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119. MESHES OF THE AFTERNOON (1943)
July 4, 2012 Gregory J. Smalley (366weirdmovies)	6 Comments
"This film is concerned with the interior experiences of an individual. It does not record an event which could be witnessed by other persons. Rather, it reproduces the way in which the subconscious of an individual will develop, interpret and elaborate an apparently simple and casual incident into a critical emotional experience."–Maya Deren, notes on Meshes of the Afternoon
DIRECTED BY: Maya Deren, Alexander Hammid
FEATURING: Maya Deren, Alexander Hammid
PLOT: Approaching her apartment one afternoon, a woman picks up a flower, sees a figure disappearing around a corner down the garden path, then fumbles her key as she tries to unlock the door to her room. She goes upstairs and falls asleep in a chair looking out of the window, where she has a series of dreams that recombine these simple events and objects in unexpected ways. Doubles appear, she floats up the staircase, and the person she briefly glimpsed earlier appears as a figure of menace haunting the corners of her mind.
Deren legally changed her first name from Eleanora to Maya (Sanskrit for "illusion") just before embarking on her career as a filmmaker with Meshes.
Alexander Hammid, Deren's second husband, co-created and appears in Meshes as "the Man." The music that now accompanies the film was added in 1957 and was composed by Deren's third husband, Teijo Ito.
Some commentators, including avant-garde director Stan Brakhage (who knew the couple) claim that Meshes was largely the work of Hammid rather than Deren, who went on to have the more noted career.
Meshes was made for $275 (which would be about $3,500 today adjusted for inflation). Deren once joked that she made movies for what Hollywood spent on lipstick.
Added to the National Film Registry in 1990. The registry began in 1989 with twenty five American films worthy of preservation due to their historical and artistic importance and adds twenty five more films each year since; Meshes was in the second class inducted.
Deren, a Ukrainian immigrant, was the first avant-garde filmmaker working outside the studio system of any importance in the United States. She was also a lecturer, wrote articles on film theory, and established the Creative Film Foundation and the Film-Makers Co-op. She unexpectedly died of a brain hemorrhage at 44 while studying and filming Voodoo ceremonies in Haiti.
INDELIBLE IMAGE: The image film critics usually invoke when describing Meshes is Deren with her face and palms pressed up against the windowpane, the reflections of palm trees merging into her curly black hair and an inscrutable expression on her face. The picture has an undeniable metaphorical power: here we see a portrait of the psyche, the plane where reflections from the external world merge into the self. But while there's an undeniable intellectual appeal to that selection, we're going to go instead with something freakier and more nightmarishly visceral: the cloaked form with a mirror for a face, a mysterious figure into whom the sleeping protagonist pours her suppressed fears and anxieties.
WHAT MAKES IT WEIRD: Many weird movies are about dreams, or plumb the sleeping mind to exploit dream logic and plunder the unconscious' mutated symbols, but Meshes of the Afternoon is probably the most psychologically accurate dream movie ever made. From the way it repurposes everyday events and objects, turning keys into knives and passing pedestrians into emissaries of the unknown, to its impossible geometries where windows open onto stairs and distant beaches, Meshes captures the architecture of a dream—and traps us inside it.
Film student analysis of a scene from Meshes of the Afternoon
COMMENTS: A mesh is a net or a web, and this afternoon the strands that trap our nameless heroine are a flower, a retreating figure, a key, a bread knife, a phone, stairs, a mirror, a phonograph, images that play back over and over in her mind and draw themselves tighter and tighter around her until she cannot escape. These objects that invade her consciousness never explain what they want from her, why they are encircling her, yet their demands become more and more insistent until they drive her mad. Structurally, Meshes of the Afternoon resembles a fugue; the theme is introduced when Maya Deren picks up the flower, glimpses the shadow disappearing around the corner, fumbles her key, and surveys her disordered apartment. After she falls asleep, these incidents are replayed in variations that start off strange and build to a discordant climax. She sees herself on the garden path chasing the ever-receding figure. She enters her apartment and the knife is on the stairs where the phone used to be. She finds the key in her mouth and spits it out. Again she removes the needle from the spinning record, only to return home in her endless loop and find it back in its endless groove. She dreams that she wakes, then she dreams that she's dreaming. She enters her home once again and sees herself in her dream, until multiple Mayas are sitting around the dinner table gazing at each other.
Anyone who has ever fallen asleep in an easy chair on a sunny afternoon will recognize the strange experiences that bedevil Deren's character. There is that horrible dream frustration of running but never getting anywhere as she chases the black cloaked figure; no matter how hard she pumps her legs she never gains any ground on that eternally receding soul. Through inventive low-budget camerawork Meshes captures the sense of floating in dreams as Deren is sucked out her window by some metaphysical breeze, then clings to her stairs to keep herself from flying to the ceiling and being pinned there. As the dream continues to repeat itself and we see shots of Deren's increasingly distraught face we get that uncomfortable feeling of being aware that we are dreaming but being unable to wake. There is that familiar nightmarish false relief as we dream that we've awakened, but soon something impossible happens–a flower turns into a knife—and we realize that we are still trapped in the dream. There are the constant transformations as we gaze at one thing, but it turns into something else. In Meshes, every object is eternally becoming that knife the protagonist saw dropping out of the bread loaf. The knife takes the telephone's place on the stairs, it appears under the covers of her unmade bed. The woman holds the key in her hand and it turns into the knife; then she enters the door with it clutched before her defensively to find two more Mayas already sitting around the table inside. Everything in Meshes is turning into that blade; it's the film's end destination.
The dream's repetitions and re-iterations make the meshes of the title; this is not a pleasant afternoon nap, it's an anxiety dream, one that can't be escaped. The source of her unease and the meaning of her hallucinations is as obscure to us as it is to the dreamer. There is no narrative or story per se, but there is the suggestion of a psychological reality, something that the woman may be hiding from herself. What is causing her nightmare? We know very little about her, but we do learn that she doesn't live alone. There is a man in her life, who makes a late appearance in the story, waking her from her disturbed slumber with welcoming arms. As far as we know, he—and the mystery figure seen disappearing around the corner—are the only other souls besides Deren living in this insular reality. Is that man the source of her anxiety? Does her dream transform him into the cloaked figure with the mirrored face who slowly deposits the flower on her pillow? Is there an unrevealed history between the two?
Complicating matters is the fact that we don't know where—or, really, even if—the story begins or ends. Just as Deren "wakes up" and looks out her window, only to see herself chasing that shadowy figure on the garden path, there as the sense that this scenario is caught in an endless loop. The "double ending" is famously ambiguous; just when we seem to have returned to reality, things turn even more bizarre. There is some reason to believe that the final shot may occur in "reality," especially since, for the first time, the movie seems to assume the point of view of someone other than the female protagonist. But, we have seen before that Deren's dreaming character is capable of seeing herself in the third person, as if she's having an out-of-body experience; once, she even imagines herself about to stab herself. Furthermore, given the film's untrustworthy circular recurrence-with-variations structure, we may doubt that we even can tell where the story begins. It's true that the early shots establish the theme and introduce the motifs that will later be twisted in the dream, but the atmosphere is slightly otherworldly and off even in this introductory passage. When Deren drops her key it falls in slow motion, giving this mundane occurrence an irrational significance. And who keeps their telephone sitting on the stairs, off the hook, and what are the chances the knife would dislodge and fall from out of that loaf of rye just as she enters the room? Also, we shouldn't forget that the movie actually begins with a magical prologue wherein a mysterious hand delicately and deliberately places that white flower Deren will discover on the pathway to her apartment, then pops out of existence. The movie appears to be already in the middle of the dream even as it starts.
Screened back to back, Deren's experimental films–excluding her choreographic studies—occupy only about forty-five minutes of running time, and they are almost a continuum, a continuation of the unending dream of Meshes of the Afternoon. One of the final shots of Meshes shows shards of a shattered mirror falling onto a beach and being swept away by the tide; Deren's next film, At Land (1944), begins with waves washing Maya up onto the shore. It's tempting to think of At Land as picking up where Meshes leaves off, as a sort of afterlife for Afternoon. Several Meshes motifs recur in At Land. Again there are impossible dream geometries: Maya climbs a dead tree and finds a long dinner table at the top; she walks through a door and finds herself thrown out onto a rocky cliff on a beach. Again there are multiple Maya's scurrying about: one Deren distracts two chess players by stroking their hair, while another steals a pawn and runs off with it. Although Deren is not the star of her third major experimental short, Ritual in Transfigured Time (1946), she does appear in its opening scene, wearing what looks like it could be the same dark cocktail dress from At Land. Ritual departs from the other two pseudo-narrative surreal films in that it incorporates Deren's passion for dance; there is a wonderful sequence where people walking through a cocktail party greeting each other break into spontaneous quadrilles. There aren't multiple Mayas in Ritual, but there are three dark-haired women of similar stature (one played by author Anaïs Nin and the other by dancer Rita Christiani) in similar dark attire (Christiani and Deren wear identical shawls around their shoulders). Again, Maya ends up in the ocean; this time, she is seen underwater, in negative image, drowning. (Might she wash up in At Land, starting another cycle?)
Originally silent, it's hard to imagine Meshes of the Afternoon without Teijo Ito's freaky, droning score after you've heard and seen them together. A plucked guitar and a Japanese flute are interrupted by an unexpected percussive gunshot. A drum beat marks the key's tumble down the stairs and tick-tocks like a needle skipping on a record as Deren enters the apartment. The beginning of the dream is announced by a weird drone duet between a bowed cello and humming man, as the camera pulls back through a peephole (incongruously mounted on the woman's upstairs window) to reveal the mysterious cloaked figure striding down the pathway for the first time. Like the exotic beauty of Deren herself, the effect is otherworldly and sensual; it simultaneously pulls the viewer into a trance-like state while repulsing her with its weird, discordant moaning. It amplifies the film's already ample ambient anxiety, becoming an persistent buzzing in the ears that you can't get rid of. The repetitive figures of the score become another strand in the mesh that binds you inside this enigmatic woman's private consciousness. For fifteen minutes you are trapped in this psychic fugue; it's a wonderfully intense and insistent experience, but you'll be relieved when Maya's magic mirror finally shatters and you can cut yourself free from these nightmare filaments. The film's protagonist is, perhaps, not so free.
"Deren veers away from plot to advance her view that a film should be like a poem: a deep tissue of images designed to examine a mood or startle us with the strangeness of the things around us."–Leo Charney, All Movie Guide
"Over a century of cinema, there is one film that clearly stands out, above all others, as a near-perfect cinematic distillation of the essence of the dream experience. That film is Maya Deren's 'Meshes of the Afternoon'…"–Giovanni Fazio, The Japan Times (screening)
"…a sublimely recursive, mind-bending meditation on the interaction between experience and memory, domestic banality and violence, imagination and causation."–Acquarello, Strictly Film School
IMDB LINK: Meshes of the Afternoon (1943)
Maya Deren | Senses of Cinema – This thorough biography composed by Wendy Halsem for the December 12, 2002 issue of Senses of Cinema focuses extensively on Meshes, and includes its own "links of interest" section for further reading
MoMA | The Collection | Maya Deren. Meshes of the Afternoon. 1943 – The Museum of Modern Art's page on Meshes of the Afternoon, a print of which is in their permanent collection
Maya Deren: At Land – Alfred Eaker's review of Deren's At Land for this website
BFI Film Classics: Meshes of the Afternoon – Yes, a 14-minute movie inspired a 128-page book by John David Rhodes, a professor from the University of Sussex
DVD INFO: Meshes of the Afternoon is available, together with At Land, Ritual in Transfigured Time, and Deren's choreographic studies (including the beautiful The Very Eye of Night, a ballet of negative images floating in front of a field of shifting stars) on the Mystic Fire Video release "Maya Deren: Experimental Films" (buy). Besides Deren's complete filmography, the disc also contains extensive notes on each film, excerpts from her unfinished film "Divine Horsemen," Alexander Hammid's short The Private Life of a Cat (which documents the birth of some kittens in the Deren-Hammid household), a Deren biography and bibliography, and excerpts from writings about her by Anaïs Nin and Le Corbusier. Before the Mystic Fire release, Meshes was available as part of the (now out of print) "Cinema 16: American Short Films" collection (buy). There it appears alongside (lesser) shorts by Andy Warhol, George Lucas, Gus Van Zant, Todd Solondz and others; the most impressive companion film is Tim Burton's Vincent (1982).
(This movie was nominated for review by reader "Regicide." Suggest a weird movie of your own here.)
1943Alexander HammidAvant-gardeBlack and WhiteDoppelgangerDreamlikeExperimentalLow budgetMaya DerenNon-narrativeRecommendedSilent FilmSurrealismUnderground
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6 thoughts on "119. MESHES OF THE AFTERNOON (1943)"
NGboo says:
Wow! What an interpretation – especially the part in which you managed to find a connection between all of her experiments. I can't remember the last time I've read such a long and beautifully written text for a film as short as Deren's. But she truly deserved one, being the mother of American avant-guard cinema. 🙂
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William Kersten says:
Thanks for a really great interpretation of this wonderful film! I feel this and At Land are two of the best cinematic dreams ever created. Also, the fact that both had to use real settings and mostly realistic elements because of the low budget, instead of sets and special effects, make them even more dream-like, considering real dreams have snippets of conscious experience isolated from their original context. That approach also makes them more like Cocteau's stated approach of avoiding optical effects in both Orpheus and Beauty and the Beast, and using in-front-of-the-camera effects that often are more marvelous.
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dee Ra says:
Appreciate having something to read about the film. Thank you!
Gregory J. Smalley (366weirdmovies) on ONLINE FILM CRITICS SOCIETY 2019 AWARDS (WITH OUR VOTES)


