ones I actually need but would prefer a
//DataTable containing all the rows!
foreach (HtmlNode cell in doc.DocumentNode.SelectNodes("//tr[@class='odd']/td"))
{
string test = cell.InnerText;
//Have not gone further than this yet!
}

The HTML table on the website I am querying looks like this:

Some Text
Some Value

Some Text1
Some Value1

Some Text2
Some Value2

Some Text3
Some Value3

Some Text4
Some Value4

I'm not sure whether it is better/easier to use LINQ + HAP or XPath + HAP to get the desired result, I tried both with limited success as you can probably see. This is the first time I have ever made a program to query a website or even interact with a website in any way so I am very unsure at the moment! Thanks for any help in advance :)

A: Using some of Jack Eker's code above  and some code from Mark Gravell (see post here) , I managed to come with a solution.
This code snippet  is used to obtain the public holidays for the year of 2012  in South Africa as of writing this article
using System;
using System.Collections.Generic;
using System.ComponentModel;
using System.Data;
using System.Drawing;
using System.Linq;
using System.Text;
using System.Windows.Forms;
using System.Web;
using System.Net;
using HtmlAgilityPack;

namespace WindowsFormsApplication
{
    public partial class Form1 : Form
    {
        private DataTable dt;
        public Form1()
        {
            InitializeComponent();
        }

        private void button1_Click(object sender, EventArgs e)
        {

            string htmlCode = "";
            using (WebClient client = new WebClient())
            {
                client.Headers.Add(HttpRequestHeader.UserAgent, "AvoidError");
                htmlCode = client.DownloadString("http://www.info.gov.za/aboutsa/holidays.htm");
            }
            HtmlAgilityPack.HtmlDocument doc = new HtmlAgilityPack.HtmlDocument();

            doc.LoadHtml(htmlCode);

            dt = new DataTable();
            dt.Columns.Add("Name", typeof(string));
            dt.Columns.Add("Value", typeof(string));

            int count = 0;

            foreach (HtmlNode table in doc.DocumentNode.SelectNodes("//table"))
            {

                foreach (HtmlNode row in table.SelectNodes("tr"))
                {

                    if (table.Id == "table2")
                    {
                        DataRow dr = dt.NewRow();

                        foreach (var cell in row.SelectNodes("td"))
                        {
                            if ((count % 2 == 0))
                            {
                                dr["Name"] = cell.InnerText.Replace(" ", " ");
                            }
                            else
                            {

                                dr["Value"] = cell.InnerText.Replace(" ", " ");

                                dt.Rows.Add(dr);
                            }
                            count++;

                        }

                    }

                }

                dataGridView1.DataSource = dt;

            }
        }

    }
}

A: There's no such method out of the box from the HTML Agility Pack, but it shouldn't be too hard to create one. There's samples out there that do XML to Datatable from Linq-to-XML. These can be re-worked into what you need.
If needed I can help out creating the whole method, but not today :).
See also:

*

*HTML Agility pack - parsing tables

*parsing html with HTMLAGILITYPACK and loading into datatable C#

A: This is my solution. May be a bit messy but it is working perfectly at the moment :D
string htmlCode = "";
using (WebClient client = new WebClient())
{
client.Headers.Add(HttpRequestHeader.UserAgent, "AvoidError");
htmlCode = client.DownloadString("http://www.website.com");
}
HtmlAgilityPack.HtmlDocument doc = new HtmlAgilityPack.HtmlDocument();

doc.LoadHtml(htmlCode);

DataTable dt = new DataTable();
dt.Columns.Add("Name", typeof(string));
dt.Columns.Add("Value", typeof(decimal));

int count = 0;
decimal rowValue = 0;
bool isDecimal = false;
foreach (var row in doc.DocumentNode.SelectNodes("//table[@summary='Table Name']/tbody/tr"))
{
DataRow dr = dt.NewRow();
foreach (var cell in row.SelectNodes("td"))
{
if ((count % 2 == 0))
{
dr["Name"] = cell.InnerText.Replace(" ", " ");
}
else
{
isDecimal = decimal.TryParse((cell.InnerText.Replace(".", "")).Replace(",", "."), out rowValue);
if (isDecimal)
{
dr["Value"] = rowValue;
}
dt.Rows.Add(dr);
}
count++;
}
}

