--- layout: post title: So what use are metrics from bad processes tags: - Application Lifecycle Management status: publish type: post published: true meta: {} --- Bill very kindly followed up on my earlier post and quite correctly pointed out:
"You cant collect useful metrics until you have a repeatable process because anything you collect wont relate to the process when its performed again - differently - cause its not repaeated".I agree 100%, however my let out is the phrase 'Useful Software Metrics'. If we have no process to measure then find what can be measured now. Some examples might be: What is the salary bill for our developers? How many support calls do we get? Can we estimate the amount of rework we do from the timesheet system? and so on... Get some simple numbers -- they do not need to be precise or low level. This is your marker that gives you something to aim at and some justifcation for a budget; in the worst case they may be no more than guesses -- which is fine as long as everyone knows that.  Just keep asking the questions: (basically the Deming PDCA cycle)
powered by performancing firefox


{%- include home-header.html -%}
{%- include components/elevator-pitch.html -%}
{%- include components/work-board.html -%}
{%- include components/projects-area.html -%}
{%- include components/process-area.html -%}
{%- include components/blog-posts.html -%}
{%- include components/dev-log-abyss.html -%}


Cosmic Launch
Home
Login
Design Brief
Launch
Missions
Resources
Welcome, Guest account
Your next registered launch will be on 02/03/2095 for a round trip to the moon.
Looking to purchase more?
View our
Tickets
page to shop. See you soon!


GrMoveTo(), GrMoveToWWFixed(), GrRelMoveTo(), GrGetCurPos(), GrGetCurPosWWFixed()
The graphics system supports the notion of a current position, sometimes called a pen position. Note that the pen position metaphor predates "pen computing"; please don't confuse these concepts. The concept behind the pen position is that all graphics commands are executed by a pen that ends up at the last place drawn. So if the last command was to draw a curve ending at (20, 20), the pen will still be there. There are special drawing commands that work with the pen position, so you could then draw a line from the current position to (30, 30). The line would extend from (20, 20) to (30, 30), and the pen would then be at (30, 30).
Calling
GrMoveTo()
moves the pen position to coordinates of your choice.
GrMoveToWWFixed()
moves the pen position to coordinates which may be specified with a great deal of precision.
GrRelMoveTo()
moves the pen to a location relative to its present position.
GrRelMoveTo()
takes coordinates accurate to a fraction of a point, allowing for very precise placement.
Call
GrGetCurPos()
to get the current position,
GrGetCurPosWWFixed()
to do so with greater accuracy.
There are some guidelines to follow when figuring out where your pen position is going to end up after a draw operation. If you call the
GrDrawLineTo()
procedure, the pen will end up at the point drawn to. If you call any draw/fill procedure that takes two points as arguments, the pen position usually ends up at the second point passed; if it does not, the reference entry will note where the pen position ends. When text draws at the current position, the current position is used to place the left side of the text. When done drawing the text, the current position has moved to the right side of the text.


|
Colophon
Our look is the result of reader comments, our own
experimentation, and feedback from distribution channels. Distinctive
covers complement our distinctive approach to technical topics,
breathing personality and life into potentially dry subjects.
The animal featured on the cover of Programming Python, Second
Edition is an African rock python, one of approximately 18 species of
python. Pythons are nonvenomous constrictor snakes that live in
tropical regions of Africa, Asia, Australia, and some Pacific
Islands. Pythons live mainly on the ground, but they are also
excellent swimmers and climbers. Both male and female pythons retain
vestiges of their ancestral hind legs. The male python uses these
vestiges, or spurs, when courting a female. The python kills its prey
by suffocation. While the snake's sharp teeth grip and hold the prey
in place, the python's long body coils around its victim's chest,
constricting tighter each time it breathes out. They feed primarily on
mammals and birds. Python attacks on humans are extremely rare.
Emily Quill was the production editor for Programming Python,
Second Edition. Clairemarie Fisher O'Leary, Nicole Arigo, and Emily
Quill copyedited the book. Matt Hutchinson, Colleen Gorman, Rachel
Wheeler, Mary Sheehan, and Jane Ellin performed quality control
reviews. Gabe Weiss, Lucy Muellner, Deborah Smith, Molly Shangraw,
Matt Hutchinson, and Mary Sheehan provided production
assistance. Nancy Crumpton wrote the index.
Edie Freedman designed the cover of this book. The cover image
is a 19th-century engraving from the Dover Pictorial Archive. Emma
Colby produced the cover layout with Quark™XPress 4.1 using Adobe's
ITC Garamond font.
David Futato and Melanie Wang designed the interior layout, based on a series design by Nancy Priest. Cliff Dyer converted the files from Microsoft Word to FrameMaker 5.5.6, using tools created by Mike Sierra. The text and heading fonts are ITC Garamond Light and Garamond Book; the code font is Constant Willison. The illustrations that appear in the book were produced by Robert Romano using Macromedia FreeHand 8 and Adobe Photoshop 5. This colophon was written by Nicole Arigo.
The online edition of this book was created by the Safari
production group (John Chodacki, Becki Maisch, and Madeleine Newell)
using a set of Frame-to-XML conversion and cleanup tools written and
maintained by Erik Ray, Benn Salter, John Chodacki, and Jeff
Liggett.
|


Weather Forecast: Mostly Cloudy with Moderate Wind
It will be mostly cloudy today, foggy in the plains, with light rain in some places in the south and west. Clouds will temporarily break in the northeast areas, at the end of the day in the southwestern, as well. A moderate wind will start blowing from the southeast. The maximum temperatures will be mostly between 15C and 20C. Atmospheric pressure will drop slightly, but will remain a little higher than the November average.
This is the National Institute of Meteorology and Hydrology (NIMH) weather forecast.