Welcome to the Muskegon Chapter of Barbershoppers home of the Shoreline Chorus.
Muskegon was a leader in the early growth of the Barbershop Harmony Society in America. The Muskegon Chapter was formed in September of 1940 as the official local representative of the Society For The Preservation and Encouragement of Barbershop Quartet Singing in America (SPEBSQSA) now known as the Barbershop Harmony Society (BHS). In 1952 the Port City Chorus was formed out of the chapter membership. By 1965 the Port City Chorus had won five Pioneer District Championships and finished in fourth place two times in international competition. In the 1980's the name of the chorus was changed to the Shoreline Chorus to reflect the fact that many members hailed from locations outside of the the immediate metropolitan area.
The Muskegon Chapter and Shoreline Chorus has a long history of singing in the Muskegon area and welcomes men from all walks of life, musical experience, and age to come together to enjoy the fellowship of song.


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There's been a lot of debate lately about the citizenship of presidential candidates and the constitutional requirement that only a "natural born Citizen" is eligible for the Office of President. You can find the relevant provision in Article II, Section 1, Clause 5 of the United States Constitution.
It was not until 1868, however, that the Fourteenth Amendment established "birthright" citizenship, declaring all persons born in the U.S. to be citizens. That was only one aspect of the amendment's profound importance. For a brief introduction to what historians and scholars describe as the most important amendment since the adoption of the Bill of Rights in 1791, see this excerpt from Professor Michael Roffer's recently published The Law Book: From Hammurabi to the International Criminal Court, 250 Milestones in the History of Law.


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YOUTUBE PREMIUM NOS COMPARTE EL TRAILER DE SU NUEVA SERIE "SIDESWIPED" LA CUAL SE ESTRENA EL 25 DE JULIO.
OFFICIAL TRAILER RELEASED FOR
DATING COMEDY SERIES STARRING CARLY CRAIG & ROSANNA ARQUETTE
'SIDESWIPED'
COMING EXCLUSIVELY TO
YOUTUBE PREMIUM ON JULY 25
YouTube Premium premieres the official trailer for its new original dating comedy series, SIDESWIPED, a multi-generational comedy about relationships - both romantic and familial. Based on a true story from Carly Craig, this eight-episode comedy series about dating in the digital age will debut on YouTube Premium July 25, 2018.
A lifetime of saying no has left "Olivia" single and miserable on her 35th birthday. This workaholic verging on a breakdown vows to plunge into the hellish world of Tinder by dating all 252 of her matches. She is spurred on by her sister "Jayne" - a young married woman experiencing a seven-year itch. The sisters are joined by their recently widowed mother, "Mary," who is now also a part of the online dating scene.
SIDESWIPED stars Carly Craig (American Housewife, Hall Pass) as "Olivia," award-winning actress Rosanna Arquette (Pulp Fiction, After Hours, The Whole Nine Yards, Desperately Seeking Susan) plays"Mary" and Chelsea Frei (Hostess, Audition, Wolf) stars as "Jayne." Celebrity guest stars include Jason Sudeikis, Rick Springfield, Peter Gallagher, Tyler Posey, Thomas Lennon, Bryan Greenberg, Charles Michael Davis, Christopher McDonald, Rhys Coiro, Craig Frank, Alice Lee and Sarah Burns.
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Germany by Hagen Schulze; Deborah L. Schneider
In one concise volume, Hagen Schulze brilliantly conveys the full sweep of German history, from the days of the Romans to the fall of the Berlin Wall. From the revolt of the indigenous tribes against Roman domination, Schulze leads us through the events that have defined a nation at the center of European culture--the Thirty Years' War and the decline of the Holy Roman Empire, Luther's Reformation and Bismarck's attendance at the birth of modern Germany, the Great War and its aftermath, the nationalistic megalomania under Hitler, the division of the nation after World War II and its reunification. Throughout, we see what these developments have meant for the German people, in the arena of private life and on the stage of world history. A lavish array of illustrations provides a lively counterpoint to Schulze's elegantly written narrative.
Germany by Donald S. Detwiler
This new edition of a best-selling history of Germany, originally published in 1976, includes the great watershed of 1989–90 and its aftermath. With twelve maps, a chronology of events, and an updated bibliographical essay, Germany: A Short History provides a thorough introduction to German history from antiquity to the present.
German History in Modern Times by William W. Hagen
This history of German-speaking central Europe offers a very wide perspective, emphasizing a succession of many-layered communal identities. It highlights the interplay of individual, society, culture, and political power, contrasting German with western patterns. Rather than treating 'the Germans' as a collective whole whose national history amounts to a cumulative biography, the book presents the pre-modern era of the Holy Roman Empire; the nineteenth century; the 1914–1945 era of war, dictatorship, and genocide; and the Cold War and post–Cold War eras since 1945 as successive worlds of German life, thought, and mentality. This book's 'Germany' is polycentric and multicultural, including the multi-national Austrian Habsburg Empire and the German Jews. Its approach to National Socialism offers a conceptually new understanding of the Holocaust. The book's numerous illustrations reveal German self-presentations and styles of life, which often contrast with western ideas of Germany.
The Cambridge Illustrated History of Germany by Martin Kitchen
The Cambridge Illustrated History of Germany presents a richly illustrated, integrated, chronological account of German history from Charlemagne to the modern era. Martin Kitchen focuses particularly on the German people - their culture and society. In this way he illuminates and puts into perspective the country's political history, from its origins as a collection of small, German-speaking states to its present-day status as a major European and world power. In special illustrated boxes and panels throughout the book, he reveals the great cultural and intellectual contribution Germans have made to the world through the works of figures such as Martin Luther, Bach, Kant, Wagner, and Gropius.
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Clarke tied for lead as he goes in search of Champions Tour double
Darren Clarke / Image from Getty Images
Darren Clarke will have a great chance of securing his second PGA Champions Tour victory in just three months when he enters the final round tied for the lead alongside Jerry Kelly at the Mitsubishi Electric Championship at Hualalai.
Clarke birdied the final hole to claim a one stroke win and his first Tour title in almost a decade with victory at the TimberTech Championship in November and he's well on his way to win number two after adding a four-under 68 to his opening nine-under 63 to move level with Kelly at 13-under par in the first event of the year.
The Dungannon favourite was even par through 11 holes and treading water slightly before knocking it close on the par-3 twelfth and kick-starting a run of four birdies in a row.
"I just didn't really have it today, to be honest with you," said Clarke, whose last win prior to November's TimberTech was the 2011 Open Championship. "Goose [Retief Goosen] played really, really nicely and he just struggled on the greens a bit. He just had a tough day on the greens. He was playing nicely. So I was just trying to hang on a little bit, and then hit a few better shots on the back nine obviously. Holed a couple putts as well."
Kelly birdied the 18th for a 5-under 67 to match Clarke at 13-under 131 with a round left in the opening event of the year. Goosen followed his opening 63 with a 71. He bogeyed the final two holes.
"Just couldn't make a thing," said Goosen, the two-time U.S. Open champion from South Africa. "Lost sort of my speed on the greens quite badly today, and if you have the wrong speed you can't make anything."
Fred Couples had a 63, the best round of the day, to join Kevin Sutherland (68) at 10 under. The 61-year-old former Masters champion eagled the par-5 14th and birdied Nos. 16 and 18."
"Much needed to go fairly low and then it just kept getting better and better," Couples said. "I hit a wicked 3-wood on 14 and curved it up on the green. It rolled about 30 feet and made it for eagle. It was a really good round."
Charles Schwab Cup leader Bernhard Langer Bernhard Langer was nine-under after a 67. The 63-year-old German star is a three-time winner of the tournament. Jim Furyk had his second 68 to get to eight-under. Ernie Els was six-under after a 69.
The tournament is the first of the year, but the season is a continuation from last year because of the COVID-19 pandemic that shut down the tour for four months. It is being played for the 25th straight season at Hualalai Golf Course, the longest run a venue in PGA Tour Champions history.