A: Simple logic to convert a htmltable to datatable :
//Define your webtable
public static HtmlTable table
            {
                get
                {
                    HtmlTable var = new HtmlTable(parent);
                    var.SearchProperties.Add("id", "searchId");
                    return var;
                }
            }

//Convert a webtable to datatable
public static DataTable getTable
            {
                get
                {
                    DataTable dtTable= new DataTable("TableName");
                    UITestControlCollection rows = table.Rows;
                    UITestControlCollection headers = rows[0].GetChildren();
                    foreach (HtmlHeaderCell header in headers)
                    {
                        if (header.InnerText != null)
                            dtTable.Columns.Add(header.InnerText);
                    }
                    for (int i = 1; i < rows.Count; i++)
                    {
                        UITestControlCollection cells = rows[i].GetChildren();
                        string[] data = new string[cells.Count];
                        int counter = 0;
                        foreach (HtmlCell cell in cells)
                        {
                            if (cell.InnerText != null)
                                data[counter] = cell.InnerText;
                            counter++;
                        }
                        dtTable.Rows.Add(data);
                    }
                    return dtTable;
                }
            }

A: You can try
    DataTable.Rows[i].Cells[j].InnerText;

Where DataTable is the id of your table, i is the row and j is the cells.


Bought 2 accounts from there.
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Got the account directly after the payment. Everything works fine.
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text:
Kohler-Cadmore thankful for Club's support
— 26 September 2019
Tom Kohler-Cadmore is hoping a fruitful personal summer can lead to a busy winter of overseas cricket, including a return to England Lions duty.
The Yorkshire batsman, 25, has enjoyed success across all formats in 2019, scoring a combined total of 1,729 runs.
Kohler-Cadmore is playing in the White Rose's ongoing season-ending Specsavers County Championship match against Warwickshire at Edgbaston, which has been rain ravaged.
A regular white ball opener, he opened for only the third innings in his first-class career on Monday and reached 165 not out. Rain arrived at tea, and there has been no play since ahead of today's final day.
Late on in his innings, he went beyond 1,000 first-class runs for the summer, a feat which he had never previously achieved.
It has been a strange year for the ex-Worcestershire player, who hit a first-class career best 176 in March's friendly against Leeds/Bradford MCC Universities.
He has had to deal with an ECB disciplinary charge and was not considered for national duty.
Kohler-Cadmore has thanked Yorkshire for their support throughout the process and is now hoping to win Lions selection for their winter tour to Australia as well as possibly sealing a deal to play some overseas T20 cricket.
"I want to go and gain more experience. Playing in different places around the world would help me," he said. "Ideally a couple of franchise opportunities would be good for that.
"I'm selectable now for any England stuff, so that's all in their hands.
"The Lions is something I'd love to be on because it's a combined one-day and four-day tour to Australia. You have the best of both worlds.
"If it comes, it comes. If they deem me as worthy for selection, great. If not, I'll continue working and aspire to get to that level and put in more consistent performances so they go, 'Yeah, we have to pick him'.
"It's about putting in performances where they don't really have a choice like Dom Sibley this year.
Kohler-Cadmore, who captained Yorkshire for the majority of this season's T20 Blast, is a driven character. He wants the best for himself, but more importantly for the team.
"It's (the summer) gone ok," he said, having also claimed an impressive 42 catches.
"But it's more about in how many games I can contribute to a winning side or, in four-day cricket, maybe drawing if that's what's required.
"We've been fifth or sixth in every table, and my performance will reflect that.
"At the start of the year, that's what you want in first-class cricket, to get above 1,000.
"It's nice to finish the season with a big score, but I'd also like to have been doing this earlier in the season and set my mark earlier."
On the disciplinary situation, he added: "It's been in the newspapers and on the websites, so there's no point me shying away from the situation. But all I can do is learn from it.
"The way I look at it is, 'Yeah, I made a mistake when I was younger, I was in a WhatsApp group which wasn't in great taste.
"But the club has been awesome in supporting me through it.
"I've just tried to stick to what I need to do on the field. I've had the support which has allowed me to go out there with not too much on my mind at any point.
"When I've needed support, there's someone to talk to."
CLOSE OF PLAY REPORT: WARWICKSHIRE V YORKSHIRE CCC - DAY 3
Kohler-Cadmore hopes for competitive finale to season
Tom Kohler-Cadmore is unsure how a dry fourth day at Edgbaston would play out, but Yorkshire's not out batsman wants something competitive to p...