Star Wars Episode 1: The Phantom Menace Soundtrack: (4 out of 4)
John Williams is still an absolute genius. Despite Episode 1 falling short of the original trilogy, John Williams does not fail with his soundtrack. It is yet another masterpiece to add to his collection and is a must have for any fan of Williams, Star Wars or just a fan of good music.
Just to clarify: I am not a classical music fan. In my opinion Mozart and Beethoven cannot even hold a candle to Fred Durst and Beck Hansen. However, John Williams just does something with his music to hook me in. When you listen to this soundtrack, you bring up the memories of the film and the events that took place. Unlike other blockbuster films that try to feature top-40 boy bands with their music, Lucas utilizes Williams' soundtrack as a tool. Williams does not try to outdo the movie, he just works his music into it.
What most people do not know is that Williams' soundtrack for the Star Wars trilogy is continuous. That means that it basically plays throughout the film. This is a testament to Williams' genius because he is subtle, yet powerful. Whether it be the heart-pumping thrill of "Duel of the Fates" or the subtle, soothing sound of "Anakin's Theme," Williams is able to display the right emotions in his soundtrack. The only gripe I could find with this soundtrack is that it is re-ordered. It is a continuous soundtrack, but the tracks are all re-organized. It would have been better if the soundtrack was organized to play as it had in the movie. But trust me, we'll live.
So in a day and age where movie soundtracks only sell with big headliners, John Williams comes in and breaks the mold. Not only does he create terrific music, but he is also able to do it throughout the whole film. In fact, this beautiful soundtrack can give you a better feeling of the film as a whole. If you get this soundtrack, see the movie after listening because you will have a greater appreciation for it.
Austin Powers: The Spy Who Shagged Me Soundtrack: (2 1/2 Out of 4)
Let's just call this a reversal of the above review. While the soundtrack outdid the movie in quality for The Phantom Menace, it is just the opposite for The Spy Who Shagged Me. The movie was great; the soundtrack is only a little bit above average.
The soundtrack starts off with a bang with Madonna's "Beautiful Stranger." It's always a risk to just slap a big name artist on a soundtrack (which I'll get to later), but Madonna is great in this song and it is a great way to start this soundtrack. The Who provide "My Generation" and R.E.M. does a good job on their remake of "Draggin' The Line." However, things go downhill from there.
Lenny Kravitz provides a ho-hum performance on his remake on Guess Who's "American Woman." Scary Spice is next with "Word Up," which is the worst song on this soundtrack. These two songs are the epitome of blockbuster soundtracks. In the film, they do not play either Kravitz or Scary's song. In fact, they actually play the original Guess Who version instead of Kravitz's! Anyway, soundtracks are meant to complement the film, not just be thrown in while the credits are playing.
The rest of the soundtrack goes on in a mild pace. The bright spots? Dr. Evil's hilarious remake of Will Smith's "Just the Two of Us." Green Day also appears with an instrumental entitled "Espionage" that was surprisingly good. And Burt Bacharach and Elvis Costello, who appear in the film to perform, do an admirable job with "I'll Never Fall In Love Again."
Overall, this is a decent soundtrack. But, it seems they went with big, blockbuster names and luckily got good performances from them. If you liked the movie, you'll probably like the soundtrack. If you are a fan of any the artists (excluding Kravitz and Scary) then you'll also enjoy it. Otherwise, stay away.
The Movie Page- http://jump.to/moviepage Reviews, Previews, News and So Much More!
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


@(user: User, q: uk.bl.wa.shine.Query, searchForm: Form[SearchData])(implicit flash: Flash, messages: Messages, configHelper: utils.ConfigHelper) @import helper._ @import bootstrap.advanced._ @implicitFieldConstructor = @{ FieldConstructor(genericInput.f) }
If you wish to search for word that appear together, try a proximity search. For example, the following finds resources where the words 'coffee' and 'java' occur within 25 words of each other.
Restrict by date (Format: dd/mm/yyyy)
Match the values in the 'host', 'domain' or 'public_suffix' fields
File format
Website title
Page title
Author
Collection


Select your SMS message:
Select an option
Some SMS
Another SMS
Third SMS
Unknown SMS
Here iss a second page with some info on it. Blah blah blah.
You chose the message:


Sonos’ home-theater speakers and soundbars will be 20% off for Black Friday this year — here’s what you need to know
by Mara Leighton, Business Insider US- Sonos is offering up to 20% off home theater tech and speakers to celebrate Black Friday and Cyber Monday.
- Tech is generally one of the best things you can buy on Black Friday. We’re tracking the best Black Friday tech deals overall, as well as great deals at Amazon, Target, Best Buy, and Walmart.
- To possibly save more over Cyber Week, check out Business Insider Coupons to find up-to-date promo codes and discounts at your favorite stores.
Black Friday is one of the best shopping events of the year to buy new tech, according to experts. And relatively smaller, cult-favorite labels like Sonos are also offering some of their best discounts of the year.
For Black Friday, Sonos is offering 20% off Sonos Home Theater products. The deals start on November 28 and end at midnight on December 1.
Then, on December 2 (which is Cyber Monday), the company is offering up to $100 off its Sonos speakers like the Sonos One (both the One SL and the One) and Sonos Play:5.
From December 3 to December 29, you’ll save $30 on the Sonos One speaker models.
If you’re participating in Cyber Week because you’re trying to stack savings for your holiday shopping, we’ve also got plenty of 2019 holiday gift guides to give you ideas.
The best 5 deals from Sonos:
- Sonos Beam, $319 (originally $399) [You save $80]
- Sonos Playbar, $559 (originally $699) [You save $140]
- Sonos Playbase, $559 (originally $699) [You save $140]
- Sonos Sub, $559 (originally $699) [You save $140]
- Sonos Amp, $479 (originally $599) [You save $120]
Looking for more Black Friday deals? Here’s where to find them:
- The overall best Black Friday deals of 2019
- The best tech deals of Black Friday 2019
- Amazon Black Friday deals
- Best Buy Friday deals
- Target Black Friday deals
- Walmart Black Friday deals
Looking for more Black Friday deals from our favorite startups? We have you covered:
- Mott & Bow Black Friday deals on jeans, cashmere sweaters, and more
- Brooklinen Black Friday deals on sheets, towels, loungewear, and accessories like candles
- Leesa Black Friday deals on mattresses
- Bombas Black Friday deals on socks
- Burrow Black Friday deals on furniture, tables, rugs, and accessories