Before we start; you're right, this isn't considered to be a doom release, but at the least it can be considered proto-doom and a great taste of things yet to come. Saint Vitus and Trouble both released their debut albums in the same year, and having compared them to King of the Dead, I find this to be the most worthy early-Sabbath-inspired release of the three.
"Atom Smasher", the first cut of the album opens pleasingly with a simple intro that leads into a rocking mid-paced riff, and Tim Baker delivers the unforgettable line, "Welcome, to the brave new world!", leading me to first thing I want to talk about; his voice. Rather than picking out a melody, he hovers in the high registers and simply sings higher to place emphasis on certain words. Geddy Lee on early Rush records might be a good comparison, but it's something you have to hear for yourself, as I imagine not everyone has the taste for such exuberant vox.
Another lyrical gem is the couplet, "He is the hero of the atom age / Born in a test tube, raised in a cage", and it's just this sort of simple rhyming which makes Tim Baker's singing such a joy to follow.
The next track, "Black Machine" is my personal least favourite song in evidence, as it doesn't really have a sufficiently pronounced riff to hide the predictable chord sequence which serves as the blueprint for the whole track. That's not to say it's particularly bad - the simple progression does allow for a pleasing, extended solo, and the lyrics remain strong - merely that the quality of the other songs diminishes the effect of "Black Machine".
"Master of the Pit" shows the warning signs of doom; a lax-paced riff passes through minor chords, accentuated by tasteful, composed rhythm work. This is a great showcase for the band and around half of the song's seven minute body is built of layered solo work. The eponymous track starts with a rhythmic plod and builds up with bouncing tom-work, draped with another opulent solo section, only choosing to introduce the evil main riff at the 2:30 mark. "Death of the Sun" is much faster paced than the previous two and features a grizzled, hard rock riff. The bass jumps around quite a lot here and Iron Maiden came to mind. "Finger of Scorn" is the longest cut and chooses to unfold slowly, beginning with a picked acoustic passage that leads into the sort of chord progression that only really convinces when played slowly and heavily. You know that you're just waiting for the solo, though.
The guitarist, Jerry Fogle (now sadly deceased) gets minutes of solo time in each track and never disappoints; nothing particularly technical is attempted, nor does it need to be, as each lead break is guided by two things alone - intuition, and the love of rock which he celebrates well, never digging too deep into blues cliches, just simply aligning perfect melodies.
An interpretation of Bach's "Toccata in D Minor" is next up, a tune we all know and that most love. Fogle is again the star, accompanied only by rudimentary bass guitar. The buzzing electric guitar tone fits this most unexpectedly well, and the performance is quite fluid, allowing a little personality to seep through the composer's rigid score.
The final track promises to be epic; the band had such confidence in it that they named it after themselves! Shelob's famed lair receives a unique metallic anthem that shifts between a foreboding riff, a transition reminiscent of Motorhead and an adventurous verse which dances with the energy of classic rock. I prefer Deep Purple but any comparison here is valid. This six minute piece is dynamic both in feel and tempo, and is an excellent album closer, albeit one that invites you to press play just once more; the song itself is reluctant to conclude involving a coda of several false endings, each of which gets an extravagant bluesy "almost done" where each band member rocks out and then returns seamlessly. Things are finally wrapped up with a "Yeah!" at which the reviewer always grins. Always.
If you like any of the bands I have named above, then this is essential.


Tawang is a beautiful small hill station in the Tawang District. It is near the east Bhutan-India-south China border area. Tawang is known for the yellow-roofed Tawang Monastery, Giant Buddha Statue, War Memorial, Emporium, Jang falls, picturesque Sela lake etc and of course the Tawang Festival.
Tawang Festival is a must-visit event. There is dancing by the local people and tribes such as the Monpa, Nishi, Adi etc of the region, on the streets. There is a very nice arrangement of lighting and colorful flag like decorations all around the area. They wear very colorful and attractive festive clothes, masks, costumes, boots, hats, tribal jewelry, and accessories, like a fashion show.
As part of the festival, they play special local-regional musical instruments like trumpets. Special traditional delicious eateries, liquor, and wines are offered, and stalls are installed like a fair; many younger generation natives come out in western dresses and have fun.
There is a lot of similarity between the Tawang Festival and the Naropa, Losar Festival in the Leh-Ladakh region. The culture, traditions, clothing, food etc are quite alike.
How to reach Tawang? Foreign tourists need an easily obtainable special permit from the concerned authorities like the Ministry of Home Affairs or Government of Arunachal Pradesh State office in Delhi etc. Even Indian tourists from the rest of India need to do certain formalities for information about their travel.
Tawang is reached in breaks from Delhi. In a typical travel route, there is a direct flight from Delhi to Guwahati, duration about 2.5 hours. From the Guwahati airport, you travel by road for about 5 hours, approximately 190 km to reach Tezpur. Then a long drive from Tezpur to Tawang of about 11 hours, 325 km; mid-halt-stay is possible in Dirang.
We wish everyone a Happy Festive season, and the spirit of celebration, brotherhood, peace, harmony etc.


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Q: How can I make a Magento site wide search? Okay. This is propably very basic and noobie, but I have about 20+ stores inside one Magento site. I want to make the default search not only search the current store, but all other stores that are in the systems aswell.
Kinda like the global search in backend.
The frontend search should search those 20+ sites which are under the same site.
I have tried many things, but it doesn't seem to work.
Please help me — if someone knows something, because I really need to make this search work.

*

*Big site

*

*Store

*Store 2

*Store 10

*Store 20

I need to do a search in Big Site and display all the results.
Big thanks!

A: I assume that You are talking CatalogSearch core module.
Try to remove ->addStoreFilter() from Mage_CatalogSearch_Model_Layer::prepareProductCollection() method. Should work.
EDIT
And before removing this method check if store == Big Store

