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Why "Wellness-On-Demand" May Not Be the Worst Idea Approaching 2021
Your body is your temple. Make sure you find the right person to soothe your aches.
andrew-l-rossow-esq
There's no 'healthy' way to address the COVID-19 pandemic, other than ignoring your own mental health and wellbeing. If you're someone who suffers from extreme anxiety and depression, social isolation and quarantining certainly has made your life all the more difficult.
Two years ago, I was hit by a school bus that ran a red light because the driver fell asleep at the wheel, with children aboard. Miraculously, I was able to walk out of it, but it came at a cost: chronic pain up and down my back.
Since that event, I've been accustomed to not only physical therapy but obtaining regular, bi-weekly massage appointments. That was, up and until the pandemic hit 10-months ago, making my recovery all the more difficult. I couldn't risk exposing myself to anyone who might already be infected with the virus.
So, as we enter into what is believed to be the "third wave" of the coronavirus, does it make logical sense for individuals like myself to be utilizing such treatments? Or to rephrase, does it make sense for consumers to book their wellness appointment–even on demand?
"Whenever you have two people coming together, there's always a risk that somebody will be infected, even if you both don't have any symptoms," said Carl Fichtenbaum, an epidemiologist with the University of Cincinnati College of Medicine's division of infectious diseases in a recent HuffPost article.
I spoke with John Ellis, CEO of Soothe, the world's leading on-demand wellness platform, operating in over 73 markets across the U.S., Canada, U.K., Ireland, and Australia. Soothe allows users to connect with licensed professionals, including CBD spot treatments, to schedule a same-day service in the privacy of their home as well as workplace wellness services.
The company has gained significant traction throughout the industry, making an appearance on the TV's The Dr's, as well as actress Mila Kunis gifting the audience on The Ellen DeGeneres Show a gift card to Soothe. And not bad timing.
While it's hard to see the positives that COVID-19 has left, it has accelerated the importance of mental health and wellness, opening it up to cyberspace and health tech.
With social distancing restrictions still in place, it's been challenging in finding ways to keep wellness a priority. And according to Ellis, Soothe is now expanding beyond massage services, adding a number of wellness services available on-demand.
The demand for these types of services is even greater now, Ellis told me. "People would rather have an individual come to them than go into a public space. Once they see how convenient it is, many have said this is now their new 'norm.'"
But of course, in the interest of safety and wellbeing, it's only fair that certain questions be asked. "Questions usually center around the services we offer, when we're available, and the quality of the providers," Ellis says.
Even in a pandemic, you don't just want any stranger in your home, right? More importantly, you don't just want anyone touching you, especially if they aren't licensed to do so. Ellis explained that the company looks at a number of criteria when vetting its licensed therapists, including certifications and number of years in practice, among other things.
"Each professional goes through an application process that includes a rigorous background check…and…continuous monitoring, including looking at ongoing ratings to ensure the safety and quality of the clients and professionals using Soothe."
Andrew Rossow: How does this form of mobile-tech play into this form of health and wellness?
John Ellis: It enables people to easily make health and wellness part of their everyday life. It's so convenient to open the app and find a service professional who can help address specific problems. We even have articles that address different topics, if you just want to take a break and learn more about aspects of body or mental health.
AR: What is the biggest challenge you've seen when integrating the "personalization" of booking a therapist? How have you overcome it?
JE: Earlier in our company's history, we focused mostly on the logistics of trying to help facilitate an appointment – things like the availability of therapists with the right background at the right time of day given traffic, weather, etc. We're always working to make this even better, but also shifting our focus toward more detailed problem-solving.
For instance, a lot of customers have preferred providers who know the issues they're trying to solve, whether simple stress relief, recovery from a sports injury or something else. We make it easy to rebook with a preferred provider, but helping clients and their providers track this information will improve the overall experience and make each subsequent appointment even better.
AR: What has been the biggest takeaway the company has seen when it comes to booking / post-massage?
JE: Many people think of massage or other wellness services as a simple luxury. However, those who do it regularly see benefits like reduced stress and tension, musculoskeletal, and heart benefits due to improved blood circulation, digestive wellbeing, and more.
Our Soothe membership plans are very popular because of this – people sign up to save money, but then keep the membership over time because they see how it's helping their health and wellness.
AR: How does personal branding (for the company/therapist) play into the services you provide?
JE: If we are talking about the therapist's brand visibility, we enable providers to include things like their name, bio, and other information that can help a client choose whom they would like to request an appointment with, and then make the scheduling process really easy for both parties. People trust the Soothe platform and all our company stands for, even if they know they're obtaining the services from an independent provider.
AR: How does data privacy come into play, if at all?
JE: Soothe takes privacy very seriously. We don't currently collect any HIPAA-regulated information and we comply with all GDPR and CCPA rules. Even beyond the regulated data, a lot of our customers are busy professionals or celebrities who require discretion. We have tight controls on our systems and operations to ensure everyone can have a great, safe, and secure experience.
Regardless of the form of treatment you find, it's important both you and your provider wear a mask at all times during the massage, even when facing down. The general rule of thumb, according to Fichtenbaum, is getting your massage, rather than walking into a massage studio. But if you have to, stick with the smaller studios, where there are fewer people around.
coronavirus mental health
mental health during COVID 19


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Adhyayan Suman's relationship with Kangana Ranaut was badly broken, Papa Shekhar Suman's advice came in handy
Adhyayan Suman and Kangana Ranaut met in 2009 on the units of Mohit Suri's movie Raaz. On the units of this movie, the 2 met for the primary time, then friendship after which love. But the love story of each didn't final lengthy. Now Adhyayan has as soon as once more spoken brazenly about his relationship with Kangana Ranaut. The research reported that Papa Shekhar Suman's advice came in handy in recovering from that relationship.
Recently, in a particular dialog with a information portal, the research stated that it was very tough for them to get well from this relationship. The 'Raaz' star revealed that it was his father Shekhar Suman's advice that helped him.
The research additional famous that quite a bit occurred in that exact relationship. He stated that being a younger thoughts, sure issues dominated his thoughts for a very long time. The actor stated – at the moment the largest battle was to regulate oneself. According to the research the battle was by itself. The research additionally identified how father Shekhar Suman advises that typically two individuals are not collectively and it's tough to beat unhappiness after a break-up.

redpajama_set_name: RedPajamaCommonCrawl


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First and foremost, Food safety refers to the conditions and practices that preserve the quality of food to prevent contamination and food-borne illnesses.
While PET is widely used and considered safe for soft drinks, water, bottling ketchup, salad dressings, peanut butter, pickles and a variety of other perishable foods, the potential for antimony, the heavy metal used as a catalyst in the production or PET and the potential for the metal to migrate from the surface of PET type plastic bottles into the fluid contained inside, is rarely, if ever mentioned.
It is not the PET type #1 plastic bottles themselves that pose a threat, but rather the antimony used in the production of these said bottles that if under the right heat conditions, can leach into the food substance contained inside.
Studies have shown that the larger the surface area, the greater the diffusion of antimony (0.5L bottles show higher concentrations than 2L bottles). And since e-juice bottles are small and sometimes carried in a person's pocket or left in a hot car, there is a greater chance for this diffusion of antimony to occur. While the exact duration of exposure varies, studies show that migration from the surface of PET bottles into the fluid begins at temperatures from 99.86 Fahrenheit and greater.
For more information on what plastics are approved for food contact applications, visit the link here.


I Fought the Law and the…..Law Lost!
Stephenson's depiction of the future world is rather extreme-the laws of our current society seem to have vanished. The pizza delivery cars are allowed to drive at ludicrous speeds (no pun intended). I like his introduction of the "pooning" concept. I think the new magnetic device is a realistic invention that could exist in the future. The Kouriers can be compared to a futuristic hitch hiker-except it is their decision whether or not they "grab a ride". And if these pooning devices really did exist, attaching to any old car would certainly be illegal. Y.T.'s escape from The Clink also expresses the lack of law enforcement in future America.
Stephenson's future society is obsessed with the flow of information. Obsessed. There are an abundant number of hackers, whose job it is to find more and more information, 'til they drop dead. In the meantime, they hope they hit the jackpot by finding out some extraordinary piece of information that somebody in the world needs. The Metaverse allows for the exchange of this information smoothly, through the hypercards. Computer viruses still exist and serve the same purpose they do today, as they crashed Da5id's computer.
Snow Crash immerses you in the new society-immediacy is definitely achieved in scenes such as the pizza delivery, as well as the fight between Raven and the group of crips in the high grass. An example of hypermediacy can be seen as well, in the sword fight between Hiro and the Nipponese businessman. He cuts him up into pieces, but we know that it was a fake sword fight-the victim's body frame lay on the floor without insides. This is an obvious reminder that the sword fight was not real. But he can't respawn for about 5 minutes. Sucker!
While the rules of society seem a bit absurd, the people in the story still act like human beings. The lack of law leaves room for villains such as Raven to wreak havoc at their disposal. His "super-knife" scares me because it passed the metal detector test-what if people with cruel intentions decide to bring them onto a plane in the future, slicing and dicing whoever they wish? In order to prevent our society from becoming the society in Snow Crash, we must uphold the law under all circumstances.
Author evanschragerPosted on October 2, 2008 Categories UncategorizedTags Hiro Protagonist, Raven, Snow Crash1 Comment on I Fought the Law and the…..Law Lost!