Box Office Records > Domestic > All Movies > Cumulative > All Time Domestic
All Time Domestic Box Office (Rank 1,601-1,700)
See also: All Time Domestic Limited Release - All Time International - All Time Worldwide - All Time Domestic (Inf. Adj.) - Top 2016 Domestic - Top 2017 Domestic
This chart contains the top 100 movies based on the cumulative domestic box office.
Please see our All-Time Top Grossing Films Comparison for a comparison of the daily performance of all films released since 1980 that have earned more than $450 million at the domestic box office.
| Rank | Released | Movie | Domestic Box Office |
International Box Office |
Worldwide Box Office |
|---|---|---|---|---|---|
| 1,601 | 1997 | Breakdown | $50,159,144 | $0 | $50,159,144 |
| 1,602 | 2014 | The Book of Life | $50,151,543 | $47,500,000 | $97,651,543 |
| 1,603 | 1993 | Sommersby | $50,081,992 | $90,000,000 | $140,081,992 |
| 1,604 | 1997 | Absolute Power | $50,068,310 | $0 | $50,068,310 |
| 1,605 | 1996 | Evita | $50,047,179 | $101,900,000 | $151,947,179 |
| 1,606 | 1999 | Stigmata | $50,041,732 | $39,400,000 | $89,441,732 |
| 1,607 | 2004 | Home on the Range | $50,026,353 | $26,456,108 | $76,482,461 |
| 1,608 | 1995 | Under Siege 2: Dark Territory | $50,024,083 | $54,300,000 | $104,324,083 |
| 1,609 | 1994 | When a Man Loves a Woman | $50,021,959 | $0 | $50,021,959 |
| 1,610 | 1993 | Last Action Hero | $50,016,394 | $87,282,095 | $137,298,489 |
| 1,611 | 1995 | A Walk in the Clouds | $50,008,143 | $0 | $50,008,143 |
| 1,612 | 1994 | Little Women | $50,003,303 | $0 | $50,003,303 |
| 1,613 | 1979 | The Deer Hunter | $50,000,000 | $0 | $50,000,000 |
| 1,614 | 1981 | Reds | $50,000,000 | $0 | $50,000,000 |
| 1,615 | 1973 | The Way We Were | $49,919,870 | $0 | $49,919,870 |
| 1,616 | 2012 | Red Tails | $49,876,377 | $489,121 | $50,365,498 |
| 1,617 | 2013 | Pain & Gain | $49,875,291 | $31,400,000 | $81,275,291 |
| 1,618 | 1986 | Legal Eagles | $49,851,591 | $0 | $49,851,591 |
| 1,619 | 1980 | Popeye | $49,823,037 | $0 | $49,823,037 |
| 1,620 | 1989 | Major League | $49,793,054 | $0 | $49,793,054 |
| 1,621 | 2005 | Racing Stripes | $49,772,522 | $40,183,018 | $89,955,540 |
| 1,622 | 2007 | Are We Done Yet? | $49,662,533 | $8,725,535 | $58,388,068 |
| 1,623 | 1988 | Oliver & Company | $49,576,671 | $0 | $49,576,671 |
| 1,624 | 2008 | Australia | $49,554,002 | $165,526,808 | $215,080,810 |
| 1,625 | 1987 | Planes, Trains & Automobiles | $49,509,935 | $242,306 | $49,752,241 |
| 1,626 | 2009 | Old Dogs | $49,492,060 | $45,612,244 | $95,104,304 |
| 1,627 | 2003 | Runaway Jury | $49,440,996 | $17,897,223 | $67,338,219 |
| 1,628 | 2009 | Land of the Lost | $49,438,370 | $20,110,271 | $69,548,641 |
| 1,629 | 1975 | Shampoo | $49,407,734 | $0 | $49,407,734 |
| 1,630 | 1985 | National Lampoon's European Vacation | $49,400,000 | $0 | $49,400,000 |
| 1,631 | 1988 | A Nightmare on Elm Street 4: The Dream Master | $49,369,899 | $0 | $49,369,899 |
| 1,632 | 2009 | My Sister's Keeper | $49,200,230 | $47,472,772 | $96,673,002 |
| 1,633 | 2012 | The Possession | $49,130,588 | $33,794,476 | $82,925,064 |
| 1,634 | 2007 | This Christmas | $49,121,934 | $611,611 | $49,733,545 |
| 1,635 | 1991 | Bugsy | $49,103,967 | $0 | $49,103,967 |
| 1,636 | 1986 | Cobra | $49,042,224 | $0 | $49,042,224 |
| 1,637 | 2007 | Michael Clayton | $49,033,882 | $43,953,769 | $92,987,651 |
| 1,638 | 2012 | Diary of a Wimpy Kid: Dog Days | $49,008,662 | $28,221,033 | $77,229,695 |
| 1,639 | 2000 | Men of Honor | $48,814,909 | $33,524,574 | $82,339,483 |
| 1,640 | 1977 | The Rescuers | $48,775,599 | $0 | $48,775,599 |
| 1,641 | 2006 | Firewall | $48,751,189 | $34,000,000 | $82,751,189 |
| 1,642 | 2014 | About Last Night | $48,637,684 | $1,808,176 | $50,445,860 |
| 1,643 | 1976 | The Omen | $48,570,885 | $0 | $48,570,885 |
| 1,644 | 2006 | Date Movie | $48,548,426 | $36,597,739 | $85,146,165 |
| 1,645 | 2005 | Miss Congeniality 2: Armed and Fabulous | $48,478,006 | $52,904,390 | $101,382,396 |
| 1,646 | 2011 | The Dilemma | $48,475,290 | $22,071,575 | $70,546,865 |
| 1,647 | 2002 | Peter Pan: Return to Neverland | $48,430,258 | $61,432,424 | $109,862,682 |
| 1,648 | 2003 | Peter Pan | $48,417,850 | $46,837,635 | $95,255,485 |
| 1,649 | 2005 | Just Like Heaven | $48,318,130 | $52,368,953 | $100,687,083 |
| 1,650 | 1997 | The Game | $48,265,581 | $32,104,389 | $80,369,970 |
| 1,651 | 2008 | The House Bunny | $48,237,389 | $23,153,212 | $71,390,601 |
| 1,652 | 1992 | Malcolm X | $48,169,910 | $0 | $48,169,910 |
| 1,653 | 1997 | G.I. Jane | $48,169,156 | $0 | $48,169,156 |
| 1,654 | 2004 | Fat Albert | $48,114,556 | $449,000 | $48,563,556 |
| 1,655 | 1996 | The Preacher's Wife | $48,102,795 | $0 | $48,102,795 |
| 1,656 | 1984 | Tightrope | $48,100,000 | $0 | $48,100,000 |
| 1,657 | 1997 | Speed 2: Cruise Control | $48,097,081 | $102,370,919 | $150,468,000 |
| 1,658 | 1988 | The Land Before Time | $48,092,846 | $33,880,000 | $81,972,846 |
| 1,659 | 2012 | Sinister | $48,086,903 | $39,640,904 | $87,727,807 |
| 1,660 | 2010 | Kick-Ass | $48,071,303 | $49,459,831 | $97,531,134 |
| 1,661 | 2016 | Kubo and the Two Strings | $48,023,088 | $26,522,503 | $74,545,591 |
| 1,662 | 1992 | Single White Female | $48,017,402 | $0 | $48,017,402 |
| 1,663 | 2008 | Nim's Island | $48,006,762 | $53,850,663 | $101,857,425 |
| 1,664 | 2016 | The Huntsman: Winter’s War | $48,003,015 | $117,146,287 | $165,149,302 |
| 1,665 | 1993 | Wayne's World 2 | $47,965,000 | $0 | $47,965,000 |
| 1,666 | 2004 | Secret Window | $47,958,031 | $44,153,520 | $92,111,551 |
| 1,667 | 1984 | The Natural | $47,951,979 | $0 | $47,951,979 |
| 1,668 | 1980 | The Blue Lagoon | $47,923,795 | $0 | $47,923,795 |
| 1,669 | 2005 | The Skeleton Key | $47,907,715 | $44,349,203 | $92,256,918 |
| 1,670 | 2003 | The Jungle Book 2 | $47,901,582 | $92,220,643 | $140,122,225 |
| 1,671 | 2006 | When a Stranger Calls | $47,860,214 | $19,355,221 | $67,215,435 |
| 1,672 | 2007 | Premonition | $47,852,604 | $33,608,739 | $81,461,343 |
| 1,673 | 2002 | Big Fat Liar | $47,811,275 | $4,649,742 | $52,461,017 |
| 1,674 | 1997 | Alien: Resurrection | $47,795,018 | $112,904,982 | $160,700,000 |
| 1,675 | 2016 | Manchester by the Sea | $47,695,371 | $28,010,987 | $75,706,358 |
| 1,676 | 2007 | Dan in Real Life | $47,642,963 | $18,026,038 | $65,669,001 |
| 1,677 | 2003 | The Rundown | $47,641,743 | $33,190,150 | $80,831,893 |
| 1,678 | 1991 | New Jack City | $47,624,253 | $0 | $47,624,253 |
| 1,679 | 2014 | Into the Storm | $47,602,194 | $109,000,000 | $156,602,194 |
| 1,680 | 2009 | Precious (Based on the Novel Push by Sapphire) | $47,566,524 | $21,156,324 | $68,722,848 |
| 1,681 | 1997 | Volcano | $47,546,796 | $72,553,204 | $120,100,000 |
| 1,682 | 2003 | Agent Cody Banks | $47,545,060 | $10,695,398 | $58,240,458 |
| 1,683 | 1986 | An American Tail | $47,483,002 | $0 | $47,483,002 |
| 1,684 | 2015 | Jupiter Ascending | $47,482,519 | $134,500,000 | $181,982,519 |
| 1,685 | 2007 | The Kingdom | $47,467,250 | $39,042,352 | $86,509,602 |
| 1,686 | 2015 | Poltergeist | $47,425,125 | $48,400,000 | $95,825,125 |
| 1,687 | 2005 | Kingdom of Heaven | $47,398,413 | $171,454,940 | $218,853,353 |
| 1,688 | 1990 | Hard To Kill | $47,381,386 | $0 | $47,381,386 |
| 1,689 | 2005 | Munich | $47,379,090 | $84,113,682 | $131,492,772 |
| 1,690 | 2006 | Hostel | $47,326,473 | $34,914,637 | $82,241,110 |
| 1,691 | 2012 | Savages | $47,323,100 | $33,271,760 | $80,594,860 |
| 1,692 | 1974 | Airport 1975 | $47,285,152 | $0 | $47,285,152 |
| 1,693 | 2006 | Nanny McPhee | $47,279,279 | $81,466,299 | $128,745,578 |
| 1,694 | 2016 | Warcraft | $47,225,655 | $385,900,000 | $433,125,655 |
| 1,695 | 1982 | First Blood | $47,212,904 | $78,000,000 | $125,212,904 |
| 1,696 | 2014 | The Judge | $47,119,388 | $29,000,000 | $76,119,388 |
| 1,697 | 1982 | The Toy | $47,118,057 | $0 | $47,118,057 |
| 1,698 | 2001 | Kate and Leopold | $47,095,453 | $23,842,325 | $70,937,778 |
| 1,699 | 2010 | Killers | $47,059,963 | $48,512,786 | $95,572,749 |
| 1,700 | 2014 | Jersey Boys | $47,047,013 | $18,235,719 | $65,282,732 |
The Domestic Market is defined as the North American movie territory (consisting of the United States, Canada, Puerto Rico and Guam).
This table is updated daily to reflect the latest studio reports.
Note: This chart is not adjusted for inflation.