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Version: 3 Revision Date: 10.29.2021
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Cytokine; 17.3 kD (Mammalian)
Stimulates T cells, B cells, proliferation/activation of NK cells, fibroblasts, thymocytes, glioblastoma cells, astroglia, microglia
Monocytes, tissue macrophages, Langerhans cells, dendritic cells, T and B cells, natural killer (NK) cells, large granular lymphocytes (LGL), vascular endothelium, smooth muscle, fibroblasts, thymic epithelia, astrocytes, microglia, glioma, keratinocytes,
B cells, T cells, monocytes
Type I IL-1R (CDw121a), Type II IL-1R (CDw121b)
Cell Biology, Immunology, Innate Immunity, Neuroinflammation, Neuroscience
1. Fitzgerald K, et al. Eds. 2001. The Cytokine FactsBook. Academic Press San Diego.
2. Bomford R, et al. Eds. 1989. Interleukin-1 inflammation and disease. Elsevier New York.
3. Brazel D, et al. 1991. Biotechnol. Ther. 2:241.
4. Dinarello C. 1996. Blood 87:2095.
Upregulated by TNF-α, IFN-α, IFN-β, IFN-γ, bacterial endotoxins, viruses, mitogens, antigens; downregulated by IL-6, lipoproteins, lipids, and α2-macroglobulin
View information about IL-1beta on UniProt.org
Mechanisims of Cell Death
Does this clone recognize the pro or mature form of IL-1 beta?
The monoclonal anti-human IL-1b antibody clone H1b-98 was generated and screened using the mature form of IL-1b as the immunogen. Since the pro-form contains the mature sequence, it is believed that the antibody also recognize pro-IL-1beta. Similarly, we believe clone JK1B-1 should also recognize both pro and mature forms of IL-1b. However, this information has not been confirmed with in-house testing data.
View All IL-1β Reagents Request Custom Conjugation
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A multi-service trade company providing custom fabrication, welding, millwrighting, and piping solutions throughout Canada.
Over the last 40 years our company has created a solid reputation for superior workmanship and excellent customer service. As we continue to grow and diversify, we will uphold these standards and values as our company's foundation. We have a reliable team of estimators, engineers, tradesmen, and administrative staff dedicated to exceeding our customer's expectations.
As a full-service partner, we provide innovative, custom solutions for a wide array of industrial, commercial, and agricultural clients.
Ayr Welding is proud to provide a variety of services for our customers. A project manager will work with you to understand your needs, providing custom solutions when required and tailored services. This includes thinking creatively to develop, design, and create new applications to meet your needs. Special attention will be paid to timelines and trade requirements ensuring that processes comply with laws, regulations and industry standards. Our top priority is to ensure quality and customer satisfaction throughout every step of the project.
Our millwright group can install, inspect, repair, and maintain mechanical equipment as well as move machinery.
We provide service for process piping systems. This includes glycol, thermal oil, steam, air, water, gas, refrigeration and condensate piping.
Our highly trained custom fabrication and welding team is your source for carbon, stainless steel, and aluminum welding.
Over the last 40 years, Ayr Welding has created a solid reputation for superior workmanship and excellent customer service. As we continue to grow and diversify, we uphold these standards and values as our company's foundation. We have a reliable team of estimators, engineers, tradesmen and administrative staff dedicated to exceeding our customer's expectations.
Ayr Welding is proud to work closely with many industries to offer innovative problem solving and high quality work.
Copyright Ayr Welding 1977 Ltd.


Has the sorting hat placed you into Gryffindor? Fantastic! Show your Hogwarts House pride with this fantastic reversible beanie. A bright yellow side features "Gryffindor" written around it, and the other side is maroon with the lion sigil upon it. The perfect way to keep your noggin' warm in style!


What if you are the only employee in the facility? Sounds like a lot more to do when I am doing almost everything right now.
I just started my own fitness business. I am unique in my vision. I am targeting senior living communities working with independent living seniors. For the past two years, I was a Wellness Director for senior living and I taught 18 exercise classes, small group personal training, and taught brain fitness workshops and brain fitness games. I am NOT an activities director not that there is anything wrong with that but it's not what I do. I want to contract with independent living senior communities. I have made up a brochure and I'd love to share it with you to see what you think. My goal is not to just train personally but to group train and do workshops regarding exercise and brain fitness. Thanks for letting me share.


Among the wide range of software offered by Adobe there is also space for applications dedicated to the world of audio and music production. Adobe Audition is a powerful music production suite that makes it possible to record and register sound, edit without limits, sequence it into a project and mix different tracks.
Provide your video and audio productions with the best sound.
For some time now this program has been an essential tool in many studios worldwide. In previous versions such as 1.5, 3.0 or C6, the quality improved considerably, standing up to rival products of the likes of Cubase, among others. This new version completes the transformation of the product that we used to know as Cool Edit Pro.
Remix and adjust the length of a song.
Save your work automatically on Adobe Cloud.
Absolute compatibility with the MIDI protocol.
Compatibility with ASIO and WDM drivers.
Use MIDI controllers to work with the software, for example, master keyboards.
Compatible with VST virtual instruments.
Compatible audio formats: WAV, MP3, OGG and WMA.
Absolute compatibility with Adobe Premiere to work with both programs together.
Integrated function to import and export OMF.
Exchange XML with other non-linear editing applications.
Includes its own copyright-free sound libraries.
This software has a powerful high-performance audio engine to obtain the best results when it comes to working with multiple tracks and the possibility to combine all types of sources. You will be able to restore audio in bad conditions with various of the tools that it includes and take full advantage of the detailed view that the spectral system offers.
By sending and inserting audio you will be able to modify the mix with total flexibility. Combine effect chains, channels, and group buses to obtain new striking sounds.
An audio sequencer with the guarantee of a company like Adobe.
This tool is very popular on both Windows and Mac, with loads of users demanding versions adapted to smartphones and tablets, whether iOS devices such as iPhone and iPad, or APK format for Android.
If you were doubting about which one's better, whether FL Studio, Audacity or Pro Tools... well, Adobe Audition will probably lead you to discarding them all.
The 30-day trial version of Adobe Creative Cloud offers 2 GB of cloud storage and limited access to services.
The download allows you to launch the installation of Creative Cloud Connection and the rest of Adobe services.
Requires Windows 7 with SP1 (64 bits), Windows 8 (64 bits) or Windows 8.1 (64 bits).
Requires a sound card compatible with the ASIO protocol, with WASAPI or with Microsoft WDM/MME.


text:
Book of Lists 2002
PRWeek's editorial team looks back at some of the highs and lows of an eventful year in PR.
Click here to skip ahead to the Book of Lists.
Those who predicted 12 months ago that 2002 would be a little kinder to the PR profession could be forgiven for indulging in a little wishful thinking. After all, flipping the first page of a new calendar breeds fresh optimism, and who didn't want to see the back of 2001?
But 2002 spawned another unexpected monster. And when the Enron story broke, so did the dam of trust in corporate America, and the financial landscape became flooded in the dirty waters of corporate scandal.
The media, still finding its teeth after September 11, lapped it up. Corruption charges came so thick and fast that coverage ran like a bad-taste soap opera, and the baying public became engrossed in this serialization of distrust. The stars were America's new bad guys - a shameful gallery of white-collar rogues who became the public focus of blame for melting down the markets, humiliating a nation, and evaporating our 401(k) plans.
More bad guys emerged from other disciplines: Numerous Catholic priests were charged with child sex offenses, while a sniper took potshots at the public around DC. Bush may have scored a PR hit by condemning the global Axis of Evil, but as far as the average American was concerned, all the bad stuff was going on right here, on TV. It was compelling, too.
But there was also a need to embrace the good, and seek out a moral high ground. We weren't ready to stop waving our flags yet. We got behind the efforts to rescue the Pennsylvania miners. We tried to get behind the US Men's National soccer team in the World Cup. We boarded planes once more. We screamed for Martha to be locked up with her crooked peers. We gasped at the lunacy of Michael Jackson. We decided Eminem is actually cuddly and lovable. And we wholeheartedly backed our President, along with his crusade to crush the "evildoers."
But the economy continued to bully PR agencies, and layoffs became a common theme. Clients cut budgets and demanded firms do more with less - and then prove that their money was well spent. Shops competed fiercely for work, diversifying business, and lowering their fees. Some managed to reap a successful year, but for most cautious optimism in January had been undermined by uncertainty. If 2001 had knocked PR to the ground, then 2002 kicked it repeatedly while it lay there.
In the corporate world, all talk was of "transparency" and "governance." No amount of Botox, it seemed, could smooth over the damaging lines of miscommunication. But America had to rebuild trust in its corporate infrastructure, and PR possessed the tools and the personnel for the job. And so PR continued its rise from an add-on, to a valuable resource, to an essential discipline. In November, two-thirds of respondents to the PRWeek CEO Survey said their appreciation of the corporate communications function had increased in the past year. PR, it seems, has arrived in the C-suite, and that's good news.
In this, our final issue of the year, the editorial team has compiled a special review of 180 people, companies, events, stories, and campaigns that defined the PR year. Our six beat reporters also share their insight of the sectors they cover. The Book of Lists 2002 celebrates the good, highlights the bad, and will hopefully raise a smile as we enter the holiday season. Enjoy.
Happy New Year. Let's hope it's a good one.
Click here to see the Book of Lists 2002.