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Long Biography
Concerti with Orchestra
Voice and Orchestra or Chamber Ensemble
Symphonic Band, Concert Band or Wind Ensemble
Concerti with Symphonic Band or Wind Ensemble
Voice and Wind Ensemble
Large Brass Ensemble
Small Chamber Ensemble
String Quartet and Pre-Recorded Sound
Rent Music
Purchase Scores, Sheet Music & Recordings
Defintiy
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Flamingo for chamber orchestra | Michael Daugherty, composer
Purchase Score & Sheet Music
Purchase on iTunes
for chamber orchestra (1991)
Instrumentation: Flute (piccolo), oboe, clarinet, bassoon; 1 or 2 horns, trumpet, trombone, 2 percussion; piano, strings (1/1/1/1/1 or small complements)
Publisher: Boosey and Hawkes, Hendon Music (BMI)
Flamingo (1991) for chamber orchestra was commissioned by the Baltimore Chamber Orchestra, Pro Musica Chamber Orchestra of Columbus, Ohio, and Trinity Chamber Orchestra, Cleveland, Ohio and made possible by a grant from Meet the Composer funded by Readers' Digest The world premiere was given by the Baltimore Chamber Orchestra, conducted by Anne Harrigan, with John Locke and Laurence Reese, tambourines, on May 9, 1991 at Goucher College, Kraushaar Auditorium, Baltimore, Maryland.
The composition derives its title from the iconic pink plastic flamingo designed by Don Featherstone in 1957. Pink plastic flamingos, which were usually sold in pairs, became a popular lawn ornament on manicured lawns and gardens across America. I remember noticing these plastic flamingo lawn ornaments for the first time when my father and mother drove my four brothers and me for a family vacation, in a Chevy station wagon, from Cedar Rapids, Iowa to Miami, Florida in August of 1962.
Along the way, we stopped at Winter Haven, Florida. There I witnessed, for the first time, real pink flamingos at Cypress Gardens, a water "theme park" known for its extravagant water ski shows. Cypress Gardens was also a backdrop for MGM water movie musical extravaganzas, such as Easy to Love (1953), starring bathing beauty Esther Williams. As we continued on our road trip and entered Miami, the dream was momentarily interrupted by a news flash on the car radio that the Marilyn Monroe had mysteriously died in Hollywood.
Flamingo also resonates with the "flamenco" dance and features two percussionists who perform various techniques on the tambourine such as striking, shaking, rattling, and thumb rolling. Like a pair of pink plastic flamingos, the two tambourine soloists, who are separated stereophonically on the stage, provide a lively rhythmic counterpoint to the central staccato motive first heard in the piccolo. This motive is repeated in a forward driving rhythm, creating slightly out-of-sync canons with the ensemble. A slow, melancholy section, that features a sighing bassoon, interrupts the proceedings. Led by the string section and driving tambourines, an exotic groove, reminiscent of a pyramid of show water skiers skimming the water's surface at breakneck speed, brings Flamingo to a rousing and exciting conclusion.
—Michael Daugherty
© MICHAEL DAUGHERTY
mkd@umich.edu
© Michael Daugherty. All rights reserved.


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Q: Give "Qualify lead button" functionality in On Lead Form I have created custom ribbon Button On Lead Form. I want to give "Qualify lead button" functionality. How to do?

A: Qualify Lead Button is already there, why you want to replicate that ?
  you can call Custom Workflow on ribbon button click,
https://ribbonworkbench.uservoice.com/knowledgebase/articles/132235-create-a-workflow-short-cut-ribbon-button-no-code
and do the required action in workflow. Create Account from account details section in Lead and Contact from contact details in Lead. At the end Qualify the lead.
You can also call the function, that is called behind the 'Qualify' ribbon button of Lead
FunctionName:  Mscrm.LeadCommandActions.qualifyLeadQuick
Library:       $webresource:Lead_main_system_library.js

redpajama_set_name: RedPajamaStackExchange


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Dorset Playhouse in Vermont, home of Dorest Theatre Festival.
Know a Theatre September 10, 2019 American Theatre Editors Leave a comment
Know a Theatre: Dorset Theatre Festival of Dorset, Vt.
This New England theatre presents new and classic works all summer long.
DORSET, VT.: This tiny town in Vermont's southwest corner (pop.: 2,031), named after an English county, is famous as the site of Cephas Kent's Tavern, an important meeting place for the iconoclasts who founded the independent Vermont Republic, and later the state. You can also find America's oldest marble quarry here, as well as the birthplace of William Griffith Wilson (Bill W. of Alcoholics Anonymous fame).
About a block away from the town's main drag is the woodsy Dorset Playhouse building, built 90 years ago, and seating 295. If the outside looks like a bit like a barn, that's not far off: As artistic director Dina Janis told us recently, the venue—home of the summer-long Dorset Theatre Festival—is made, essentially, of barn parts.
Who founded Dorset Theatre Festival, when, and why?
On July 2, 1929, the Dorset Playhouse officially opened. In typical Vermont style, the building of this lovely theatre was a true community effort and included the use of three local barns in its construction. Since the 1930s, the Playhouse has served as a home to many, including the members of Fred and Pat Carmichael's beloved Caravan Theatre, a wonderful year-round community theatre (the Dorset Players), and, since the 1970s, the Dorset Theatre Festival, a professional summer theatre founded by Jill Charles and John Nassivera. Under the passionate and energetic artistic leadership of Jill and John, the festival flourished for many decades as a launchpad for new playwrights, a training ground for new talent, and a home for a truly beloved group of theatre professionals who helped make DTF the fixture it became for 38 years.
Since 2001 and a $3 million restoration to the building, Dorset Theatre Festival continues to thrive and prosper. John Nassivera took over the reins after the death of the irreplaceable Jill Charles. Carl Forsman and the acclaimed Keen Company ran the festival from 2007 to 2009, and in 2010 I became the artistic director.
Dorset Theatre Festival's leadership team, executive director Marissa Hutton, marketing and development director Ryan Koss, artistic director Dina Janis, and producting director Will Rucker.
Tell us about yourself and your connection to the company.
I grew up in Chicago and moved to New York in my late teens, studying acting with Stella Adler, Uta Hagen, and my primary teacher, Kim Stanley. I worked for many years as an actor, became a member of the Actors Studio, and began directing in my early 30s. In 2010, the festival had lost its leadership, its audience base, and its footing. At that time, I had been living in Vermont working as a professor of drama at Bennington College. Playwright Theresa Rebeck and I had used the playhouse during some of our playwrights retreats, which were a collaboration with the Lark in New York. The board knew of my work and approached me about taking the reins at that time. With encouragement from many of my N.Y. professional colleagues, I jumped into the opportunity of rescuing and reinventing a future for the festival and helping to move it forward into its second act.
What sets your theatre apart from others in your region?
Our programming sets us apart, in that from the very beginning we featured new work, bringing to the region world premieres and regional premieres by some of the top playwrights working today. This approach has brought many top artists to our stages—folks like Theresa Rebeck, Stephen Adly Guirgis, Judd Hirsch, Alfre Woodard, Estelle Parsons, Treat Williams, Jayne Atkinson, Michael Cristofer, Tim Daly, and Tyne Daly, among others. We hire a lot of women in top leadership roles, including some amazing directors, such as Giovanna Sardelli, Jade King Carroll, Adrienne Campbell-Holt, Jackson Gay, Pirronne Yousefzadeh, Jenn Thompson, Evan Yionoulis, and Margarett Perry, to name a few. We have been recognized for our commitment to supporting and producing female playwrights. Our New Play Development Retreat Programs, Women Artists Writing Group (WAW), and our popular Pipeline Series have also helped in establishing us a top new-play incubator in the country. Our audience definitely feels ownership of this, and that has been exciting.
We also have a deep belief that theatre should belong to everyone, and have, from the very beginning, patterned ourselves off of the Public Theater in New York City by instituting our Giving Back Program, underwriting free tickets each year to several communities in the region, including farmers, first responders, military families, people with special needs, and other volunteer groups. This initiative has transformed the audience we had in many important ways, creating a more regional, rather than solely local, patron base, a more economically diverse audience, and building a sense of vibrancy and engagement over the past 10 years.
What are the challenges of producing theatre in Dorset?
First, our location has its challenges, being just that tiny bit further away than the culturally thriving region of the Berkshires. Though we now are regularly reviewed by critics from Albany's Capital District and the Berkshires, we have yet to break the glass ceiling of the NYC or Boston critics for the most part, which can be frustrating, given the level of work we are producing. Doing cutting-edge work in this region has meant a strong commitment on our part to community engagement and outreach, which requires creative strategizing in order to encourage people who may not normally consider themselves theatregoers to give the experience a try.
Economically, the region is extremely stratified. There are very wealthy second-home owners from NYC and Boston and a large number of summer tourists co-existing with the people who live and work here year-round and often struggle to stay afloat. We are fortunate now to have found great support for our new-play programs from national funders, but the local economy struggles to support its major arts organizations generally, which means that we are still very much dependent upon box office revenue to keep our doors open. With our commitment to presenting new work, which is sometimes provocative and often does not have name recognition, we have had to work hard at developing an audience base that trusts us and feels a part of the exciting community we have built.
Tyne Daly and Tim Daly in "Downstairs," a world premiere at Dorset Theatre Festival. (Photo by Gerry Goodstein)
Tell us about your favorite theatre institution other than your own, and why you admire it.
Gosh, that is such a hard question. I admire so many of my colleagues, some of whom are part of producing organizations and some running developmental organizations. I have long been inspired by the Public Theater. Their commitment to democratic values, to being inclusive, to taking risks in their programming, to supporting artists of color and women, and to making sure that folks of all stripes and economic status have access to the work they do, has always been a standard bearer for me. Regionally, Steppenwolf stands out, and I say this with fondness, having been on the ground as a high school classmate when my peers Gary Sinise and Jeff Perry started that company. In terms of nurturing the deserving and diverse voices of today, you can't beat the Lark in many ways. John Clinton Eisner has had an impact that will be felt for decades. I think we have entered a moment now when so many women and people of color have taken over the reins of some of the most influential theatres in the country—there has been a real turnover, and I am looking forward to an era of leadership that reflects these changes in terms of programming and equity.
How do you pick the plays you put on your stage?
First, I have my own taste and aesthetic, I suppose, which influences me on a profound level. I have a deep love and respect for playwrights, and am moved by those who speak with an authentic voice and have something important to say. I tend to love things that are a bit dark…that is who I am, I suppose. Beyond my own artistic leanings, I am also committed to really listening to the audience itself, balancing the need to gently push their boundaries while at the same time respecting them. I am fortunate to have so many playwrights, actors, and directors who regularly come to me with material they are excited by, and this is extremely helpful to me on many levels. Financially, I am committed to continuing to take bold risks each season, while making sure we are bringing our audience along with us and listening deeply to their responses to our programming.
What's your annual budget, and how many artists do you employ each season?
Our annual budget is now about $925,000, and this year we have employed 72 artists, not including year-round or seasonal staff and apprentices.
What show are you working on now? Anything else in your season that you're especially looking forward to?
We just opened our world premiere of Theresa Rebeck's stunning new play, Dig, which received an Edgerton Foundation New Play Award, and which was particularly rewarding due to the amazing collaboration between Theresa, who's also directing the play, and her design team, which included Tony-winning sound designer Fitz Patton, Christopher and Justin Swader on scenic design, Tilly Grimes on costumes, Philip Rosenberg on lighting design, and a truly top-notch cast. We are in rehearsal now for our second world premiere of the season, Mrs. Christie, by Heidi Armbruster. This play, which we are proud to have developed through our Women Artists Writing Group, of which Heidi is a founding member, is a kind of feminist take on the 10-day disappearance of Agatha Christie, structured in two simultaneous time periods, Arcadia-style. I like to think of it as a combination of Agatha Christie and "Fleabag." It is brilliant, highly entertaining, and destined to be a huge hit. Heidi has a unique voice for our times—full of wit, sharp, and deeply human.
What's the strangest or funniest thing you've ever seen (or put) on your stage?
Well, we generally feature some pretty great comedies on our stage, so it's hard to pick favorites. But one that always stands out to me, for many reasons, was our brilliant production of what is, in some ways, the funniest play of all time and a love letter to the theatre, Noises Off by Michael Frayn, directed by the amazing Jenn Thompson.
What are you doing when you're not doing theatre?
I teach at Bennington College, which keeps me inspired. I love to read, hang out with my husband and kids at home, walk my dog, and take a swim.
What does theatre—not just your theatre, but the American or world theatre—look like in, say, 20 years?
I am hopeful that the theatre in general will be a place which has served to uphold democratic principles during times in which these very principles are under attack all over the world, and of course in this country in particular. I look forward to women and people of color having equal representation in every area of theatre, at the management level, board level, and artistic and technical levels. I am hopeful that the theatre will continue to find ways to make sure that it remains for the people and of the people and does not become increasingly irrelevant or elitist, while at the same time not pandering to commercial pressures. I think we have a huge responsibility to lead the way in standing up for human values and rights, and demonstrating what civil discourse looks like. We can entertain, we can be teachers, we can listen, we can respond to these times, we can exist as a refuge for many, we can provoke change, we can inspire. I hope that we do.
Dorset Theatre Festival
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Casinaria siccata är en stekelart som beskrevs av Jerman och Ian D. Gauld 1988. Casinaria siccata ingår i släktet Casinaria och familjen brokparasitsteklar. Inga underarter finns listade.