MEET WALLY SPARKS A film review by Scott Renshaw Copyright 1997 Scott Renshaw
(Trimark) Starring: Rodney Dangerfield, David Ogden Stiers, Debi Mazar, Cindy Williams, Burt Reynolds. Screenplay: Rodney Dangerfield and Harry Basil. Producer: Leslie Greif. Director: Peter Baldwin.  Running Time: 106 minutes. Reviewed by Scott Renshaw.
I have to give this to MEET WALLY SPARKS: if you've ever seen Rodney Dangerfield before, you're going to get exactly what you expect, and if you've never seen Rodney Dangerfield before, you have no business being in the theater. Dangerfield isn't an actor; he isn't even a personality. He is a persona, a leering 70-year-old adolescent who has parlayed not getting any respect into a career most entertainers would envy. The irony in the Dangerfield persona is that he has in fact gained respect, or at least appreciation, from a generation of young comedians. MEET WALLY SPARKS turns out not to be simply a vehicle for Dangerfield to do his schtick, but a great big tribute in his honor, a dopey but almost reverent celebration of Rodney at his Rodney-est.
Dangerfield plays Wally Sparks, the host of a tabloid talk show which has developed a reputation for being the sleaziest example of a sleazy genre. When one advertiser too many pulls out of Wally's show, the network's president (Burt Reynolds) threatens to give Wally the ax. Wally and his producer Sandy (Debi Mazar) plead for a chance to clean the show up, and it is with that goal in mind that they head to Atlanta for a chance to meet with conservative Georgia governor Floyd Preston (David Ogden Stiers) at a fund-raiser for the governor's Senate campaign. When Wally is injured in an incident at the party, he feigns being unable to walk so that he can televise from the governor's mansion and try to get an interview with the governor. While the governor and his wife (Cindy Williams) try to maintain order, Wally turns the house upside down, even as he helps bring the governor's poll numbers up.
MEET WALLY SPARKS is an extremely busy movie, which is not the same as saying that a lot happens. Even the most die-hard Dangerfield fan must admit that a little bit of Rodney goes a long way, and the script seems almost desperate to provide sub-plots which will allow the star to take a breather. There is a tangent involving an attempt to blackmail the governor, a tangent involving a network toadie (Eamonn Roche) who wants to sink Wally, a romance between Wally's son (Michael Weatherly) and the governor's daughter (Lisa Thornhill), and sentimental musings about being a good father on the part of both Wally and the governor. There really isn't any point to any of it, except to pad the running time, and at 106 minutes it certainly feels padded. When it all wraps up -- with a wedding, no less -- there are going to be a lot of numb buttocks in the theater.
I'm not really sure why the even bothered with a plot at all, since it's all about Rodney.  It is so obvious Rodney's world that it is almost a shock when anyone else gets a joke (the pratfalls to which Stiers, Roche and others are subjected notwithstanding). The rest of the cast is around to set 'em up, then get out of the way while Rodney knocks 'em down.
Or at least taps them over. There are a couple of genuinely funny bits in MEET WALLY SPARKS -- in one, Wally inadvertently breaks the genitalia off a male nude statue, then does a very bad job of hiding it in his pocket -- but this isn't a film built around comedic creativity. On the contrary, it is a tribute to comedic venerability, like a Henny Youngman performance with half the audience providing the obvious and familiar double entendre before Rodney can. The film is so self-aware on that point that Wally's son gets one scene in which _he_ anticipates the joke and mouths the punch line. It's all terribly dumb and predictable, but it doesn't matter to anyone involved because this is less a Rodney Dangerfield film than "Rodney Dangerfield: This Is Your Life," with a host of guest stars turning up to honor the star: Jay Leno, Roseanne, Tim Allen, Bob Saget. Tony Danza and Michael Bolton even turn up to do Dangerfield impressions, and if you think you've seen it all, you haven't until you've seen Michael Bolton do Dangerfield. MEET WALLY SPARKS is likely to be a snooze to anyone who is not arriving similarly to worship at the altar of Rodney. It is a strange experience watching a movie where everyone in the film, perhaps hoping for Dangerfield's personal benediction of "Hey, kid, you're all right," seems more interested in entertaining the star than in entertaining the audience.
On the Renshaw scale of 0 to 10 Dangerfield zones: 4.
Visit Scott Renshaw's MoviePage http://www-leland.stanford.edu/~srenshaw Subscribe to receive reviews directly via email See details on the MoviePage
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Markers
Table of Contents
Compiler.php
| Type | Line | Description |
|---|---|---|
| 10 | github.com/zordius/lightncandy | |
| 51 | Handle dynamic partials | |
| 54 | Do PHP code generation. | |
| 102 | Return generated PHP code string. | |
| 274 | change base when trace to parent | |
| 291 | To support recursive context lookup, instance properties + methods and lambdas | |
| 292 | the only way is using slower rendering time variable resolver. |
Context.php
| Type | Line | Description |
|---|---|---|
| 10 | github.com/zordius/lightncandy | |
| 208 | Regist helper names only |
Encoder.php
| Type | Line | Description |
|---|---|---|
| 10 | github.com/zordius/lightncandy |
Exporter.php
| Type | Line | Description |
|---|---|---|
| 10 | github.com/zordius/lightncandy | |
| 277 | replace the constants | |
| 280 | compress space |
Expression.php
| Type | Line | Description |
|---|---|---|
| 10 | github.com/zordius/lightncandy | |
| 97 | trace to parent | |
| 104 | handle @root, @index, @key, @last, etc |
Flags.php
| Type | Line | Description |
|---|---|---|
| 10 | github.com/zordius/lightncandy | |
| 27 | Compile time error handling flags | |
| 31 | JavaScript compatibility | |
| 36 | Handlebars.js compatibility | |
| 53 | PHP behavior flags | |
| 62 | Mustache compatibility | |
| 69 | Template rendering time debug flags | |
| 72 | alias flags | |
| 73 | FLAG_ECHO + FLAG_STANDALONEPHP | |
| 74 | FLAG_JSTRUE + FLAG_JSOBJECT + FLAG_JSLENGTH | |
| 75 | FLAG_PROPERTY + FLAG_METHOD | |
| 76 | FLAG_ERROR_SKIPPARTIAL + FLAG_MUSTACHELOOKUP + FLAG_MUSTACHELAMBDA + FLAG_NOHBHELPERS + FLAG_MUSTACHESECTION + FLAG_RUNTIMEPARTIAL + FLAG_JSTRUE + FLAG_JSOBJECT | |
| 77 | FLAG_THIS + FLAG_PARENT + FLAG_HBESCAPE + FLAG_ADVARNAME + FLAG_SPACECTL + FLAG_NAMEDARG + FLAG_SPVARS + FLAG_SLASH + FLAG_ELSE + FLAG_RAWBLOCK | |
| 78 | FLAG_JS + FLAG_HANDLEBARS | |
| 79 | FLAG_HANDLEBARSJS + FLAG_INSTANCE + FLAG_RUNTIMEPARTIAL + FLAG_MUSTACHELOOKUP |
LightnCandy.php
| Type | Line | Description |
|---|---|---|
| 10 | github.com/zordius/lightncandy | |
| 49 | return false when fatal error | |
| 54 | Or, return full PHP render codes as string | |
| 80 | return false when fatal error | |
| 129 | format. | |
| 166 | text/plain,' . urlencode($php)); |
loader.php
| Type | Line | Description |
|---|---|---|
| 10 | github.com/zordius/lightncandy |
Parser.php
| Type | Line | Description |
|---|---|---|
| 10 | github.com/zordius/lightncandy | |
| 27 | Compile time error handling flags | |
| 113 | handle number | |
| 118 | handle double quoted string | |
| 123 | handle single quoted string | |
| 128 | handle boolean, null and undefined | |
| 136 | handle .. | |
| 141 | Trace to parent for ../ N times | |
| 142 | ', function () use (&$levels) { | |
| 147 | remove ./ in path | |
| 148 | ', '', $v, -1, $scoped); | |
| 340 | handle (...) | |
| 347 | handle |...| | |
| 360 | handle foo=(...) | |
| 369 | foo] Rule 1: no starting [ or [ not start from head | |
| 371 | [bar Rule 2: no ending ] or ] not in the end | |
| 373 | ]bar. Rule 3: middle ] not before . | |
| 375 | .foo[ Rule 4: middle [ not after . | |
| 381 | Scan for invalid charactors which not be protected by [ ] | |
| 382 | now make ( and ) pass, later fix | |
| 414 | begin with '(' without ending ')' | |
| 419 | begin with '"' without ending '"' | |
| 424 | begin with \' without ending ' | |
| 429 | '="' exists without ending '"' | |
| 434 | '[' exists without ending ']' | |
| 439 | =\' exists without ending ' | |
| 444 | continue to next match when =( exists without ending ) | |
| 472 | Parse arguments and deal with "..." or [...] or (...) or \'...\' or |...| | |
| 492 | continue from previous match when expect something | |
| 498 | end an argument when end with expected charactor | |
| 533 | continue to next match when 'as' without ending '|' |
Partial.php
| Type | Line | Description |
|---|---|---|
| 9 | github.com/zordius/lightncandy | |
| 134 | Check for recursive partial | |
| 203 | callbacks inside partial should be aware of $sp |
Runtime.php
| Type | Line | Description |
|---|---|---|
| 10 | github.com/zordius/lightncandy | |
| 63 | Build array of reference for call_user_func_array | |
| 286 | Use full namespace classname for more specific code export/match in Exporter.php replaceSafeString. | |
| 309 | Use full namespace classname for more specific code export/match in Exporter.php replaceSafeString. | |
| 370 | #var, detect input type is object or not | |
| 379 | Detect input type is object or not when never done once | |
| 631 | $invert the logic |
SafeString.php
| Type | Line | Description |
|---|---|---|
| 10 | github.com/zordius/lightncandy |
Token.php
| Type | Line | Description |
|---|---|---|
| 10 | github.com/zordius/lightncandy | |
| 27 | RegExps | |
| 30 | Positions of matched token |
Validator.php
| Type | Line | Description |
|---|---|---|
| 10 | github.com/zordius/lightncandy | |
| 40 | Skip a token when it is slash escaped | |
| 160 | {{ }}} or {{{ }} are invalid | |
| 165 | {{{# }}} or {{{! }}} or {{{/ }}} or {{{^ }}} are invalid. | |
| 209 | no break | |
| 486 | if we didn't match our $pop, we didn't actually do a level, so only subtract a level here | |
| 505 | we need to repeat a level due to else chains: {{else if}} | |
| 510 | no break | |
| 555 | skip parse when inside raw block | |
| 562 | Handle raw block | |
| 630 | Handle spacing (standalone tags, partial indent) | |
| 897 | left line change detection | |
| 900 | right line change detection | |
| 903 | setup ahead flag | |
| 906 | reset partial indent | |
| 908 | same tags in the same line , not standalone | |
| 915 | not standalone because other things in the same line ahead | |
| 919 | not standalone because other things in the same line behind | |
| 924 | both side cr | |
| 925 | first line without left | |
| 926 | final line | |
| 928 | handle partial | |
| 940 | Handle space control. |