text:
More Trouble for the Little Sisters
by Charlotte Allen 1 . 18 . 19
For nine years Democratic officials have attempted to force the Little Sisters of the Poor to provide free-of-charge abortion-inducing contraceptives to their employees under Obamacare.
You might have thought that the legal problems of the Sisters, a 180-year-old order of Catholic religious women known for their crisp gray-and-white veils and their mission of caring for the impoverished elderly in more than thirty countries, were long over. But though their struggles seemed to have ended in 2016 and 2017, they are now enduring death by a thousand legal cuts at the state level, enabled by the federal courts and their Obama-appointed judges.
The first part of the Sisters' story is well-known: They and six other Catholic and evangelical nonprofit entities opposed to abortion balked at complying with a Health and Human Services Department (HHS) free-contraceptives mandate for employers contained in the Affordable Care Act of 2010. Four years of virtual intransigence followed, during which the Obama HHS insisted that the only religious entities exempt from the contraceptive mandate were churches ministering to their own members. Then, in 2014, the HHS (along with the Treasury and Labor departments, also charged with enforcing Obamacare) proffered an "accommodation" to the Sisters and others via an interim rule: They could submit a statement of their religious objections to the government, which would then transfer the administration of contraceptive coverage directly to their insurance companies.
This pinch-of-incense compromise, which would have left abortifacient contraceptives as seamless parts of the Sisters' employee package as though the Sisters had agreed to it in the first place, did not sit well with them. The Catholic Church opposes artificial birth control in general, and most Catholic institutions have historically declined to include such coverage for their employees. One of the Sisters' arguments had been that the Sisters and other anti-abortion religious groups were being unfairly singled out. The Affordable Care Act had never made the free-contraceptives mandate truly universal in the first place, grandfathering in employers that didn't cover contraceptives but hadn't changed their medical coverage since 2010—about 23 percent of all employers nationwide. Small companies with fifty or fewer employees were also exempt. It looked as though the Obama administration, pandering to its abortion-supporting base, had an animus against traditional Christians and orders of Catholic nuns, waving threats of multimillion-dollar fines in their faces for following their consciences in matters pertaining to abortion. Lawyers for the Sisters (in this case the nonprofit Becket Fund) and the other six entities insisted that they had no legal objections per se to Obamacare's contraceptive-coverage mandate: They simply did not want their clients to be tarred by being forced to have any part in its administration.
In May 2016 the U.S. Supreme Court blocked the Obama administration from trying to impose fines in the range of $70 million on the Sisters. This ruling, in Zubik v. Burwell, was a narrow one that never addressed arguments that applying the mandate to the Little Sisters violated the federal Religious Freedom Restoration Act (RFRA), which allows exemptions from federal laws to those professing "sincerely held" religious beliefs. Yet the high court did agree—unanimously—to bar the federal government from collecting taxes and fines on their noncompliance. All the cases were sent back to the appeals courts for the parties involved to work out a mutually agreeable solution that would ensure contraceptive coverage for the nonprofit entities' female employees—without requiring that that coverage be part of their employee health plans. Those cases are all still open, and the Supreme Court's Zubik order still stands.
One of Trump's first actions as president, on May 4, 2017, was an executive order to HHS and the other two agencies to consider issuing amended regulations addressing "conscience-based objections" to Obamacare's free-contraception mandate. In October 2017 a Trump-administration HHS issued a new interim rule allowing entities with "sincerely held moral convictions" an exemption from the contraceptives mandate, lining up the agency's policies with the Religious Freedom Restoration Act. That should have meant a happy ending for the Little Sisters, who would now be able to focus their energies on their homes for the aged while their lawyers resolved the remaining Zubik issues.
Not so. The Democrats might have lost the 2016 presidential election, but there were plenty of blue states with Democratic administrations raring to continue harassing the gray-veiled Sisters. Days after the new interim HHS order was issued, five of those progressive-minded states—California, Delaware, Maryland, New York, and Virginia—filed a lawsuit in a federal district court in San Francisco seeking a nationwide injunction against its enforcement on grounds that technical requirements for notice and comment had not been properly followed. The suit was spearheaded by California Attorney General Xavier Becerra, known for his militant litigation against abortion opponents. The San Francisco jurist in charge of Becerra's forum-shopped case was Haywood S. Gilliam Jr., a 2014 Obama appointee, and Gilliam promptly issued the requested nationwide injunction.
A few days later Pennsylvania Democratic attorney general and frequent Trump critic Josh Shapiro, unwilling to be outdone by Becerra, sued Trump directly along with agency officials over the interim rules in Philadelphia. The Pennsylvania lawsuit alleged a huge range of legal and constitutional problems with the interim rule, including violations of federal pregnancy and employment statutes and the Due Process and Establishment clauses of the U.S. Constitution. The Little Sisters of the Poor, along with the March for Life Education and Defense Fund, have intervened in both lawsuits as obvious targets of the attorney generals' litigation.
You may wonder how states could have the "standing"—that is, the legal right to sue to challenge—a federal agency's interpretation of a federal law that involves no state participation in any way. To have standing to sue in federal court, you have to allege a current or reasonably foreseeable concrete injury of some sort from the regulation's application; you can't sue simply because you don't care for the politics behind the regulation or because you might look good to your liberal constituents. After all, California, Pennsylvania, and other states are always free to establish their own contraceptive mandates to be included in health-insurance coverage—which California, Delaware, Maryland, and New York already have.
But to take that point of view would be to underestimate the willingness of liberal federal courts to turn political issues into matters for federal judges to resolve. On December 18, 2018, the Ninth U.S. Circuit Court of Appeals upheld Judge Gilliam's injunction in Becerra's California case. Ninth Circuit Judge J. Clifford Wallace's majority opinion airily gave complete credence to the arguments of California and the other states that the Trump administration regulation "posed a threat to their economic interest" because women denied contraceptive coverage by religious nonprofits might drain their states' welfare coffers, especially if they conceived and bore unwanted children. The one thing to be said for the Ninth Circuit's ruling was that it reversed the "nationwide" aspect of Judge Gilliam's injunction, restricting its scope to the five affected states.
So the Little Sisters' legal battles continue. On January 14, 2019, the Trump administration's interim rule protecting the Sisters' "conscience-based objections" to supplying abortifacient contraceptives to their employees expired, to be replaced on January 15 by a permanent regulation to the same effect. That didn't faze the Democrats. On December 19, 2018, Becerra filed a motion for Judge Gilliam to issue an injunction barring enforcement of the permanent rule—and Gilliam duly complied on January 13. His 45-page opinion held that the Trump administration's carve-outs for religious and moral objections violated what Gilliam viewed as the clear language of the Affordable Care Act's contraception mandate. Nor did RFRA, the federal religious-freedom law, require the Trump administration to act, Gilliam wrote, stating that the Obamacare mandate didn't really impose a "substantial burden" on the Sisters and other religious objectors.
The one thing to be said about Gilliam's ruling was that he was forced by the Ninth Circuit's ruling to limit the scope of his injunction to the affected states—although by this time Becerra had rounded up a full twelve other states plus the District of Columbia to join in his challenge. Meanwhile, some twenty-one states with Democratic attorneys general had joined Shapiro's Pennsylvania suit. And on January 14, the very day before the Trump-administration permanent rule was scheduled to go into effect, U.S. District Judge Wendy Beetlestone, another Obama appointee, issued an injunction barring its enforcement. Furthermore, because her Philadelphia court wasn't bound by the Ninth Circuit's ruling, Beetlestone made her injunction nationwide.
The Becket Fund plans to appeal both injunctions, and it's likely that soon enough the Little Sisters of the Poor will be trudging back to the Supreme Court to try to get their plea for religious freedom vindicated after still more years of litigation. It appears that as long as there are Democrats, there will be tormentors for this unassuming order of Catholic women who want only to live by their moral beliefs and to care for some of the most frail and vulnerable among us.
Charlotte Allen is a writer living in Washington, D.C.
More on: Religion, Public Life, Obamacare, Abortion, Pro-Life, Little Sisters of the Poor, HHS mandate
Articles by Charlotte Allen


text:
Q: Cannot pass arrays with content, using sharedStore? Short background: I am creating an app in which the user can see the menus for each restaurant. I have created a class called "Dish" in which the name, ingredients and price of a menu item is set. I have then created a class for each restaurant which creates and stores the items for each restaurant. I want the UITableView, in which I display the menus, to divide the parts of the menus (for example "main dishes", desserts") into the table sections.
Ideally, I would create an array with the parts for each restaurant menu, in which a number of array (one for every menu part) containing the dishes in that part. I have tried this, and cannot get it to work. It seems like I cannot pass an array containing an array, since it will only return nil. Is this really the case?

Under is the code for my class containing the menu of the restaurant called Badholmen, which now only contains twi dishes. But other menus I have contain up to 70 dishes and there I need to be able to put every dish in an array, and the [allBadholmen addObject:ArrayOfMenuParts:
#import "BadholmenStore.h"
#import "Dish.h"

@implementation BadholmenStore

+ (BadholmenStore *)sharedStore
{
static BadholmenStore *sharedStore = nil;
if (!sharedStore)
    sharedStore = [[super allocWithZone:nil] init];
return sharedStore;
}

#pragma mark - tillägg av platser
- (void)createBadholmen
{

Dish *bhvar = [[Dish alloc] initWithName:@"Varierande meny"
                             ingredients:@" "
                                   price:@" "];
[allBadholmen addObject:bhvar];

Dish *bhsom = [[Dish alloc] initWithName:@"Sommarlunch med varierande meny (endast sommartid)"
                             ingredients:@"inkl. måltidsdryck"
                                   price:@"79:-"];
[allBadholmen addObject:bhsom];
}

- (void)emptyArray
{
    [allBadholmen removeAllObjects];
}

- (NSArray *)allBadholmen
{
    return allBadholmen;
}

#pragma mark - Overriden methods
+ (id)allocWithZone:(NSZone *)zone
{
    return [self sharedStore];
}

- (id)init
{
    self = [super init];
    if (self) {
        allBadholmen = [[NSMutableArray alloc] init];
    }
    return self;
}
@end

To make the table view aware of the dishes in the menu, I call (in the init method of the table view):
    [[BadholmenStore sharedStore] emptyArray];
    [[BadholmenStore sharedStore] createBadholmen];

A: Do like this, hope this helps u :)

   // in BadholmenStore.h

 #import <Foundation/Foundation.h>

 @interface BadholmenStore : NSObject
 {
      NSMutableArray *allBadholmen; //for your shared object contains one "mutable array", define it hear
 }

 + (BadholmenStore *)sharedStore; //your class method

 //instance methods
 - (void)createBadholmen;
 - (void)emptyArray;
 - (NSMutableArray *)allBadholmen;
 @end

  // in BadholmenStore.m

  #import "BadholmenStore.h"
  #import "Dish.h"

  @implementation BadholmenStore
  static BadholmenStore *sharedStore = nil; //it shoud be visible to all, put this line hear