Källor

Brokparasitsteklar
siccata

redpajama_set_name: RedPajamaWikipedia


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The Sheltered
Directors: Martin Dallard, Gary Organ, Dean Eyre
Writers: Martin Dallard, Gary Organ, Dean Eyre
Producers: Martin Dallard, Gary Organ, Dean Eyre
Cast: Martin Dallard, Gary Organ, Dean Eyre (and some other people, to be fair)
Reviewed from: YouTube
This amateur feature shot around Gloucester in 2012 completely escaped my notice when it had its one and only screening at the end of June 2013. Two and a half years later, it has popped up on YouTube, necessitating my watching it to check what it's like.
I don't think I'm being cruel in saying that this is a film that could only have any interest for members of three groups: family and friends of those involved; British horror completists like myself; or hardcore werewolf fans. Because yes, this is another in the surprisingly extensive field of modern British werewolf pictures. It certainly perks up when the werewolves finally appear, but by golly it takes a long time to get there.
The setting is a privately run hostel for homeless people, and we spend a full 50 minutes of this 86-minute film just watching what goes on there. There's a Christmas meal. There's an exercise class. There's a slightly creepy 'Circle of Trust' meeting. I guess this is supposed to help us get to know these people, but we don't, partly because there are way too many characters. It's nigh on impossible to work out all the positions and relationships here. It's not even easy to tell sometimes who's meant to be homeless and who's meant to be a worker/volunteer as the 'guests' mostly dress quite well and have decent haircuts.
There's a burgeoning romance between two of the homeless people, one of whom has arrived there with complete memory loss. In a bizarre scene, two staff attempt to find out his identity by taking some blood and scanning his fingerprints on an electronic box. There's a second relationship between one of the staff and a homeless guy with OCD. But that's about as much actual plot as you'll find.
Eventually, the staff and 'guests' all go off camping in the countryside where the homeless people are split into three teams and sent off orienteering. Seems a bit needlessly cruel, that. Surely if someone has spent months walking the streets and sleeping rough, the last thing they want to do is walk across fields and sleep under canvas. Comfy bed and a roof over their head, that's what they want.
That night, around the campifire, people tell each other spooky stories until the hostel manager (I think) announces that the really spooky thing is they're all going to be killed and eaten. It turns out that all the staff (some of whom are, I think, related to each other in some way) are a pack of werewolves. The rest of the movie is the poor homeless sods running through the woods, being chased by the lycanthropes. It's all shot day-for-night so it's too dark to see what's happening and, even if we knew who all these people were, we wouldn't be able to recognise them. Eventually it all sort of ends with one survivor.
Let's not kid ourselves: much of the acting here is awful. A couple of the actors are quite good, but much of this is so woodenly performed it's barely watchable. People were clearly cast because they were friends or family, not because of actual thespian talent. Because this film isn't on the old IMDB, it behooves me to include a list of the cast here: Paul Draper, Gary Organ, Graham Roberts, Trudi Hayden, Martin Dallard, Louise Broadley, Craig Eyre, Clare Bayley, Seth Holmes, Jemma Trinder, Dean Eyre, Adam Teague, David Hodges, Jamie Bayley, Kimberley Flook, Robert Hayden, Alena Mezzone, Siouxsie Organ, Tom Bayley, Paula Smith, Robert Myers, Emma Ford, Natalie Organ, David Perry, Andrew Bird and Mark Hough.
The actual credits are pretty sparse. The film was "Written, produced, directed, shot and edited by Martin Dallard, Gary Organ and Dean Eyre", all three of whom you will notice are also in the above cast list. The make-up and effects, which are probably quite gory but simply can't be seen properly, are credited to 'D.E.A.D. FX'. And that, apart from a few extras and some music credits, is that.
There's no real story, just the stuff at the hostel and the stuff in the woods, with a slice of 'wandering through the countryside' inbetween. Way, way too many characters means I couldn't even begin to identify or name most of them. If this was drastically cut down to about 20 minutes, it might sort of work, and certainly wouldn't outstay its welcome the way it does at this length.
Don't get me wrong. I'm really pleased that people are shooting films like The Sheltered, and even more delighted that they are then making them freely available online. This sort of grass-roots film-making is exactly what makes UK indie cinema in the 21st century so exciting. But this is only ever going to be a curio and it's only my self-imposed determination to try and watch as many of these things as possible that stopped me from turning it off, or at least fast-forwarding.
MJS rating: D+
Labels: 2016, British Horror Revival, UK, werewolves
Nihan: The Last Page
Director: Tofiq Rzayev
Writers: Tofiq Rzayev, Mustafa Erdogan Ulgur
Producer: Tofiq Rzayev
Cast: Erhan Sancar, Alsen Buse Aydin, Sevgi Uchgayabashi
Reviewed from: online screener
I'm a very busy man right now. Very busy. Too busy to write new reviews for this site at the moment. But… when a 14-minute Turkish short turns up unannounced in my inbox, what am I going to do?
Nihan: Son Sayfa is one of those short films where not much happens, making it almost impossible to review in any detail without giving away the entire plot. Except I'm not entirely sure what does happen.
This is the latest film from Tofiq Rzayev, whose previous work here was The Girl in the Woods. That was listed on the IMDB as an Azerbaijani film whereas Nihan: The Last Page is apparently Turkish. That was what confused me and is why I didn't recognise Rzayev's name at first.
So what is the film about? It's mostly a discussion between a man and a woman about the man's dead girlfriend, Nihan, and about the house they're standing in. The man has nearly finished a book. I may be barking up completely the wrong tree but I think this is a ghost story of some sort. Although, truth be told, that's basically a combination of 'it's about someone who has died' and 'I didn't really understand that'. If it is a ghost story, then I iked it. If it's not a ghost story, then it's too obtuse for me and I don't know what's going on.
Apparently the film is influenced by the work of Tarkovsky and that's certainly very visible. The first two minutes – out of only 14, remember – are just the man walking to his front door, turning and walking back again. The film has the languid pace and reflexive inaction of a Tarkovsky film, that's for sure. This ain't no Michael Bay picture.
It's beautifully shot by Rzayev, who also edited, and the three actors (including Uchgayabashi, who is credited with the original story idea) are all very good. The subtitles are well done, which matters.
At just under a quarter of an hour, Nihan: The Last Page doesn't outstay its welcome. It is thought-provoking and enigmatic in its paucity of narrative and I quite liked that.
Labels: 2016, ghosts, short film, Turkey
interview: Helen Crevel
Helen Crevel, star of two of Steve Lawson's features, kindly answered some questions by email in February 2016, just ahead of the theatrical release of Survival Instinct.
What attracted you to Rites of Passage/Survival Instinct and how did you get the part?
"The audition for Stacey was definitely one of the more random I've landed. I actually initially contacted Steve touting for corporate work - which is an actor's bread and butter (or mine at least!). We'd met a few years before and he remembered me and mentioned that I might be right for a feature he was planning later in the year. A few months later he sent me the script and I came in to audition. The audition was an improvisation of one of the most dramatic sequences in the film (when Stacey is trying to start the car) which was interesting because there is almost no dialogue so really open to actor interpretation."
How arduous/uncomfortable/tiring was the filming?
"The hours were long but I didn't find it arduous at all. In film work in general, I usually find the hardest part the waiting around for shots to be set up before filming, but as Steve had to be efficient on a low budget, he had worked out a lot of the set ups beforehand – so minimum waiting around, maximum acting time – which of course, is the fun part!"
What do you think distinguishes Stacey from the generic 'girl in peril' horror heroines that litter the genre?
"When I first read the script, what stood out for me is that Stacey came across as a real person. Most of us don't really know what we would do in that kind of life-or-death situation, and sometimes Stacey definitely makes mistakes in my eyes, but I can always see where she is coming from and why she does what she does. I've spent many films shouting at the TV going: 'Why don't you just get your back against the wall and grab a weapon!' It was nice to play the kind of character who would actually do that."
What were the main differences for you, as an actor, between Rites of Passage and Killersaurus?
"Haha – you're kidding, right? I wouldn't say the two were on the same page at all. Although the situation in Rites/Survival Instinct was not an everyday one, one thing that Steve was always striving for was making it real and plausible – and of course that extends to the acting. Killersaurus was really just a bit of a lark.
"I'm a massive Jurassic Park fan and Steve promised me I could puppeteer a T-Rex – what more can I say? Although, even though it was silly premise, it would have been to nice to have more time to fit in some extra takes and play around with the scenes. We had a really tight schedule so unfortunately that just wasn't possible."