text:
Q: FQDN does not resolve from Windows, hostname does (NMBD) I am trying to configure an Ubuntu Server (14.04) in a Windows AD environment. It will be serving some intranet pages. The goal is to reach this machine by either its hostname (e.g. ubuntu-server) or its internal "FQDN" (not sure if that term is appropriate for local domains), let's say: ubuntu-server.example.domain.
Relevant files:
/etc/hostname
ubuntu-server

/etc/hosts
127.0.0.1       localhost
127.0.1.1       ubuntu-server.example.domain ubuntu-server
10.0.0.2        ubuntu-server.example.domain ubuntu-server

And I installed samba just to enable Netbios on this machine. I am able to resolve the hostname after installing samba, but the FQDN (ubuntu-server.example.domain) does not resolve. The Ubuntu machine is set up with statis IP configuration. The domain is set as a search domain, so the reverse (resolve Windows machines from Ubuntu by FQDN) works fine.
The hostname commands outputs as follows:
hostname    : ubuntu-server
hostname -d : example.domain
hostname -f : ubuntu-server.example.domain

Did I make any mistakes in my configuration? Anything else I need to do? The goal is to resolve the machine from Windows computers by its local FQDN.

A: So if i have this right you want to use a ubuntu machine as a webserver and have a domain controller your clients connect to for your AD and DNS services, based on this assumtion:
On your domain controller you can create DNS records like myintranetsitename.mydomain.example which points to the webserver IP address , any client from that point on using the domain controller as its DNS server when it tries to access myintranetsitename.mydomain.example will have its request forwarded to your webservers.
You will also need to configure your webserver to listen on the address myintranetsitename.mydomain.example
Please leave a comment if this isn't what you meant or require more info!


text:
FOUNDATION_EXPORT double SAMCubicSplineVersionNumber;
FOUNDATION_EXPORT const unsigned char SAMCubicSplineVersionString[];


Don't tell the others, though. I can't stand it when they act all jealous and stuff.
I'm ashamed of you Todd. I may have to call The PC police on you. Are you implying because the duck is yellow that it is Asian or that because Asians are yellow they are all yellow ducks? Notice the small eyes, unusual bill and Asian markings. Why not complete it with coke bottle glasses and buck teeth. Favorite plant indeed.


Owner/Chef Paolo Nota's culinary resume includes garnering an elusive Michelin award and cooking for European presidents. Now the accomplished chef calls Pennsylvania home, where he invites diners to try his passionate expression of Northern Italian countryside cooking in dishes like Salmon Oscar, sautéed salmon and crab meat in a creamy Marsala sauce.
Big plates – and bigger flavors – are what's cooking. While polishing off every last bite of stuffed ravioli is certainly tempting, we suggest saving room for at least one bite of the crème brûlée's smooth, seductive custard and brittle caramelized topping. Or two. Or three.


Arlington, VA is the original chapter of AWE. More than 175 women entrepreneurs connect, collaborate and support one another through our monthly meetings, Mastermind Program, private Facebook page, radio show and podcast, and throughout this vibrant urban county across the Potomac River from our nation's capital.
Members include doctors, lawyers, veterinarians, fitness and wellness professionals, financial experts, bloggers and social media influencers, app developers, artists, designers and writers, marketing and website pros, boutique and restaurant owners, and so many more. The variety of women-owned businesses is truly inspiring!
AWE welcomes female founders at all stages of entrepreneurship, from a side hustle to seasoned leaders. We offer welcoming, supportive, fun and stress-free opportunities to find your tribe. Join us and let's #beawesome together!


Recently Okells was awarded the trophy for Best Speciality Beer for Okells Aile. This was after already winning Gold in the competition and at the final tasting Aile was voted the Best in the World.
Our Special beer at the moment is Castletown. This year I have changed the aroma hops and this has definetly changed the character of the beer. Most people would seem to think for the better as we are now on our third brew of it. Anybody can tell me what hops I have used as aroma ?