  + (BadholmenStore *)sharedStore
  {
    if (!sharedStore)
    sharedStore = [[super allocWithZone:nil] init];
    return sharedStore;
  }

  #pragma mark - tillägg av platser
  - (void)createBadholmen
 {

   Dish *bhvar = [[Dish alloc] initWithName:@"Varierande meny"
                             ingredients:@" "
                                   price:@" "];
   [allBadholmen addObject:bhvar];

   Dish *bhsom = [[Dish alloc] initWithName:@"Sommarlunch med varierande meny (endast sommartid)" ingredients:@"inkl. måltidsdryck" price:@"79:-"];
   [allBadholmen addObject:bhsom];
}

- (void)emptyArray
{
   [allBadholmen removeAllObjects];
}

- (NSMutableArray *)allBadholmen   // replace your NSArray with NSMutableArray
{
   return allBadholmen;
}

#pragma mark - Overriden methods
+ (id)allocWithZone:(NSZone *)zone
{
   return [self sharedStore];
}

- (id)init
{
   self = [super init];
   if (self) {
     allBadholmen = [[NSMutableArray alloc] init];
   }
  return self;
}

@end

//in the class where u are using this shared class object
  [super viewDidLoad];
  [[BadholmenStore sharedStore] emptyArray];
  [[BadholmenStore sharedStore] createBadholmen];

  NSMutableArray *allObjects = [[BadholmenStore sharedStore] allBadholmen]; // now use allObjects


text:
Q: Why should heat transfer occur between infinitesimally small temperature difference in a reversible process? In thermodynamics, a reversible process is quasi static (because every point in the system should be in equilibrium to study the state properties and work done is maximum), but why should heat transfer occur between infinitesimally small temperature difference(why not between finite temperature difference)?

A: This all depends on precisely what the temperature boundary condition is at the surface of the cylinder.  We can solve the transient differential heat balance equations within the cylinder as a function of time, and predict the pressure and the work done by the gas (even if the work is close to quasi static).  This is a do-able calculation.  But we would need to specify the problem precisely, and be sure that we are comparing apples with apples.  As far as good thermodynamics books, I highly recommend "Fundamentals of Engineering Thermodynamics," by Moran et al.  I particularly like their alternative treatment of the 2nd law of thermodynamics.


text:
Arts & Culture » Art Sidebar
Rebecca Wolfram
by Jeffrey Felshman
Except for a cat who stays in the basement and shies from men, Rebecca Wolfram lives alone in her century-old house in Little Village, painting in her attic studio and playing the violin. In the front room, which doubles as a private gallery, are five small paintings of women in the branks, or scold's bridle, a head-size iron cage with a serrated bit used in 17th- and 18th-century Britain as a punishment for gossips. On a lamp shade Wolfram has drawn scenes from "Delgadina," a medieval song about a king's daughter who refuses her father's order to sleep with him, then is locked in a tower until she dies of thirst. The ballad is still popular in Mexico, and Wolfram's fascination with the story grew when she mentioned it to her neighbors. "Everybody knew it," she says. "They could sing the whole thing." Not all her work is quite as dark. True, there are 45 drawings of Grendel's mother, who kidnapped and slew a Dane to avenge her son's death and was herself then killed by Beowulf. But the pictures show Grendel's mother in happier times--making love to Grendel's father, nursing baby Grendel--and in her youth. Wolfram says, "I imagine that as she entered puberty she became a monster."


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text:
// Copyright 2009 the Sputnik authors.  All rights reserved.
// This code is governed by the BSD license found in the LICENSE file.

/*---
info: Operator "typeof" uses GetValue
es5id: 11.4.3_A2_T2
description: If GetBase(x) is null, return "undefined"
---*/

//CHECK#1
if (typeof x !== "undefined") {
  $ERROR('#1: typeof x === "undefined". Actual: ' + (typeof x));
}

redpajama_set_name: RedPajamaGithub


text:
DreamWorks to Oversee Trolls Brand
Fri, 2013-04-12 00:02 — News
DreamWorks Animation Acquires IP For Trolls With Plans To Take Iconic Dolls' Brand (And Hair) To New Heights
American Girl Branding Vet Shawn Dennis Tapped to Head Trolls Global Franchise
GLENDALE, Calif., April 11, 2013 -- DreamWorks Animation SKG, Inc. has acquired the IP for the iconic Troll franchise from the Dam Family and Dam Things of Denmark with plans to introduce the beloved brand to a new generation of fans around the world. In support of the brand's enormous global potential, DreamWorks Animation has named American Girl veteran Shawn Dennis as head of brand development to cultivate this classic franchise.
"Trolls is a brand with over fifty years of deep heritage and we are thrilled to bring this iconic, multi-generational property to DreamWorks Animation," said Chief Operating Officer Ann Daly. "We have big plans for this franchise and Shawn Dennis is uniquely suited to lead this charge. She helped grow the American Girl brand into a household name and by bringing this expertise to Trolls she will introduce these characters to legions of new fans around the world."
"Trolls is one of those rare, proven and universally adored brands," added Dennis. "There is incredible potential here to engage kids across multiple platforms in a way that is fun, enduring and meaningful. It is truly an amazing opportunity to be able to re-launch a brand like this one."
Dennis joined DreamWorks Animation to oversee its Trolls franchise in addition to other businesses within the company's vast portfolio of branded intellectual property. Dennis' extensive background in franchise management most recently saw her serve as Senior Vice President, Marketing, Product Development and Publishing at American Girl. Previously, Dennis served as group head and Vice President, Global Branding at Dell, Inc. and Chief Marketing Officer and Vice President for the National Football League, which followed eight years with MasterCard International and seven years at Universal Studios in a variety of roles.
"DreamWorks Animation is renowned for telling wonderful stories about imaginative worlds while bringing characters with universal appeal into the hearts and homes of families everywhere – I can think of no better future for Trolls," said Calle Ostergaard, Chief Executive Officer of Dam Things. "We are confident that the time-honored legend of the Trolls, which holds such special significance to the Dam family and the people of Scandanavia, will now live on in new and exciting ways with DreamWorks Animation."
The Troll doll phenomenon was born in 1959 when Danish fisherman and woodcutter Thomas Dam, too poor to afford a Christmas present for his young daughter Lajla, carved a doll for her based on the legendary Scandinavian troll. This modern-day Geppetto couldn't have imagined that the Troll dolls would soon become one of the biggest toy crazes of the 1960s. The Trolls experienced a resurgence in the 1990s, and in 2003, the Toy Industry of America named Trolls on its list of One Hundred of the Century's Most Treasured Toys. Their uniquely endearing faces and shocks of colorful hair continue to capture the hearts and imaginations of fans with rare Troll dolls still being coveted by collectors around the globe.
DreamWorks Animation is now the exclusive worldwide licensor of the merchandise rights for the classic Troll Dolls with the sole exception of Scandanavia, the birthplace of the Trolls, where Dam Things will remain the licensor.
About DreamWorks Animation
DreamWorks Animation creates high-quality entertainment, including CG animated feature films, television specials and series and live entertainment properties, meant for audiences around the world. The Company has world-class creative talent, a strong and experienced management team and advanced filmmaking technology and techniques. DreamWorks Animation has been named one of the "100 Best Companies to Work For" by FORTUNE® Magazine for five consecutive years. In 2013, DreamWorks Animation ranks #12 on the list. All of DreamWorks Animation's feature films are produced in 3D. The Company has theatrically released a total of 26 animated feature films, including the franchise properties of Shrek, Madagascar, Kung Fu Panda, How to Train Your Dragon and Puss In Boots.
April 2013 News


Rascal Does Not Dream of Bunny-Girl Senpai and Using the Supernatural to Explore the Everyday | Watashi Wa Bucho!!
One benefit of using supernatural phenomena to explore everyday issues is that it can act as an important narrative technique. To demonstrate, whilst it's possible to hide things like sadness, confusion, and loneliness, it's impossible to ignore your clone walking around and getting into all kinds of trouble – as Futaba soon learned – or other, equally as bizarre, manifestations of your inner turmoil. Therefore, rather than turning a blind eye to their problems and hoping that they would go away by themselves, the girls were forced to, with Sakuta's help, actually resolve their issues. In other words, the use of supernatural phenomena to explore everyday problems in Bunny-Girl Senpai continually drove its story forward.
A second benefit of using supernatural phenomena to explore everyday issues is that it can transform what's ordinary – struggling to fit in, desperately seeking the validation of other people, and being bullied – into something extraordinary. As I recently learned, many people tire of facing these, and other, problems in their day-to-day lives and look to anime as a means to escape from them. For people like these, true-to-life, down-to-earth stories about sadness, confusion, and loneliness might very well be unappealing and unpalatable. But, by adding a supernatural twist to these issues, they can suddenly become something fresh and new, something that grabs our attention and piques our interest. This might go some way towards explaining the popularity of Bunny-Girl Senpai and shows like it, e.g. Orange, Bakemonogatari, and "The Key Three" (Air, Clannad, and Kanon).
Making the ordinary extraordinary not only makes an anime more interesting, it also prevents it from being too realistic. The girls of Bunny-Girl Senpai may have faced some real-life issues, but these issues were, in turn, made worse by some very fantastical ones! Time-travel, body-swapping, duplication, invisibility… These things aren't going to appear on any agony aunt columns (do these still exist?). This might very well be considered a flaw by those hoping to learn how best to deal with their own problems (though the girls' bravery and Sakuta's tenacity are something that we can all learn from), but for those looking to watch a plucky group of teens overcome adversity without having it hit too close to home, Bunny-Girl Senpai may be just the thing!
A third benefit of using supernatural phenomena to explore everyday issues is that it lends our problems and feelings a certain degree of mysticism. Scientific explanations for certain conditions or emotional states, whilst crucial, especially when it comes to understanding how to treat them, can often be cold, reductionist, and dehumanising. Reducing depression, for instance, to a genetic predisposition can leave us feeling little more than a collection of unfortunate genes. I don't know about you, but I don't especially like to think of myself as a slave to my biology, even if there is a buttload of evidence to suggest that that is the case! To, instead, suggest that our turbulent feelings are either a direct result of or made worse by nebulous forces, like puberty syndrome, whilst completely unscientific, is kind of appealing!
Using the supernatural to explore the everyday also reminds us that our issues, and their solutions, aren't always as straightforward as some would believe. Sure, our problems may be caused by something more true-to-life than puberty syndrome, but their causes, some our responsibility and some completely outside of our control, are often manifold and no less complex. As such, their solutions are rarely as simple as taking a pill or attending 'x' number of therapy sessions, as the girls of Bunny-Girl Senpai discovered. SPOILER ALERT: Futaba felt more at peace with herself after integrating two, seemingly dichotomous, aspects of her personality, Nodoka no longer envied her sister, Mai, after walking a mile in her shoes, and Tomoe relived the same day countless times until she was able to come to terms with her love for Sakuta.
As you can see, there are many benefits to using supernatural phenomena to explore everyday issues, all of which can be seen in Bunny-Girl Senpai. If you've yet to watch this, unexpectedly entertaining, show, do check it out! You can find it in its entirety on Hulu, Crunchyroll, and Funimation.
It was really interesting how the anime integrated its supernatural elements to explore issues facing adolescents. It made the show that little bit different while at the same time being very grounded and relatable. Thanks for sharing your thoughts on it.
Thankfully there are no shortage of anime that do just that – Bunny-Girl Senpai is just the latest in a long line! I just really wanted to write about this show, since it was so much better than I ever expected it to be! Not only did it manage to do everything that I wrote about in this blog post, it was also clever, witty, and had a cast of extremely lovable (and memorable) characters!