Day one
Time / Experience:
I am not much of a recreational drug user, and a former nicotine addict. Currently the only drug I use on a regular basis is caffeine, which has, for the most part, lost all its effectiveness for me, even though I am still addicted to it. So I am a new user of Modafinil (for Narcolepsy), never used it before, or any other amphetymine-type stimulant. My tolerance should be very low. In addition to Provigil I have been on Effexxor XR at 150mg/day for my mild depression.
My doctor suggested Provigil for my excessive and uncontrollable sleeping spells during the day, and here is my report of its effects on me the first day:
(baseline=10:15am): took one pill of 200mg Provigil with 6 oz of water. Feeling very groggy and sleepy now, as usual.
(11:15am): No stimulation or increased wakefullness yet, after one hour. Still extremely tired, same as before, a little disappointed. Thought it would begin to kick in sooner than this.
(11:45am): still not much increased wakefullness. Perhaps a LITTLE bit of an energy boost coming on, almost inperceptible, but definitely something there. Just slightly above baseline.
(12:15pm): It's Finally Kicked in!!! :) Definitely becoming more alert now.  Normally my eyes would immediately become heavy and a strong feeling of drowsiness would come over me in a matter of seconds. About a minute or two later, I would typically be asleep. Now, after 2 hours of Provigil, when I perform the same experiment, I feel no heaviness of the eyes at all. Eyes wide open, with no feelings of drowsiness. Feel perfectly alert, but not overextended, hyper, or jittery.  For now, 120 mins seems to be the point of beginning of the effect.
***Side note: enjoying work all of a sudden. Don't want to take lunch yet, I want to get more work done. I am in no rush to take a lunch break.***
(1:15pm): The last hour went by very quickly, my work was performed at lightning speed. Concentration is effortless. Sudden confidence in mental abilities. Level of alertness same as an hour ago. No side effects yet, not shaky or nervous (like I get with too much caffeine). Feel quite relaxed, but do not feel tired. There are no intoxicating effects with this drug at all. In fact, all it does is make me feel well-rested and alert. However, it is easy to see how this drug can be abused: by students who want to pull all-nighter cram sessions, businessmen who need to wake up for a conference after flying across several time zones. When I think about it, the possible applications for this med are endless.
***Side note: I took a break and went outside. Noticed that everything looks clearer and sharper, as if everything is more in focus. Is this possible? Placebo? Sharper mind means sharper eyesight? Hmm***
(4:30pm): Still very attentive. End of workday, work was virtually effortless. I love this stuff! 200mg seems about right for me, but I hope I don't develop a tolerance too soon. Still wide awake, and happily typing at my PC. Unlike amphetamine-based stimulants, Provigil keeps me alert and awake, but not hyperactive. I don't feel like I MUST do something ALL THE TIME. It allows me to wind down and relax after work (yet stay awake). Not many stimulants can do that.
(11:00pm): up till now, the med kept me awake very well, with no side effects. I am beginning to feel sleepy again, which works out well because I'm going to bed now anyway. GREAT first day of this med, can't wait to take it early in the A.M. tomorrow!
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