What is your puppetry background and how workable was the dinosaur puppet?
"I learnt to puppeteer on several theatre jobs. I've been lucky enough to get to work with several styles of puppet – my favourites are bunraku-style puppets, where you work with two other puppeteers on the one character, and found object puppetry where you bring to life everyday objects. The dinosaur puppet wasn't really a puppet at all but a toy – it was made of sturdy plastic and quite difficult to manipulate but I actually enjoyed that. One of the main things I have been taught as a puppeteer is to work with what the puppet gives you – the lack of give in the toy gave the dinosaur a certain quality of movement it wouldn't have had otherwise and working with a toy that is not intended for performance feels like a very pure form of puppetry. We all instinctively 'puppeteer' our toys when we are children – it's just one of those things that most of grow out of. Not me."
What projects have you done since these films and/or have coming up?
"I have recently completed several short films and am also working on writing some of my own work (watch this space). I'm originally a theatre actor and although I am focusing on screen work currently, I have also been out on tour with a couple of plays in the last year. Commercial work always helps to fund the (usually) lower wages of more creative stuff and if you keep your eyes open, you'll probably see me in a few TV ads."
website: www.helencrevel.co.uk
Posted by MJ Simpson at 18:24 2 comments:
Labels: actor, British
Director: Gary Jones
Writer: Stephen Brooks
Producers: Boaz Davidson, Danny Lerner
Cast: Lana Parrilla, Josh Green, Mark Phelan
Reviewed from: Festival screening (Cannes 2000)
Spiders holds a special meaning for me, as it was seeing this Nu Image movie at Cannes 2000 that led to my two interviews on British breakfast TV that week. It's a very enjoyable giant bug romp and let's face it, you simply cannot go wrong with giant bug movies. Even the bad ones are good and Spiders is actually a pretty decent movie.
Intriguingly, the publicity fliers distributed at Cannes carried a synopsis for a story entirely unrelated to the finished film, all about an Incan mummy and a 'proton interferometer'. What actually happens is that a space shuttle crashes near a military base, releasing a spider which was being used in orbital experiments but has become mutated. The title Spiders is, incidentally, a bit of a misnomer as there's only ever one spider - well, one at a time.
Lana Parrilla (Spin City) and Josh Green (Curse of the Puppet Master) are the young people investigating what's going on, while Mark Phelan (who has a healthy career playing cops, doctors and security guards in the likes of MANTIS, Doctor Mordrid and 12:01) is the government agent opposing them. Some of the spider effects are, frankly, embarrassing, as hapless actors struggle with largely inanimate puppets like a 1950s Tarzan wrestling a rubber alligator. But stick with the movie, because once the spider becomes large enough to render in CGI it's absolutely awesome! The giant arachnid rampages through the town, crushing cars and knocking down lamp-posts - that's what we want to see!
Spiders has a decent script by Stephen Brooks (a former Visual Effects Supervisor who also wrote the otherwise unconnected Spiders 2) and is smoothly directed by Gary Jones, helmer of Mosquito (another giant bug romp), Crocodile 2 (another Nu Image nature-amok flick) and various Hercules and Xena episodes. Cinematographer Jack Cooperman was responsible for the underwater footage in Star Trek IV and also worked on Hill Street Blues. Also in the cast are Billy Maddox (Deep Freeze), Jack Ott (Night Wars) and Jonathan Breck who played the title role in Jeepers Creepers and its sequel.
The US DVD sleeve image has no discernible connection with what happens in this film.
Review originally posted 22nd May 2005.
Labels: 2000, spiders, USA
Spiders 2
Director: Sam Firstenberg
Producers: Boaz Davidson, Danny Lerner, David Varod
Cast: Stephanie Niznik, Greg Cromer, Daniel Quinn, Richard Moll
Reviewed from: VHS screener
This has no discernible connection with Spiders. On the other hand, unlike the first film, the story is roughly the one on the publicity fliers.
Our protagonists are Alex and Jason Paulsen (Stephanie Niznik: Star Trek: Insurrection; and Greg Cromer), a young couple whose yacht is wrecked mid-Pacific in a storm but who are rescued by a passing cargo boat, among whose crew are the slimy Captain Bigelow (Daniel Quinn: Scanner Cop I and II) and the sinister Dr Grbac (cult favourite Richard Moll, from House, Metalstorm: The Destruction of Jared-Syn and other memorable pictures).
Jason discovers that the radio isn't broken, as the Captain claims, that the containers on deck are empty, that the ship is sailing in circles - and that there are dead people on meathooks in the freezer. Alex puts this down to hallucinations brought on by the constant antibiotic injections administered by Dr Grbac.
In fact, Grbac is conducting experiments in increased human immunity by combining human and spider DNA. He does this using unwilling victims kidnapped from passing boats by Bigelow and his crew; the victims are forcefully injected by the ovipositor of a giant (three metres or so) spider, and are then kept in sleep capsules until a baby (18 inches or so) spider bursts from their abdomen. This scientific side doesn't actually make a lot of sense and is really just an excuse for some gruesome scenes and some cool giant spider shots. There's no explanation of where the giant spiders originated - possibly they are descended in some way from the beastie in the first film, although that seems unlikely.
Spiders II (released in the USA as Spiders II: Breeding Ground) is an ambitious film which uses its limited budget well, especially with regards to depicting the mid-Pacific, given that the whole thing was shot in landlocked Bulgaria! The CGI spider effects by Scott Coulter, Chris Manabe and others are very good - more so than the puppet spiders - and the monsters are sensibly restricted to glimpses and partially hidden shots until the all-out arachnofest finale. Apart from a few crewmen, there are really only four characters, all of whom are well-acted, though Moll's doctor is rather stereotypical (he even has an Igor-like assistant!). South African director Sam Firstenberg (Cyborg Cop I and II, whose second unit work on Crocodile got him this gig) keeps the pace going and builds tension, even though - apart from a pre-credits teaser - we don't actually see any spiders until more than halfway through.
The mostly Bulgarian cast also includes Peter Antonov (a terrorist in Octopus), Dimiter Kuzov (a tugboat captain in Octopus 2) and Gerald Henderson, whose scenes in King Cobra were deleted - which many would consider a lucky escape. Special effects supervisor Willie Botha also worked on both Octopus films and cinematographer Peter Belcher lit the second one.
A fun romp this one, with some thrills, some shocks and plenty of eight-legged horrors.


ON ANY DATE OF YOUR CHOICE IF RESERVED IN ADVANCE - PLEASE REQUEST - A boat trip unlike any other, five hours with marine experts on the look-out for local dolphin pods and whale species (including the pilot whale). Breakfast on board, followed by lunch near the marina - maximum 10 people in total. Secret Spain trip, exclusive to Costa Almeria Tours. Transport from where you are around 08.00 to the marina and return around 18.00. A treat for all wildlife lovers. For full information, please see our Tour page here.
Booking now for January through to December - ANY DATE OF YOUR CHOICE, SUBJECT TO AVAILABILITY, ADVANCE BOOKING REQUIRED.
Luxury all day long sailing boat trip special on February 13th, 14th, 2018. Pick ups from Mojacr and surrounding areas.
Special night sky guided Astro tour with expert astronomoer from Granada, held in Almeria - includes dinner and transport from where you are.
Wine-tasting in the Almeria Alpujarras and Olive Oil experience at the producers of the World's Number 1 organic extra virgin Olive Oil.
So, it is upon us - the so looked forward to, "Goodwill" season of spend, spend, spend on a load of trash. But those of us, who dislike buying "things" which nobody wants, but instead believe food and drink gifts to be the ultimate in cool, Costa Almeria Tours is with you.
Lunch at the market with fresh food bought from the fish or meat market. Food market first. All inclusive, 58 euros per person (35 euros if you just want a ride and no lunch or drinks, etc). Transport, nibbles, lunch with wine or beer! Happy Christmas gastronomers, this is the only way to escape the Christmas tinsel and tat and the Andalusians know just how to do it! And you will be able to buy all the fresh desireable goodies for your Christmas table - Feliz Navidad!
Bah humbug - yes! We'll eat them, thanks.
Night of constellations, viewing with large telescopes and expert astronomer - discover the wonder of the night sky with an astrospecialist in an old farmhouse in a mountain-top setting with no light pollution, enjoy a wonderful seasonal local produce three course dinner - (Small group evening - up to ten people only) - on March 26th. We have other dates available if you can't make this date!
View the night sky from incredible telescopes with a professional astronomer from Granada...what a night!
A UNIQUE OPPORTUNITY TO BECOME A FALCONER AND FLY A HAWK. SOLI IS A MALE HARRIS HAWK. YOU BECOME THE FALCONER WITH THIS FULL, HANDS-ON EXPERIENCE. FLY HIM AND LEARN ALL ABOUT HIM, TAKE AWAY SOME AMAZING MEMORIES AND FANTASTIC PHOTOS. FOLLOWED BY FULL THREE-COURSE LUNCH WITH EXPERT FALCONER LAWRENCE, WHO WILL ANSWER ALL YOUR QUESTIONS - (MAXIMUM 5 PEOPLE) - EXCLUSIVE TO COSTA ALMERIA TOURS. DOOR-TO-DOOR TRANSPORT TO THE EVENT FROM WHERE YOU ARE, FULL HAWK EXPERIENCE AND LUNCH (WITH ALL BEVERAGES) ALL INCLUSIVE.
Other scheduled dates: 19th May, 30th May, 20th June. Please request any other or later dates.