text:
Sign Me Up: The Green Surge Is a Generation's Call for Change
The Green surge is still in its infancy, but it is being driven by a combination of environmentalists, disillusioned students and disgruntled voters up and down the country who want their views to be properly represented in parliament.
Matt Field
Bristol University Undergraduate and Student Journalist
Last week I spotted an image on Twitter which showed MPs debating over higher education funding, a massive issue which has loaded my cohort of fellow students with unpayable debts and turned universities across the country into fees-obsessed factories.
Unsurprisingly, I could count the number of MPs debating the issue on one hand, sadly just another proof of mainstream politics being utterly unconcerned with representing the voice of young people.
As a student at Bristol University, I live in a constituency strongly contested by the Green Party, and, other than the one or two students I know who are members of the two main political parties, almost everyone is planning to vote Green.
The Government's appalling treatment of young voters is evident from tuition fees to mental health services, which this week were revealed to have seen spending cuts every year since the coalition came to power. Students have been pushed away from the main parties and have found their political voice in the Green wave, a party which is speaking to their views on education, the environment and society.
It has now been reported that Green membership has soared past 43,000 members with the party claiming to have added more than 2,000 members in one day and showing the party has national support, which puts Ofcom's draft ruling on excluding the Green party from the general election TV debates into question.
From the BBC to Sky, broadcasters seem to maintain an obsession with UKIP and a seeming desire to court controversy. Giving constant air time to seasoned Eurosceptic and well-known pub enthusiast Nigel Farage has led to a manipulation of democracy that has seen the Greens wrongly excluded. Shockingly the party which is the second most popular with young and first time voters goes unrepresented in the TV debates, despite of many of the major broadcasters running campaigns which express the aim of encouraging young people into politics.
Yet in spite of all this, being ignored hasn't stopped the Green surge, it has redoubled the efforts of its supporters. Relentless social media campaigning has seen the growth of a campaign in digital democracy which saw Green Party membership overtake that of UKIP one day after it was reported they were close to overtaking them. Reports are even now emerging that their membership has passed that of the Liberal Democrats.
It is clearer than ever that the Greens deserve to be included in at least one of the TV debates. The mainstream media has repeatedly looked for excuses not to include representation from the Greens, even though they have national representation in Westminster, the Scottish Parliament and the European Parliament. Crucially, without a strong environmental voice in Parliament, Britain will avoid its commitments to climate change and continue to undermine its young voters.
The Green surge is good for democracy, it has engaged first time voters like myself as well as thousands of others. Pictures posted on Twitter by the Exeter Student Union this week showed massive queues as students flocked to hear Green leader Natalie Bennett speak, proof that they the party is engaging new voters.
Ultimately, if Green MPs are elected at University towns across the country we will see more diversity and a more representative Parliament, vital for keeping our democracy healthy and progressive.
Large numbers of students who step out to vote in May will be giving serious consideration to the Green party and we will almost certainly see some close run contests. For students, this is our chance to ride a tide of change and democratic participation. We must embrace it, and the Green party can sign me up.
green partyuk studentsyoung voicesyoung votersepigram


text:
Q: Laravel Lumen Memcached not found Ok, I just started with Lumen and I'm trying to use the Auth, but a call to either Auth::check or any other function of Auth.. leads to the below Error
Fatal error: Class 'Memcached' not found in   vendor\illuminate\cache\MemcachedConnector.php on line 52.
I don't want to use Memcached never used it before.
I disabled it in the .env file and set the CACHE_DRIVER and SESSION_DRIVER to array, but still shows the same error.
I decided not to use Auth again and to manually handle my authetication with sessions/tokens, but enabling the MiddleWare StartSession results to the same error.
$app->middleware([
 // 'Illuminate\Cookie\Middleware\EncryptCookies',
 // 'Illuminate\Cookie\Middleware\AddQueuedCookiesToResponse',
  'Illuminate\Session\Middleware\StartSession',
 // 'Illuminate\View\Middleware\ShareErrorsFromSession',
 // 'Laravel\Lumen\Http\Middleware\VerifyCsrfToken',
]);

Please I'd be so glad if anyone can really help me out here
EDIT
After going A little Deep in the framework
I Hard Coded the session driver name in the SessionManager Class
within the method getSessionConfig
public function getSessionConfig()
{
    $this->setDefaultDriver("cookie");//I added this line
    return $this->app['config']['session'];
}

It works though but not a good way of doing things.
There is no config file, i believe all configurations are written in .env file, but i really don't know why the session_driver and cache_driver is defaulted to memecached even after changing it in the .env and then ran composer dump-autoload ... Lumen :(
EDIT
This is my .env file
APP_ENV=local
APP_DEBUG=true
APP_KEY=SomeRandomKey!!!

APP_LOCALE=en
APP_FALLBACK_LOCALE=en

DB_CONNECTION=mysql
DB_HOST=localhost
DB_DATABASE=test
DB_USERNAME=root
DB_PASSWORD=

CACHE_DRIVER=array
SESSION_DRIVER=cookie
QUEUE_DRIVER=database

I already have this line uncommented in my bootsrap/app.php
 Dotenv::load(__DIR__.'/../');

My DataBase configuration works perfectly so the .env file is loaded
quite alright.

A: In .env file replace
#This line:-
  CACHE_DRIVER = memcached

#With this:-
   CACHE_DRIVER = array

A: Make sure not to get caught out by your .env file not being loaded, which by default it's commented out in Lumen. So if you are specifying a different cache driver in your .env, do the following.

Note: If you are using the .env file to configure your application, don't forget to uncomment the Dotenv::load() method in your bootstrap/app.php file.

Source: http://lumen.laravel.com/docs/cache

A: I spent 3 hours on this problem today. With the help of the post of demve in this topic, I found the solution. Very simple! I hope it won't affect me later in my development.
Just to it, in the .env file :
CACHE_DRIVER=array
SESSION_DRIVER=array
QUEUE_DRIVER=array

Ok, I make an UPDATE because I was faced with a new problem about the session. In fact, when you set the previous parameters, your session won't be persistent, like said in the documentation: array - sessions will be stored in a simple PHP array and will not be persisted across requests.
So I have to change it, always in .env a file like that :
SESSION_DRIVER=cookie

With a var_dump(Session::all()); I now can see the whole values of my session

A: in your .env file, you can also use CACHE_DRIVER=file instead of CACHE_DRIVER=memcached

A: You may need to restart your server, especially if you're using php artisan serve.
Lumen doesn't appear to pick up .env changes per-request.
I had exactly the same issue - trying to use file cache, but received errors regarding Memcached - restarting the server reloads the .env file.

A: In my case i added Add CACHE_DRIVER=array in .env file
Then
Dotenv::load(__DIR__.'/../');

in my bootstrap/app.php and the .env file started working.

A: For me, the issue was that I used the php-7 branch of homestead repository which does not have PHP memcached ready.

A: This issue resolved when i installed this package so try at least
First i tried this and it works fine
CACHE_DRIVER = array

but then thought about what is memcached
Then i tried this and it works fine without changing driver memcached
apt-get install php-memcached

yum package manager or in Amazon Linux.
yum install php-memcached -y

A: I had a similar problem now, I couldn't track it down but my guess is that it has something to do with the fact that the defaults configurations are stored in the vendor/laravel/lumen-framework/config folder, the DotEnv::$inmutable setting and the artisan serveserver.
The solution that worked for me was:

*

*Add in bootstrap/app.php the following:
Dotenv::makeMutable();
Dotenv::load(__DIR__.'/../');
Dotenv::makeImmutable();

*in the .env file, set all the configuration to "basic drivers" (array, file) even if you are not going to use them, because you w

A: Check if memcached is installed, if not install it by running:
apt-get install php5-memcached

A: If you have a new lumen installation,
you must rename .env.example to .env . So it can read your configurations!