This inspection suggests conversion from
collect(Type.factory())
or
collect(Type.collector())
into
toType()
.


Home
Blogs
Contact Me
Andrew Hird
Web Developer to be
Blogs
Cultural Blog
Cultural Reflection
Cultural Blog
Time and Habits
Cultural Blog
Emotional Int.
Technical Blog
HTML CSS & The DOM p2
Technical Blog
HTML CSS & The DOM p1
Technical Blog
Design to Web
Cultural Blog
Meditation Process
Technical Blog
Javascript Basics
Cultural Blog
Daily Mindfulness
Technical Blog
Problem Solving
Cultural Blog
Self Confidence
Technical Blog
Javascript Language
Cultural Blog
Control
Cultural Blog
Motivation
Technical Blog
Scope
Cultural Blog
Connecting
Cultural Blog
Leadership


FEARLESS A film review by Ralf Benner Copyright 1995 Ralf Benner
Jeff Bridges moves right into the front ranks of American actors with his performance as Max in Peter Weir's FEARLESS. Because the movie takes us deep into one of our worst fears--knowing that we could die in a plane crash--Bridges's work here is a balancing act; he has to make us believe in him as plane crash survivor, a savior and that he's so full of bliss as a result of the crash that he's temporarily without fear. This series of character shifts would drive any really good actor to boozing, because so much of what Max does is conveyed by thoughts behind the eyes, behind the silences. Movie actors rarely get into this kind of cerebral communication, and maybe the only ones who'd dare to try are those unafraid of the unrelenting, magnifying camera. Bridges's emotional marvel of an achievement is all the more singular in that Weir puts the camera right on top of him. Close-ups are perilous in that they can distort as well as expose a lack of technique; when the camera is practically breathing on them, most actors fall back on handy poses and stares and audiences can sense that sometimes there's nothing behind the masks. This happens a lot to Robert Redford and Clint Eastwood, occasionally to Robert Duvall. Not here: as the camera moves in, Bridges keeps right on going, holding back nothing; the close-in camera accelerates his rapport with us, soothing our qualms. (In the opposite direction, Michael Douglas's crowd-pleasing male bitchery gets cheerfully speeded up when the camera gets in his face and we see the flaws and nearly feel the fire breath coming out of him, but he's safe--he's always playacting.) What makes unsafe Bridges a revelation--and how good Weir is as director--is that while we can feel the fears of the passengers and the haunted doubts and troubles of the survivors, we're able to feel Max's sudden freedom from mortality as our own anxieties are ever-increasing. In that FEARLESS plays havoc with our gloom-filled anticipations about what we know is coming, there are times when we hate Weir for putting us through what would otherwise seem like a depressing chronology of events from a TV disaster-of-the-week film (in fact, Charlton Heston played in one, from the pilot's perspective)--and some of us hated the movie company for having the insensitivity to release this picture at a time when millions of us would be flying over the holidays--but when the movie climaxes and goes to black, we're absolutely wiped out yet strangely exhilarated. Some in the audience were crying, others sobbing, most of us for a moment or two unable to move at all. The impact rests on Bridges's failure-proof hydraulics. Has there ever been a more reassuring face in a plane cabin, in life or on screen?
Jeff Bridges has usually been an outsider looking in, big-time success having eluded him despite appearing in more than twenty movies, including THE LAST PICTURE SHOW, THE ICEMAN COMETH, KING KONG, WINTER KILLS, BAD COMPANY, FAT CITY, SOMEBODY KILLED HER HUSBAND, CUTTER'S WAY, THE MORNING AFTER, NADINE, the neglected TUCKER: THE MAN AND HIS DREAM, THE FABULOUS BAKER BOYS. And in spite of scoring a mild success with JAGGED EDGE, in which he pulled a Tommy Lee Jones from THE EYES OF LAURA MARS: we're allowed to invest feelings in him, only to get suckered. His first Oscar nomination came for THE LAST PICTURE SHOW, but it was his second Oscar-nominated performance, in THUNDERBOLT AND LIGHTFOOt, that audiences perceived within him a loner's stir: he was onto something unexpressed in his relationshp with Eastwood. (And it's what's not defined that has made the movie a cult favorite.) I never could get into STARMAN, for which he received his third nom, because it committed very early on one of those entertainment no-nos by having something called Karen Allen as a romantic co-star. (Hiring her for any movie is like breaking the unspoken law about having babies and kids in soap operas: that is, no Allen, no babies and only kids who are bad seeds.) AGAINST ALL ODDS was a totally unnecessary remake of the classic film noir OUT OF THE PAST, but certainly watchable: with bronzy flesh, muscular chest, closely-cropped beard and sun-bleached hair, Bridges's blue eyes stand out more than usual; they have the deepest blue center and this blue bleeds to the outer perimeters in lighter and lighter shades. Faked? Maybe, yet he's never looked this attractive before or since and I can't begin to tell you how much this helps the movie, which is filled with a ton of ludicrous moments, the most hilarious not the banging at the counterfeit Chichen Itza ruins but the nipple bit at Rachel Ward's Cozumel hideaway. Propped against Bridges' chest, the gaunt, masochistic Ward flicks her fingers across his nipples and instead of being aroused, he lays on some pro-football gibberish, totally oblivious to his own erogenous zones. (Some okay touristy shots of Cozumel, the real Chichen Itza, a spectacular one or two of Tulum, one of the most breathtaking spots in the Yucatan peninsula, and an hysterical but hysterically good theme "Take A Look At Me Now" by Phil Collins.) In THE FABULOUS BAKER BOYS, Bridges didn't get the acclaim that his co-star Michelle Pfeiffer did but in his blurry-eyed, greasy-haired seediness, he was its sick-soul center, something like a Bukowski boozer on reduced intake maintenance, though not quite the "cold razor-blade" Pfeiffer accuses him of being because, after all, a cold blade wouldn't have insisted on his dog staying in a swanky hotel room. (Animal lovers surrendered to him no matter the misgivings of his character once they saw Eddie the dog on couches, beds and on that hotel ballroom stage, laying at the piano.) Before the chance to show his magnum force in FEARLESS, Bridges came within reasonable striking distance in Terry Gilliam's "The Fisher King," which is rather like the antithesis of his Max. As a wrecked boozer D.J. whose favorite pastime was pouncing on yuppies for advocating "yuppie inbreeding" and for negotiating sex as "love moments," Bridges got robbed of a full due because his character's transition happened off screen, his drunk moments were fairly weak, and though he got sturdier as the movie plodded along, most of our attention went to Mercedes Ruehl, who, tramped to the max in red lipstick, red fingernails, red bra and slip and off-the-shoulder blouse and dangling "fuck me" earrings, never stopped acting, reacting, gesturing. (When the camera captured cigarette smoke blowing from her nostrils, she's a magnificent retrograde dragon with that old time religion--a heart of softened gold.) She also blew Bridges away, though perhaps he let her. But there's a connection between THE FISHER KING and FEARLESS. In the former, Bridges is one of the "janitors of God," called upon to clean up the mess he's made of things, and to help clean up the mess of his new best friend Williams. The latter has him as one of the angels of heroism, almost rapturously saving others and, finally, having to save himself.