Eye implants that change your iris color.
Beard transplants for extra manliness.
Palm line alterations that will supposedly change your fate.
"Pokertox" — botox specifically targeted for a perfect poker face.
East Asian double eyelid surgery.
Prosthetic testicles… for your pet. Not you. Your pet. YOUR PET.
Growing noses on foreheads, because why not?
Fake ears constructed out of other body parts.


p<IMPORTANT: Before beginning this procedure, make sure you have setup the Reader application and are logged into your Reader Store account .
In the Reader screen, tap Recently Read, and then tap to select the book you are currently reading.
NOTE: If you wish, you can also tap Books and then tap to select a new book to read.
Browse to the page you wish to bookmark, and tap in the top left corner of the page.
In the [Book Title] reading screen, browse to the page you wish to bookmark and tap within the page to bring up the Quick Navigation bar.
On the Quick Navigation bar, tap the Bookmark icon on the page you want to Bookmark.
Repeat this procedure for all pages you wish to bookmark.
How to change brightness, text font size, background, paging effect, justification, page view, or page flow of the reading screen in the Reader application.


September 8th marked the Party for the Golden Gate Park Tennis Center, which kicked off the final set of fundraising to renovate the 124-year-old "Cradle of Champions", making it one of the best tennis facilities in the nation! Karl the fog finally disappeared, treating scores of tennis fans to sunny skies at Golden Gate Park. Phil Ginsburg, General Manager of San Francisco Recreation and Parks, started the day by announcing an anonymous $1 million gift towards the $26 million renovation. Sean Taube from Taube Philanthropies served as Phil's doubles partner and encouraged the crowd to help close the remaining $4 million gap via a generous $6.5 million challenge grant issued by the foundation. The challenge grant will match all remaining donations dollar-for-dollar. Please visit their website for more details.


text:
<?php

/*
 * This file is part of YaEtl
 *     (c) Fabrice de Stefanis / https://github.com/fab2s/YaEtl
 * This source file is licensed under the MIT license which you will
 * find in the LICENSE file or at https://opensource.org/licenses/MIT
 */

namespace fab2s\Tests\Lib\Arrays;

use fab2s\NodalFlow\NodalFlowException;
use fab2s\Tests\Lib\TestBase;
use fab2s\YaEtl\Transformers\Arrays\ArrayReplaceRecursiveTransformer;

class ArrayReplaceRecursiveTransformerTest extends TestBase
{
    public function arrayReplaceRecursiveProvider()
    {
        return [
          [
              'default' => [
                  'one' => 'onedefault',
                  42    => [1, 3, 3, 7],
              ],
              'override' => [
                  '?' => ['no', 'maybe'],
              ],
              'cases' => [
                  [
                      'input' => [
                          '?'  => 'yes',
                          42   => [7, 3, 3, 1],
                      ],
                      'expected' => [
                          'one' => 'onedefault',
                          42    => [7, 3, 3, 1],
                          '?'   => ['no', 'maybe'],
                      ],
                  ],
                  [
                      'input' => [
                          '?'  => ['a', 'b', 'never'],
                          42   => null,
                      ],
                      'expected' => [
                          'one' => 'onedefault',
                          42    => null,
                          '?'   => ['no', 'maybe', 'never'],
                      ],
                  ],
              ],
          ],
        ];
    }

    /**
     * @dataProvider arrayReplaceRecursiveProvider
     *
     * @param array $default
     * @param array $override
     * @param array $cases
     *
     * @throws NodalFlowException
     */
    public function testArrayReplaceRecursiveTransformer(array $default, array $override, array $cases)
    {
        $transformer = new ArrayReplaceRecursiveTransformer($default, $override);

        foreach ($cases as $case) {
            $this->assertSame($case['expected'], $transformer->exec($case['input']));
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
The Maverick McQUEEN
TERENCE STEVEN McQUEEN
MARCH 24, 1930 - NOVEMBER 7, 1980
GIRL ON THE RUN
Uncredited appearance
McQueen Quotes:
"When a horse learns to buy martinis, I'll learn to like horses."
"Sometimes kids ask me what a pro is. I just point to John Wayne."
"When I believe in something, I fight like hell for it."
"I live for myself and I answer to nobody."
"I'm not sure whether I'm an actor who races or a racer who acts."
NEVER LOVE A STRANGER
THE GREAT ST. LOUIS BANK ROBBERY
A dispute over billing prevented McQueen's playing the Sundance Kid to Paul Newman's Butch Cassidy. They later did THE TOWERING INFERNO together with billing problems worked out. McQueen and Newman had exactly the same number of lines of dialogue in INFERNO.
While Newman appears throughout THE TOWERING INFERNO, McQueen doesn't appear until the midway point of the film. Newman had the big entrance in the feature, so Steve demanded the big exit, got it, and walked away with the movie.
NEVER SO FEW
THE HONEYMOON MACHINE
HELL IS FOR HEROES
McQueen's death prevented his starring in FIRST BLOOD. The role went to Sylvester Stallone.
Of all the roles he played, Lt. Frank Bullitt was his personal favorite.
Turned down ONE FLEW OVER THE CUCKOO'S NEST, SUPERMAN:THE MOVIE, CLOSE ENCOUNTERS OF THE THIRD KIND, DIRTY HARRY, a TOWERING INFERNO sequel and BOB & TED & CAROL & ALICE.
He was offered the male lead opposite Audrey Hepburn in BREAKFAST AT TIFFANY'S and wanted it, but his WANTED: DEAD OR ALIVE TV shooting schedule prevented it.
Steve was supposed to star in 1977's THE GAUNTLET, but when hearing the female lead would be Barbra Streisand, he pulled out of the project. Clint Eastwood and Sondra Locke were then cast.
THE WAR LOVER
SOLDIER IN THE RAIN
Humphrey Bogart, James Cagney, Spencer Tracy and John Wayne were Steve McQueen's screen idols and inspiration for his becoming an actor.
Colin Farrell, Kevin Costner, Bruce Willis and Pierce Brosnan's screen idol and inspiration for becoming actors was Steve McQueen.
LOVE WITH THE PROPER STRANGER
BABY THE RAIN MUST FALL
MORE LAUREL AND HARDY - - 1938 - 1945
1930's ATTRACTIONS
The CAPITOL - - The Glamour Days had passed...
MORE McQUEEN
THE FIFTIES AT THE MOVIES
FABULOUS, FANTASTIC FORTIES
GONE APE
THE TANTALIZING THIRTIES
DINO = COOL - - - 1957 - 1962
FLICKS FROM THE FORTIES
THE HAPPIEST SOUND IN ALL THE WORLD
SALISBURY SEVENTIES SELECTIONS
THEY DID IT ALL!
THOSE FANTASTIC FIFTIES
ANNETTE JOANNE FUNICELLO
FREE MOVIES AT THE DRIVE-IN...
RICHARD PETTY on the BIG SCREEN


A Rare Bass Fishing Technique That Only A Few Experts (and Amish) Know About!
Several years ago, I learned an exceptional bass fishing technique. I was bass fishing at Oliver Lake in northern Indiana and noticed a man in a small inexpensive boat catching largemouth bass one right after another!
Now I am a respectful fisherman and usually keep my distance so as not to interrupt and scare the fish away. But after awhile, as he kept catching keepers, I decided to go over and say hi. He was a very friendly Amish fellow with a beard and straw hat. I noticed a rubber worm that he was using that was unlike any rubber worm I had seen before. Bright gold exposed hooks, purple body on a harness line. When I asked him about it, he told me it was "the stutsie" and that it was about the only thing in his tackle box - just in different colors.
When I asked how I could get one, he said they were made locally by the Amish and told me of a local tackle shop that sold them. I went straight to this bait shop and bought a selection to try. Boy, am I glad I did! I have never been so successful with any other bait. Period.
However, I have learned a rigging technique that makes this neutral buoyancy worm even more irresistible. It is in the way it is rigged for presentation. The worm harness is tied to a separate 3 foot piece of line. This line is tied to the smallest swivel you can find, then just above the swivel, attach 1 lead split shot also the smallest you can find. This is a really light set up, and so, cannot be cast for great distances. But this bass fishing technique is so successful, you won't need to cast great distances. Just give your rod a little twitch as you troll around. The worm will not really float and not really sink. The very small weight of the swivel and split shot will eventually sink to the weed level with the worm just above the weeds. Right where you want to be! Just give an occasional twitch and get ready to rumble!
Depending on where the fish are located, you can use a heavier lead weight to drag the worm close to the lake bottom or remove the lead weight completely to work the worm near the water surface. Either way, when using this bass fishing technique, remember to work the worm SLOWLY and give it a quick twitch every once in a while. Fish have a tendency to show a lot of interest in this worm, and many will follow it out of curiosity. The occasional twitch will make the worm accelerate suddenly, enticing the fish to attack it. The exposed hooks will make the worm almost impossible to spit out once it is has been bitten. Which means you will turn "bumps" into "catches"!
Another bass fishing technique and my favorite way of fishing the Stutsie if there is a breeze, is to drift fish. Head into the wind and when you get to the end of the body of water, turn sideways and throw out into the wind. You can let line out to the distance you want and then be sure you have your drag set correctly, because you will soon have a fight on your hands. This is the lazy man's way of fishing which suits me fine. Again, remember to give it a twitch though, to increase your hits.
One more thing. This "stustie" worm has exposed hooks and will occasionally snag a weed. Bass will not bite this lure if it is dragging a weed. So remove any weeds each time you reel it in.
The stutsie has become my lure of choice and if you try it, it will be yours too!
William Durre is a writer, web designer, and avid fisherman. He resides in northern Indiana and is an expert at "Catching Fish When Others Can't". If you want to read more about all types of fishing and get more information on the Stutsie worm then you can find his website at Freshwater-Fishing-Tips.com.