A: This happens if your .env file is owned by another user than the one trying to run the artisan command.


Style # 04392 A welcome addition to any home, this traditional outdoor fixture is absolutely stunning. Only 6 of this item currently available!
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22 1/2" high x 9 5/8" wide. Extends 11 3/4" from wall. Backplate is 7" high x 5 3/8" wide.
Uses three 60 watt candelabra bulbs (not included).
Mouth-blown seeded glass. Roman Bronze™ finish.


text:
Here's How Bad Experts Think Inflation Will Get—And How It Will Affect Markets
The Fed continues to insist high inflation is "transitory," but experts interviewed by Forbes think higher prices will stick around for longer.
Ifit feels like you're paying more for everyday goods, it's because you are. Inflation is surging at the fastest pace in over 30 years and doesn't appear to be slowing down anytime soon. Some experts say high inflation is just temporary, while others think it could last well into next year—or longer.
The consumer price index, a key measure of inflation, rose 6.2% in October compared to a year ago, according to the most recent data from the Bureau of Labor Statistics. Supply chain disruptions and labor shortages have only exacerbated the issue. Spooked investors are now looking ahead to 2022, wondering how the Federal Reserve will react if inflation doesn't moderate and return to the central bank's long-term 2% target rate.
Although investor fears over higher prices continue to rise, they haven't derailed markets just yet. Stocks remain near record highs—boosted by solid third quarter earnings—and now look poised to rally through the holiday season.
But market experts and economists interviewed by Forbes largely think higher inflation is here to stay, which could derail markets down the line. They also remain bullish on U.S. economic growth over the long-run, despite a period of higher costs. The main concern, they say, is how the Federal Reserve will react—and how that will affect markets, which are likely to be bumpy next year.
The Federal Reserve announced last month that it would begin reducing the historic level of stimulus it has been providing markets since the Covid-19 pandemic began, which is also making investors wary.
Minneapolis Fed president Neel Kashkari said in an interview with CBS News earlier this month, investors shouldn't "overreact to some of these temporary factors." He added, "The math suggests we're probably going to see somewhat higher readings over the next few months before they likely start to taper off.
Here's what some of Wall Street's top experts are expecting.
Mark Zandi
Moody's chief economist
The current surge in inflation is largely due to the pandemic and more specifically the Delta variant, which was a "classic supply shock that slowed economic growth," Moody's chief economist Mark Zandi tells Forbes. "As the pandemic winds down and the Delta wave fades, inflation will gradually begin to moderate," he predicts. That won't happen quickly—due to significant supply chain and labor market issues, he clarifies, but by the start of 2023 he does expect inflation to be within distance of the Federal Reserve's target goal.
While the "worst is over" with supply chain disruptions, it will take well into next year for them to moderate and get to a place where inflationary pressures start to abate, Zandi predicts. Moody's chief economist thinks economic growth will remain strong—and it should pick up as inflation goes back down and the Delta variant fades. Recent job numbers, retail sales, auto sales and unemployment insurance claims are all showing signs of improvement, he points out.
There is a high chance that markets will be more volatile in 2022, with "signs of speculation" and high valuations, Zandi says, adding that asset prices will be "very vulnerable to higher interest rates." If the Federal Reserve has to become more aggressive and pull forward expectations, Zandi expects "tough going" for markets in 2022 with a correction on the horizon.
Jeremy Siegel
Professor of finance at University of Pennsylvania Wharton School of Business
Despite the Fed reiterating its stance that higher inflation is "transitory," other market experts are not so sure and predict otherwise. "I've been worried about inflation for a while," says Jeremy Siegel, professor of finance at the University of Pennsylvania's Wharton Business School. "The jump in money supply we saw during the pandemic was unprecedented and inevitably going to cause higher inflation," he adds, predicting cumulative inflation of between 20% to 25% over the next three or four years.
Siegel warns that if the market gets another bad consumer price index reading in December, "there is no question that Powell will be forced to accelerate the tapering due to political and economic pressures." Markets will be bumpy once the Federal Reserve gets more serious about dealing with inflation, and "we could easily have a correction of 10-15%," Siegel predicts.
"Once the Fed changes its stance on raising rates, the market will have to take a pause at some point in early 2022," he predicts. "But then again earnings have been spectacular — this is a much better founded bull market than in 2000." Economic growth should remain strong despite higher inflation, as the Delta variant burns out and the economy continues to reopen, he says. "We could easily see 4% to 5% GDP growth next year."
Mario Gabelli
Founder of Gamco
Billionaire and famous value investor Mario Gabelli, who started his investment firm Gamco in 1977, also expects inflation to continue. "This is a cycle that has legs to it," he says, predicting interest rates will rise as a result.
Though inflation will remain high, he expects economic growth—powered by solid corporate earnings—to continue, though a stock market correction could be on the horizon next year. Gabelli predicts that stock multiples are likely to contract in the face of tighter monetary policy from the Federal Reserve over the next five to ten years. "A lot of this excess liquidity is creating speculative bubbles that are not sustainable," he says, adding, "There are cushions in the stock market in terms of rising earnings and fundamentals, but I see a possible correction of 10% to 15%."
The billionaire investor thinks that despite rising costs due to inflation, many companies will still be able to get pricing traction, which should keep earnings and revenue numbers strong. For now, amid supply chain issues and a tight labor market, "companies are hedging inventories and raising prices," he describes.
Founder of Ark Invest
On the other side of the spectrum, growth investors like Ark Invest's famed stock picker Cathie Wood think worries about the current inflation "burst" are overblown. She predicted innovations like AI and robotics to lead productivity gains, which should help lower prices over the long-run.
Another factor working against inflation is the strength of the U.S. consumer who is holding lots of inventory at home, Wood told Forbes in an interview last month. "When companies who are probably double and triple ordering right now have filled the shelves, they'll probably find that the consumer has enough."
Lisa Foley
Managing director at Zevenbergen
There was a bit of a "knee-jerk reaction" to the latest consumer price index data from October, says Lisa Foley, managing director at $5.7 billion (assets) Zevenbergen Capital Investments. "I don't fear inflation as much as other people," she says, adding that she expects it to be "transitory." Foley points out that even as it takes inflation some time to moderate, economic growth and corporate earnings will remain strong.
"There are still a lot of industries that will produce significant profit in this environment," she says, adding that numerous companies will continue to see strong revenue growth despite inflation as they are able to pass pricing on to customers without hurting demand.
Matthew McLennan
Co-head of Global Value at First Eagle Investment Management
"I can't remember a time where more companies were talking about labor shortages and raising prices," says Matthew McLennan, co-head of the Global Value team at First Eagle Investment Management. "We've added tons of demand, but the supply side hasn't bounced back."
McLennan expects inflation to moderate somewhat before settling at 3% or 4%. "There are a lot of question marks for the economy going forward—the next few years of growth might be below the prior generation," he warns.
His main concern, which could lead to market volatility, is that the "Fed is behind the curve" with its policy response. The central bank has not yet adequately tightened its policy to deal with a higher inflation environment, he says, instead letting the economy get up to steam by allowing inflation to run above the trend.
"You can't discount the possibility that markets will at some point react sharply fearing the Fed has made a policy mistake," McLennan predicts. "If we enter a window of greater market volatility because of increased fears around inflation, the Fed may find it difficult to tighten monetary policy and find itself in a Catch 22," he says.
Mohamed El-Erian,
Chief economic advisor at Allianz
"I think the Fed is losing credibility," Mohamed El-Erian, chief economic advisor at Allianz, similarly said in an interview last week. The Federal Reserve has oft repeated the mantra that inflation is transitory, but that is not the case, he says: "It is not transitory… this will last for a while."
Companies are charging higher prices, supply chain disruptions are lasting longer than expected and consumers are hoarding products ahead of time, all of which put added pressure on inflation, El-Erian described. He called on the Fed to "reestablish a credible voice on inflation" and to "accelerate, in December, the pace of tapering," not to mention "start preparing people for higher interest rates."
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NYC spitter Latasha Alcindor aka L.A. returns with the official video for the P.U.R.P. produced single "Talk My Sh*t." An ode to the Brooklyn of old, the video is the latest from Alcindor since the "The Island." The clip directed by Ren Revolution mashes vibrant color and the gritty charm of true school boom-bap with Alcindor's bubbly cadence and sharp lyricism. Check the footage below to watch the video. Purchase the single via Bandcamp. Stay tuned for more from L.A.


text:
Q: ScrollBot in jQuery? $(window).scroll(function() {
    $('#myElement').css('top', $(this).scrollTop() + "px");
});

works great, but what if I want it fixed to the bottom instead of top?
Many thanks

A: You could do it by adding the element's height to the scrollTop value:
$(window).scroll(function() {
    var myElement = $('#myElement');
    myElement.css('top', $(this).scrollTop() + $(this).height() - myElement.height() + "px");
});

Alternatively, have you looked into using position: fixed?  It works well in all browsers except IE, and you can get around it with CSS expressions.

A: Here's my code & try out the demo : http://jsbin.com/aguca3
HTML :
<!DOCTYPE html>

<meta charset=utf-8 />
<title>Change text</title>

 Scroll Down

 you have Reached the End of page

Javascript :
$(document).ready(function() {
  $('#scrollDown').click(function() {
    var height = $('html,body').height();
    $('html,body').stop().animate({scrollTop: height},2000);
  });
});