If Bridges' dive into temporary decay and manginess in THE FISHER KING doesn't altogether grab us because we're fixated on Ruehl, Williams and, in her best screen performance to date, Amanda Plummer, he certainly puts sleazer Mickey Rourke on notice in AMERICAN HEART. Looking like too many bums walking the streets here in Houston (or the cons who appear via satellite on Geraldo), in long hair pulled back in a ponytail and unsightly mustache, with cigarette smoke clouding a hardened-by-prison-life face, Bridges is one constant amazement: is there any other American actor right now who can so physically give himself over to scroungy characters and still keep us watching? (Rourke so immerses himself, as he does in BARFLY, that he becomes repulsive, an audience turnoff.) Unfortunately, as directed by Martin Bell and written by Peter Silverman, AMERICAN HEART is overly depressing and, sadly, boring: it's like a Bukowski story told from a fifteen-year-old's point of view. What we come away with is that crime never pays--for the lower class.
One of the crash survivors in FEARLESS, Rosie Perez, who's somewhat like a dwarf Lena Olin, takes no back seat for acting honors; she's prodigious in her mother's pain and guilt in believing she's responsible for the death of her two-year-old Bubble, who was thrown out of her protective arms when the plane impacted. And when Bridges forces her into recognizing that she's not at fault, you come close to believing that the red tool box she holds in her arms is her baby; she pulls from us primal instincts about our children in ways we've rarely, perhaps never felt before from movies. And though Weir gives her a first scene of closure, setting to rest her agony and her appreciation for all that Bridges has done for her, he gives her a second one that makes it less of a neat sum-up; we can see in her eyes a whole litany of regrets. There are two scenes that don't quite satisfy. When Perez enters group therapy, her pent up anger is released, and while it's logical, she reaches such levels of piercing shrill that you can't help but question why Weir didn't ask that she reduce the octaval tones a bit. The other is more a technical error: Perez goes to see Bridges in the hospital and she gives him a box of Whitman's Sampler. Only there's no plastic wrapping on the box. Did the cast munch on the goodies between takes?
Playing Bridges' wife is the beautiful, crooked tooth Isabella Rossellini. Watching her here, or in one of my favorite movies COUSINS, we're aware of a spiritual linkage between her and her mother:we could swear that Ingrid is with us again, her presence so strong and supportive. It's too early to tell if Rossellini will be as good an actress, but right now, she bests Ingrid in being natural, at-home, without the little actressey tricks to fall back on, which have sometimes marred Ingrid's performances. With Bergman, there was frequently an unwillingness to be exposed; she hid behind an aura of cool stateliness that she actually fought against but often lost to. Rossellini, maybe because she has her mother as object lesson, perhaps because she's been a sought-after model, is the reverse: she's artless as vulnerability, which is what makes her so right and glowingly alive in COUSINS; when Ted Danson, in his best screen role thus far, risks all and asks her to dance at his father's wedding, the rush of love and warmth is limitless. The lack of self-centeredness helped her enormously in BLUE VELVET, about which she was the only thing I found worth watching. (I know this will pique the Lynch fans, who can't seem to get enough of his gory silliness.) Here in FEARLESS, as a dance instructor, she shows a maturity--and a thick neck--not seen previously, and though she's been straight-forward about martial problems (as with William Peterson in COUSINS), she hasn't before played the troubled wife as a 911-er. And she doesn't play the wife as the Madonna of our dreams; her patience has its limits.
Peter Weir may be the most talented director of the middle class's contretemps and vicissitudes, showing us our own foibles, how we lock ourselves into situations that we really deep down inside know are hopeless or wrongheaded, no matter how meritorious the intent. Those who worship the director above all else might call Weir's mc introspections his "auteur": the waste of young lives being needlessly sacrificed in GALLIPOLI; Mel Gibson's reckless Australian journalist in THE YEAR OF LIVING DANGEROUSLY barely escaping from the slaughter as he runs to the last plane jetting out of an Indonesia dissolving into chaos after years of corruption and apathy; Harrison Ford in THE MOSQUITO COAST as the bespectacled, immersed in deglamorization Allie Fox, novelist Paul Theroux's slowly-turning-mad adventurer-inventor who, with his family, departs an America he believes will be destroyed in an apocalyptic war and settles in a Central American country. (Ford's a Robinson Crusoe with a "Lord of the Flies" cap on; he pioneers his new world ingeniously, but the encroachment of self-fulfilling doom, generated by his own paranoia, is always festering within him. That it's a fable is, I think, one of the reasons Ford succeeds here: his legendary-like movie heroes give him credence; he's been out of the real world for so long that it seems natural for him to go mad. It's not a pleasant character, and by the end, knowing that he has destroyed himself and has come close to destroying his family, he's thoroughly dislikable. This is, of course, why the public rejected the movie--it didn't want to see a hero self-destruct.) And there's the gooey WITNESS, filled with such heavenly-blessed family values that to fault it might suggest to some that I'm against family, against "goodness." Weir dismisses the very realities he uses to set the plot in motion--a young Amish boy witnesses a murder and can identify the murderer--and we're never allowed to see how what the boy witnessed affects him. The real witnessing is Harrison Ford's in how the Amish live so admirably their humble lives--and how he's affected by it. But the goodness in the family life fails to reward the audience with what it wanted most: Ford carrying off that Amish amazon (Kelly McGillis) at the end. Intractable upper middle class values get the Weir once-over in DEAD POETS SOCIETY which is rather like a catalyst to action against the constrictions of humdrum education, and while it's not a mistake to put a vibrant Robin Williams at the center, it is, I think, a mistake on Weir's part to allow Williams his impromptu standup routines. Harming the movie even more is the destiny of one of the pupils; his fate is de rigueur.
The lack of box office for FEARLESS, considering its subject matter and that its visual dinginess and claustrophobia intensify what is a vivisection of pain, seems predictably bad movienomics--this is, after all, a February or March kind of picture, when most of us are safely away from airplanes. But I'm fully prepared to defend Jeff Bridges' performance as the most unfairly neglected in the 1993 awards from critics' associations. Nothing I've seen throughout that year compares to what he does here, and that includes Hopkins in that megabore THE REMAINS OF THE DAY. And politics, not acting, won Tom Hanks his awards. One certainty: FEARLESS won't show up as any in-flight entertainment.
--<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Do not use Python keywords to name your variables because there might be name clashes between your variable and the reserved keyword.
Bad examples:
print = 10
int = 121
Good examples:
printing = 10
print_variable = 10
int_var = 121