Raised in the same loveless family, Marc and Angie exist on stolen moments that sometimes come years apart. Forbidden by more than just their ages, they are forced to pretend a cool indifference during the day while longing desperately for the future to set them free.
Repeatedly torn apart, their forbidden friendship forged a bond that even twenty years couldn't break. I give you Marc and Angie, the backstory, but be warned. This is not a romance. This doesn't have a happy ending. This is the upbringing, the striking childhood of two Life After War characters before they are reunited to find their missing son after a nuclear war. They are Marc and Angie, and the year is 1990.


How Effective Are Fire Sprinkler Systems, Really?
Chances are you know that fire sprinkler systems can save lives and prevent fire damage, but do you know just how effective these system are? Research shows that they're more effective than you may already give them credit for, believe it or not. Here are just a few things to think about.
In one study, it was found that the combination of automatic sprinklers and early warning systems in any type of building could reduce overall injuries, loss of life, and even property damage by 50% at the very least. That's right. Installing fire sprinkler systems in any building — be it a hotel, an office, a school, or some other such place — could halve potential losses. How amazing is that?
In another study of fires, researchers found that fire sprinkler systems operated in 91% of all reported structure fires that were large enough to activate the sprinklers, excluding the ones that didn't have these systems installed. In other words, they activated more than nine out of 10 times like they were supposed to. The chief reason they didn't? Lack of maintenance. In other words, if these systems are well maintained like they're supposed to be, they're going to work when they're supposed to.
The fact of the matter is that buildings need to have fire sprinkler systems installed because they save lives. A study from the National Fire Protection Association found there was no record of a fire taking more than two lives in a building with a full sprinkler system that was operating well.
If you manage a property that doesn't have a sprinkler system, you'd be wise to get in touch with commercial fire protection services today to learn more about how these incredible systems can keep your property safe. If you have any questions, feel free to share in the comments.


text:
Ridge, New York
Brookhaven Relativistic Heavy Ion Collider
The second-largest (of only two in the world) large particle collider is the underdog of experimental physics.
forum Comment
Relativistic Heavy Ion Collider Brookhaven National Laboratory on Flickr (Creative Commons)
Along with the Large Hadron Collider (LHC) at CERN, Brookhaven National Laboratory's Relativistic Heavy Ion Collider (RHIC) is the only other large particle accelerator in the world, and what is lacks in brand-name notoriety, it makes up for in the creation of deadly plasmas.
Top Places in New York
Greenwich Locksmith
Phil Mortillaro uses keys to bring art back to the Village.
Masstransiscope
Subway Zoetrope.
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La Plaza Cultural
This former crime corner has been turned into an eclectic community center.
Added by Oliver Hong
See more things to do in New York »
Opened nearly a decade prior to the LHC, the RHIC was a facility ahead of its time. The main focus of the collider is, not unlike its more famous counterpart, smashing infinitesimally small particles together and just seeing what happens! As particles are shot down the 2.4 mile long "track" in opposite directions, they occasionally collide, spraying their component particles across the sensor laden walls. When the collisions occur, quarks, gluons, and other rare elements are produced making atoms look like simple math.
These interactions, despite being so small it seems impossible, end up releasing equally mind-boggling temperatures. As the thousands of collisions occur each second the facility is in operation, the violent particle separation actually produces heats which can be many thousands of times hotter than the Sun. Luckily for the RHIC's equipment (and our whole planet, really) these plasma bursts take place in a billionth of a second before flaring out.
Maybe its a bit older, and not quite as huge as its European big brother, but the RHIC has been smashing atoms in the US of A since before it was popular, and it continues act as an exciting symbol of America's often wavering commitment to scientific innovation.
Visit New York State with Atlas Obscura Trips
Only in Queens: Tasting Our Way Through New York's Most Diverse Borough
October 4—October 7, 2019
Manhattan may have name-brand recognition and Brooklyn a certain cache, but Queens is the city's largest and most diverse borough. Join us, October 4-7, to dig into Queens' rich neighborhood life.
Start the discussion. forum Visit our forums.
s solarconstant
http://en.wikipedia.org/wiki/Relativistic_Heavy_Ion_Collider
2 Center Strett
Ridge, New York, 11961
Shoreham, New York
Tesla's Wardenclyffe Laboratory
An unrealized dream to wirelessly electrify the entire Earth.
Added by Trevor
Flanders, New York
Big Duck
A former poultry store that looks like a giant duck and is one of the "seven wonders" of Long Island.
Added by greg
Kings Park, New York
Abandoned Kings Park Psychiatric Center
Beneath the mossy overgrowth covering this once-sprawling campus lies decades of history and the secrets that come with it.
Added by Jenna Mistretta
St. Johnland Cemetery
This forgotten graveyard in rural New York State once served a pioneering hospital.
Added by katetruisi
The Chilean mountain is freckled with (relatively) small European telescopes.
Added by CoolCrab
Schlosslabor
The old castle kitchen where nucleic acid was first isolated is considered the "cradle of biochemistry."
Added by TransdisciplinaryExcursions
Quantum Cloud
Sculptor Antony Gormley used chaos theory and fractal growth to design his tallest creation.
Cuenca, Spain
Castilla-La Mancha Paleontological Museum
This museum is known as the "Land of the Dinosaurs," but its full-scale dino models are just the start.


text:
Q: Portable Class Library Contrib in redistributed library I have created a Portable Class Library with the help of PCL Contrib. For PCL Contrib to work, I understand you also have to include the appropriate Portable.Platform.dll (platform being Desktop, Silverlight, etc.) in your project that will be utilizing your Portable Class Library. The PCL I have created is going to be redistributed, and I would like to simplify its use by not requiring anybody that uses the PCL to have to include multiple DLLs to make it work. Is there a way I can roll the PCL DLL, the Portable.Platform DLL, and other platform specific abstractions (see PCL Platform Abstraction) into a single DLL per platform?
I want to stay with the PCL to keep the majority of my code in a single manageable area, even though it needs to split out (to some extent) into platform specific packages. I feel this will be re-using as much code as possible.

A: There's a few different options that I see:
1) You could use ILMerge to do this to merge all the binaries into a single binary. You'd need to change PCLContrib to recognize this new pattern.
2) Grab the source code you need from from PCLContrib, and use as it as implementation detail of your library. Again, you might need slight modifications.
3) Make use of NuGet to make this easier. I'll be putting PCLContrib on NuGet soon, and if your redistributable is simple a NuGet package with a dependency on the PCLContrib package, NuGet will automatically cause the consumer project to reference all the correct binaries.


text:
4 Leadership Lessons from UConn Women's Basketball and Geno Auriemma
What makes UConn women's basketball so special?
One of the best parts of my job is the opportunity to learn from and work with the absolute best of the best.
With a mind-blowing 11 National Championships and 22 Final Fours, UConn women's basketball and Coach Geno Auriemma have been a dominant force in women's college basketball for essentially the last 30 years.
Coach Auriemma says, "What those 11 National Championships mean to me is how many great players I've had the opportunity to coach, how many great people have come through our program."
Of course recruiting and developing highly-talented athletes is a big part of their success – but there is a whole lot more to it than that. Coach Auriemma doesn't just roll the ball out and tell his athletes to play.
He meticulously teaches them the game.
He coaches them on how to compete.
He trains and ingrains in them how to win against the very best.
UConn teams have always played with a competitive edge, a toughness, an intensity, a confidence, and a swagger that starts with their coach, is mirrored by their players, and makes the Huskies nearly impossible to beat.
Here are 4 keys to UConn's championship-level success that you can use to build your program.
1. Championship Culture and Standards
UConn operates at a Championship Standard in everything they do.
Whether it's in practices, the weight room, conditioning, or the classroom, UConn sets and sustains Championship Standards for how they operate.
The details matter.
The focus matters.
The intensity matters.
The execution matters.
UConn realizes they must continually bring it at a high level because everyone else is gunning for them. The coaches and staff demand a high standard from the players – and the players demand that of each other.
"The best don't just practice until they get it right, they practice so much it's impossible for them to get it wrong."
COACH AURIEMMA
2. Player Leadership Makes a Huge Difference
Coach Auriemma recruits the best athletes but he also says that leadership within the team makes a huge difference.
"The years when we've had great player leadership makes it so much better for us as coaches," Coach Auriemma says.
It makes his and his staff's job so much easier when players step up and hold their teammates accountable rather than waiting for the coaches to do it.
The championship seasons had players who stepped up and led the team as much as the coaches.
3. An Unwavering Commitment to Help Players Become Their Best
Coach Auriemma's primary goal and commitment is to help each of his players achieve their potential.
He says, "I feel like I have failed as a coach if I don't help each player achieve her full potential."
Players come to UConn because they know they will be challenged to get every ounce of talent out of them – both on and off the court. This commitment to excellence is what makes them highly-coveted for the WNBA, USA Basketball, and professional careers in the business world.
"I'm a hardass, but we wouldn't have had all the accomplishments we have as a basketball program if that's all I was. Players would have stopped listening to me, and I would have been run out of coaching if that's all I was. So I think we win because I demand sometimes more than they can give. But I don't know what that is until I find out you can't give it."
4. Tradition Never Graduates: Continued Loyalty and Connection
Diana Taurasi, Sue Bird, Rebecca Lobo, Kara Wolters, Maya Moore, Swin Cash, Breanna Stewart... and many others – the list of UConn greats is a Who's Who of Women's Basketball.
These elite players set the standard and stay connected with the program. Their high-level accomplishments not only inspire the current team – but they also hold them accountable to keep the championship tradition going. Current UConn players know they have a Championship Standard to live up to and don't want to let the past players down – let alone their current teammates and coaching staff.
"With the absence of pressure, it's hard to do great things."
Why are the past players still so connected with the program? Past great Kara Wolters said it is because Coach Auriemma is so loyal to them. He continually looks to help them in their professional careers and stays connected with them for life even after they've graduated.
"He's incredibly caring and he's incredibly loyal. He loves his players and that is why they're so loyal to him," says Rebecca Lobo.
I hope you enjoyed this sneak peak into what makes UConn women's basketball and Coach Geno Auriemma so special! (special thanks to Coach Hudy for the opportunity)
The Huskies not only know what it takes to be successful, they do it on a regular basis and hold each other accountable to Championship Standards.
For more info on how to build a Championship Culture, be sure to check out our book How to Build and Sustain a Championship Culture.


text:
is the main temple of the Buzan sect of Shingon Buddhism.  The temple is located in Sakurai, Nara Prefecture, Japan. The Main Hall is a National Treasure of Japan.

Overview

According to the description on , which is enshrined at Hase-dera, the temple was first built in 686 and dedicated to Emperor Tenmu, who was suffering from a disease. Later, in the year 727, the temple was expanded by order of Emperor Shōmu and a statue of the eleven-faced Kannon was placed near the original temple that enshrined the bronze plaque. The temple has been burned down and rebuilt as many as ten times since the 10th century.

During the Heian period the temple was favored by members of the nobility, such as the authors of the Kagerō Nikki and the Sarashina Nikki.  Hase-dera was consistently popular with visitors, helped by the fact it was situated on what was then the route to the Ise Shrine. Later still, Hase-dera flourished as one of the centers of the reformed Shingon Buddhism, particularly after the arrival of priest Sen'yo from Negoro-ji in 1588.

The current Main Hall is a reconstruction of 1650 built using donations from Tokugawa Iemitsu. A covered wooden , 200 metres long, leads to the Hall from the Niō Gate. The temple is especially popular in the spring, when the 700 Chinese peonies that line the staircase are in bloom, and in the fall, when the leaves of the many maple trees in the temple grounds have turned red.

Treasures

The designated Important Cultural Properties at Hase-dera include:

The Main Hall (National Treasure): The Main Hall at Hase-dera is one of the largest halls in the Nara prefecture; the statue of the Eleven Faced Kannon is located in this hall.
The bronze plaque of the Hokke Sessō-zu (National Treasure): This plaque measures 75 cm (width) by 84 cm (height) and features at its center a hexagonal three story pagoda, surrounded by a series of panels showing two Buddhas sitting on lotus seats, as well as various deities and monks. The lower panel features 27 lines of inscription that is boarded by two guardian gods.
A copy of the Lotus Sutra. (National Treasure)
The Niōmon (Important Cultural Property): The Niō are present at the gates of many Japanese Buddhist temples, one on each side of the entrance. These statues are protectors of the temple, and can be thought of as two benevolent kings. These statues lend their name to the gate of the temple, which has become known as the Nio Gate (niōmon). The Nio have a threatening appearance in order to discourage demons and thieves.
The Shōrō (Important Cultural Property): In 1984 the original bell was replaced, and the original was placed in the treasure hall
The Staircase (Important Cultural Property): The staircase is made up of 399 small stone steps, and is around 200 meters long. Pilgrims who visit the temple believe that when walking the staircase, it help to get rid of the 108 illusions that they believe lead to all human suffering.
The Eleven-faced Kannon (Important Cultural Property): The Statue of the Eleven Faced Kannon (the Goddess of Mercy) is 9.3 meters (or 31 feet) tall and it is said that it was carved by a priest known as Tokodo.This is said to be the largest wooden statue in Japan. Its faces consist of one primary face and ten secondary faces that are said to allow Kannon to see all around, in case anyone is in need of her assistance.

See also
List of National Treasures of Japan (crafts-others)
List of National Treasures of Japan (temples)
List of National Treasures of Japan (writings)
 For an explanation of terms concerning Japanese Buddhism, Japanese Buddhist art, and Japanese Buddhist temple architecture, see the Glossary of Japanese Buddhism.

Notes

References

 Pamphlet distributed by Hase-dera on site.

External links
 Hasedera (Japanese)
 Photos of Hasedera Temple
 Hase Tourist Association (Japanese)

Buddhist temples in Nara Prefecture
Shingon Buddhism
National Treasures of Japan
Important Cultural Properties of Japan


text:
Q: Python : send data of form to one email address I write a form in Google App Engine using Python that user can input data to form. After input, I want this data to be send to one's email. for example : example@gmail.com.
My question is : in Python, does it have simple function (and I can use this function on Google App Engine) to send email ?
Thanks :)

A: Python does have a mail package for transmitting emails.
Included below is an example as found in the Python docs
# Import smtplib for the actual sending function
import smtplib

# Import the email modules we'll need
from email.mime.text import MIMEText

# Open a plain text file for reading.  For this example, assume that
# the text file contains only ASCII characters.
fp = open(textfile, 'rb')
# Create a text/plain message
msg = MIMEText(fp.read())
fp.close()

# me == the sender's email address
# you == the recipient's email address
msg['Subject'] = 'The contents of %s' % textfile
msg['From'] = me
msg['To'] = you

# Send the message via our own SMTP server, but don't include the
# envelope header.
s = smtplib.SMTP('localhost')
s.sendmail(me, [you], msg.as_string())
s.quit()

In addition, the app engine has a mail API as well.
from google.appengine.api import mail

mail.send_mail(sender="Example.com Support <support@example.com>",
              to="Albert Johnson <Albert.Johnson@example.com>",
              subject="Your account has been approved",
              body="""
Dear Albert:

Your example.com account has been approved.  You can now visit
http://www.example.com/ and sign in using your Google Account to
access new features.

Please let us know if you have any questions.

The example.com Team
""")


text:
Q: 3d slide puzzle group The 15 puzzle in 2d is associated with the Alternating group A15.
https://en.wikipedia.org/wiki/15_puzzle
Rubik's has produced the Rubik's slide: a 3d slide puzzle. https://www.rubiks.com/en-uk/rubiks-slide.html
And here's a Youtube video of the Rubik's slide being solved: https://www.youtube.com/watch?v=o4JupVA5zfI
Does it similarly have an associated group? What about an n x n x n-1 3d puzzle -what group would it have?
Not to be confused with an earlier electronic puzzle also called Rubik's slide.
This question was asked on MSE but got no response.


text:
My Friend is SAD
My Friend is Sad was a collaborative project with my partner Claudia Borfiga, which culminated in a pop-up exhibition at The Arts Fund, Santa Barbara. The artwork displayed was made during a week-long studio intensive, in an attempt to reframe sadness, and to consider the role it plays in our lives.
The exhibition included:
- Consequences of Sadness, Monoprints
- Sadness the Creator, Mask & Screenprint
- Sad Slogans, Painted plywood
- Mr. Obvious, Comic
- Sad Swag, T-shirts & Mini Prints
- Sharing is Caring, Digital Print
- Say Hi in the Corner, Installation & Postcards
"Sadness often feels like an undesirable emotion, to be shunned, not shared. We wanted to tackle the narrative on this. To us, sadness is a basic emotion of human life (not to be confused with depression) and we should all be more comfortable talking about it." Matt Head & Claudia Borfiga
Read a feature about the exhibition in The Santa Barbara Independent, by Charles Donelan.
With thanks to; The Arts Fund, especially to Torrie Cutbirth. Photographs courtesy of Alyssa Seng, Chelsea Willett and Matt Head.


text:
package im.actor.runtime.webrtc.sdp.entities;

import java.util.ArrayList;

public class SDPSession {

    private final int version;
    private final ArrayList<SDPRawRecord> records;
    private final String originator;
    private final String name;

    public SDPSession(int version, String originator, String name) {
        this.version = version;
        this.originator = originator;
        this.name = name;
        this.records = new ArrayList<>();
    }

    public int getVersion() {
        return version;
    }

    public String getOriginator() {
        return originator;
    }

    public String getName() {
        return name;
    }

    public ArrayList<SDPRawRecord> getRecords() {
        return records;
    }

    public String toSDP() {
        String res = "v=" + version + "\r\n";
        res += "o=" + originator + "\r\n";
        res += "s=" + name + "\r\n";
        for (SDPRawRecord r : records) {
            res += r.toSDP() + "\r\n";
        }
        return res;
    }

    @Override
    public String toString() {
        return toSDP();
    }
}


After 40 years of membership, civil justice attorney Fletcher Handley Jr. was passed the gavel and became president of the Oklahoma Association for Justice (OAJ) on Nov. 2. In the same formal ceremony, this founding partner at the Handley Law Center in El Reno and Oklahoma City was also honored as OAJ's Trial Lawyer of the Year, which recognizes the contribution attorneys have made to the public interest through trial practice.
Below, the former U.S. Navy aircrewman talks about his vision for OAJ in 2019, workers' rights, no-fault insurance and why he's proud to "hang his hat" in Canadian County.
What issues will be most pressing for the OAJ in 2019, and what will be your priorities as the OAJ's president?
I hope to increase the influence of OAJ and its members with the Oklahoma Legislature and the citizens of Oklahoma. The rights of Oklahomans to seek justice in court have been seriously eroded over the past 15 years or so, and many of those laws had unintended consequences that were detrimental to the entire population. I hope to be involved in moving the pendulum back in the right direction.
You won the Tomy D. Frasier Lifetime Achievement Award in 2015 for your contributions to ensuring the legal rights of working men and women. What has improved in workers' rights since then, and what challenges remain?
Workers' rights in Oklahoma took a serious setback in 2014 when the Oklahoma Workers' Compensation Court was abolished. That resulted in considerably less compensation being paid to workers injured on the job in Oklahoma but gave all but the biggest employers only a modest reduction in rates. So, big business and big insurance were the winners at the expense of Oklahoma workers. We hope to re-establish some of those rights through thoughtful and appropriate legislation.
OKC: 8 a.m. today at McIntyre Law Firm, 8601 S. Western Ave.
Norman: 10 a.m. Friday, Bernstein Law Firm, 104 W. Gray St.
In 1999, you testified before the U.S. Senate Commerce Committee on behalf of the American Bar Association against a proposed National No-Fault Auto Insurance bill. Can you explain your thoughts on no-fault insurance?
I told the Commerce Committee back then that no-fault insurance was a bad idea whose time had come and gone. It sounds good in a utopian society, but again, there are unintended consequences.
When there is no downside to a driver causing an accident, there is less need to be careful. With no-fault, the injured party was to look to their own insurance for compensation, while the negligent party — and his or her insurance — paid nothing. Several states adopted it, but it actually resulted in increased premiums and less compensation for the victims. Not a good combination.
Even though that proposal had bipartisan support, we got it stopped, in part because I pointed out that, if it had passed, every insurance carrier in every car wreck would owe a duty of good faith to their insured, something they do not owe in a third-party system. Bad faith suits would have become the norm. Those pursuing it thought better, and the bill died in committee.
Speaking of legislation, the State Capitol will host a lot of new faces during its next session. What are some issues relevant to the OAJ that you would like to see pursued, and what advice would you give to rookie lawmakers with regard to ensuring the constitutionality of their bills?
The Oklahoma Supreme Court once started an opinion by saying, "We grow tired of reminding the Oklahoma Legislature of the Oklahoma Constitution." Passing these bills known to be unconstitutional, and then spending the time and resources to try and enforce them, are terrible wastes of Oklahoma tax dollars.
I would like to see the Legislature tackle real problems and get out of the business of trying to legislate social issues. Both the U.S. and Oklahoma constitutions demand equal treatment of all citizens. Promoting a Christian agenda is no more appropriate than promoting a Muslim agenda. We have separation of church and state for a reason.
Finally, while Canadian County shares a border with the more metropolitan Oklahoma County, it remains a more rural locale. Can you share any jokes or country witticisms that have stayed with you over the years?
I don't have any jokes. At least none that I can publish. A lot of people act like it's 100 miles of bad road from Oklahoma City to El Reno, but it's really only about 20 minutes west on I-40.
I can tell you that we have a long history and culture of legal and judicial excellence here. Going back toward statehood, our bar members, like H.L. Fogg, Jim A. Rinehart and Francis Porta all set a standard of excellence that has carried down through the generations. I've been to most of the county courthouses in Oklahoma in my 40 years of practice and have generally been treated well everywhere. But I'm very proud to hang my hat in Canadian County.
Josh McBee served as NonDoc's managing editor from September 2015 through January 2019. He earned a bachelor's degree in English and a master's degree in journalism from the University of Oklahoma. He has reported and edited for newspapers and other media in Oklahoma, Colorado and California.


Join us for a live educational webinar about improving your information security. Learn how one company met compliance requirements with powerful cloud encryption and Recovery as a Service (RaaS).
Join this webinar to hear from managers who have solved their complex compliance issues while keeping a data center up and running during Hurricane Sandy. Learn how to prepare your systems to stay online and protect data during the next hurricane, flood, earthquake, tornado, fire, or other disaster.
CTOs, IT Managers, and Cloud Project Owners interested in leveraging the cloud, but with security concerns about moving data to the cloud.
Also joining Covala Group are presenters from Porticor and nScaled.
Porticor enables businesses to rapidly protect their data in the cloud with homomorphic split-key data encryption, which protects keys even when they are in use. It's groundbreaking encryption technology.
nScaled is a Recovery as a Service (RaaS) provider, offering businesses integrated and automated backup, recovery, cloud storage and disaster recovery. nScaled allows companies to take the headaches out of backup and recovery and increases data center uptime.
The webinar will highlight how Covala Group uses cloud encryption and cloud disaster recovery to meet their unique data security needs.
The post A Customer's Perspective on Information Security and Recovery as a Service: A Live Webinar appeared first on Porticor Cloud Security.


text:
<!DOCTYPE html>

    <meta http-equiv="Content-Type" content="text/html; charset=UTF-8">
    <meta charset="utf-8">
    <meta name="viewport" content="width=device-width, initial-scale=1.0">
    <meta name="description" content=" Static site generator for Grunt.js and Yeoman. Assemble makes it dead simple to build modular sites, blogs, gh-pages, components and documentation from reusable templates and data.">
    <meta name="author" content="http://twitter.com/jonschlinkert">
    <title>
      Overview | Assemble
    </title>

    <link rel="stylesheet" href="../assets/css/assemble.css">
    <link rel="stylesheet" href="../assets/css/markdown.css">

    <link href='http://fonts.googleapis.com/css?family=Open+Sans:400italic,600italic,400,300,600,700' rel='stylesheet' type='text/css'>

    <link rel="apple-touch-icon" href="../assets/img/light/apple-touch-icon.png">
    <link rel="apple-touch-icon" sizes="114x114" href="../assets/img/light/apple-touch-icon-114x114.png">
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    <link rel="shortcut icon" href="../assets/img/light/favicon.ico" type="image/x-icon">

          <button class="navbar-toggle" type="button" data-toggle="collapse" data-target=".bs-navbar-collapse">

          </button>
          ASSEMBLE

              Docs

              Plugins

              Helpers

              Blog

              GitHub Repo

              plugins /  Overview

                Overview

Overview

Plugins extend the core functionality of Assemble.

Plugins are a new feature, but we know they'll play a big part in Assemble's future. We're looking for great plugins to add to our documentation and "contrib" collection, so please
              let us know if you have something in mind!

If you authored an Assemble plugin, please submit a pull request to add it to this page!

Contrib Plugins

                assemble-contrib-contextual: Generates a JSON file containing the context of each page. Basic plugin to help see what's happening in the build.

                assemble-contrib-permalinks: This plugin enables powerful and configurable URI replacement patterns, presets, uses Moment.js for parsing dates, and much more.

Community Plugins

                assemble-markdown-data: An Assemble plugin for automatic parsing of markdown in data.

                assemble-related-pages: An Assemble plugin for generating lists of related pages.

                assemble-sitemap: Assemble plugin for generating sitemaps.

Plugins we want

Here are some plugins we'd like to see. (
              Let us know if you build one and want to make it a contrib plugin):

pagination

navigation

indexing

anchor generation for headings in HTML converted from markdown

component-builders for YUI, OOCSS (make sure you talk to us about these if you're interested!)

theme generators

Things we're working on or need help with

yeoman plugin generator

grunt init template

documentation

best practices for creating plugins

              See the template for this page →

Find an error?
                Let us know →


text:
Q: Asus 24" LED VG248QE I have a Asus 24" LED VG248QE and after I spent the last night at a friends came home and put up my Pc again. Then on accident I switched the power cables from my pc and this monitior. And the colors are distortied, there are white lines going up and down on the screen and its just messed up. What do I do?!
EDIT: Ive been thinking more about it, could it be something else? Maybe it got ruined in the car or something? What do you think.

A: The power cables should be interchangeable between a PC and a Display.
Check to make sure your display cable isn't loose and is still good.  Otherwise it is possible you may have damaged either your video card / port on the PC or the Display.


Sneaker of the brand Nero Giardini in Lead and a Inner eight Wedge centimeters high and a low plateau one centimeter, perfect for long walks!! Comfortable leather shoe and suede to ankle. Yuo can wear on any Casual Fashion clothin ! It has the presence of a rubber bottom and a classical laces closure!


text:
Drexel's Response to Coronavirus
Pre-professional Programs:
Medicine and Law
Minor and Certificate Programs
Online and Low-Residency Programs
Drexel Storylab
Co-op & Experience
Drexel Co-op
Drexel Writers Room
Humanities and Social Sciences Labs
Distinguished Lecture
Support Our College
Long-Distance Distress Signal from Periphery of Injured Nerve Cells Begins with Locally Made Protein
New research recently published in Neuron, co-authored by Drexel's Dr. Jeffery Twiss, is one of the strongest indicators yet of molecular signaling from end to end in peripheral nerve cells. The team's new discoveries may help scientists better understand nerve cells' distress signals and nerve cell repair, so they can eventually control and enhance the process to speed up recovery from nerve injuries.
Private Landowners Can Help Protect Biodiversity "Arks" in Tropical Reserves
Many of the world's tropical protected areas are struggling to sustain their biodiversity, according to a study just published in Nature by more than 200 scientists from around the world. Among them, Drexel's Dr. Sean O'Donnell, highlighted the important, beneficial role of private landowners who work to preserve biodiversity in their land surrounding tropical reserves.
Rising Heat at the Beach Threatens Leatherback Sea Turtles, Climate Change Models Show
New research suggests that climate change could exacerbate existing threats to critically endangered leatherback turtles and nearly wipe out the population in the eastern Pacific. Deaths of turtle eggs and hatchlings in nests buried at hotter, drier beaches are the leading projected cause of the potential climate-related decline, according to a new study in the journal Nature Climate Change by a research team from Drexel, Princeton University, other institutions and government agencies.
Biodiversity, Earth & Environmental Science
Curriculum Innovation
Papadakis Integrated Sciences Building
Criminology and Justice Studies
English & Philosophy
Global Studies and Modern Languages
Psychological and Brain Sciences
Center for Interdisciplinary Study
Center for Public Policy
Center for Science, Technology & Society
Center for Weight, Eating and Lifestyle Science — WELL
Drexel University, 3141 Chestnut Street, Philadelphia, PA 19104, 215.895.2000, © All Rights Reserved


in our latest video we used the "blender 2.79 fracture modifier build" to simulate a 10.000 ground pieces cracking and interacting with a giant robot Pac Man coming out from the soil.
First of all, the Fracture modifier compared to the "cell fracture" is really much faster in calculation and gives you much more options and more easy way to achieve better results.
Our limit, in this case, was that we had to export all the animation into After Effect as an .ObJ sequence. So we didn't used the particle and smoke generation that it's now possible to integrate into the simulation.
Also we used Blender fracture modifier to model all the broken parts and holes that we tracked on the Hong Kong buildings. Again, was really easy and fast to get what we needed. It worked very well i have to say.
In Blender we modeled and animated also the Ghosts and our Arvade hero Pac man of course.
AHHHHHHH .... you are sooooooooo RIGHT!!!!!