With the school year coming to a close... I just wanted to say
謝謝 Thank you for everything you did with TASA throughout the year, from start to finish.
家 TASA is our home. No matter what, I know we all want what is best for TASA.
朋友 Regardless of elections, let's all work together to make next year even more fun!
和平 [Peace] 和平
和平 [Peace] 和平


{%assign education = site.data.cv.education | first %}
{% include cv/panel_section.html section=education use_name='false'%}
{%assign education = site.data.cv.education | where: "name":'Self Education' | first%}
{% include cv/panel_section.html section=education use_name='true'%}


Toggle navigation
Project name
Home
About
Contact
Submit
Shopping Cart
{{cart.items.length}}
Profile


For business spending too much money on cloud communications, or who want to bring their cloud commuinications infrastructure in-house, Somleng provides the necessary applications and APIs to build on.
Somleng is popular with NGOs and development organizations especially in countries where the price of terminating voice calls and SMS is expensive. Read about how Somleng is being used in an early warning system in Cambodia and as part of a cash assistance programme in Somalia.
For telcos looking to provide their customers with an API to make, receive, control and monitor calls and SMS, Somleng provides an open source implementation of Twilio's REST API, in addition to other applications useful in the telecommunications industry.


Given an array of non-negative integers, you are initially positioned at the first index of the array.
Each element in the array represents your maximum jump length at that position.
Your goal is to reach the last index in the minimum number of jumps.
Example:
Input: [2,3,1,1,4]
Output: 2
Explanation: The minimum number of jumps to reach the last index is 2.
Jump 1 step from index 0 to 1, then 3 steps to the last index.
Note:
You can assume that you can always reach the last index.
Greedy. Always pick the one that would allow to jump to the rightest.
/**
* @param {number[]} nums
* @return {number}
*/
var jump = function(nums) {
const len = nums.length
let jump = 0
for (let l = 0, r = 1; r < len; jump++) {
let rNext = r
for (let i = l; i < r; i++) {
const rNextAtmp = i + nums[i] + 1
if (rNextAtmp > rNext) {
rNext = rNextAtmp
}
}
l = r
r = rNext
}
return jump
};
Template generated via Leetmark.


Whether you're looking for spring wildflowers to rejuvenate your soul, exhilirating hikes to test your limits, a simple beach in a faraway land or a trek in the tundra during the peaceful winter months, Birkeland Travel Co. has you covered.
Season | Summer
Best Activity | Mount Floyen
Testimonial | "We had an amazing time in Norway, the history and scenery were both terrific!"
Season | Spring
Best Hike | Ho Chi Minh Trail
Testimonial | "Birkeland Travel Co. took us off-the-beaten-path in a city we thought we knew"
Season | Winter
Best Skiing | Britton Peak
Testimonial | "It was so peaceful, we can't wait to go back next winter!"
Season | Fall
Best Beach | Fokos Beach
Testimonial | "The food, weather and culture were amazing! Thank you Birkeland Travel Co."


{% extends 'base/base.html' %} {% block exp_info_block %}
{{ num }} queries were run in {{ seconds }} for topic set {{ topic_num }}.


This example shows how to create an event handler that responds to the ListView control’s group header invoke event. The ListView raises the group header invoke event when the user interacts with the ListView.


{% extends "home-base.html"%} {% block title %}Home Page{% endblock %} {% block head%} {{ super() }} {% endblock%} {% block page_content%}
Email<EMAIL_ADDRESS>Senior Undergraduate Student in University of Delaware
Finance and Management Information System Double Major


The Hindu in School launched in 50 govt. schools
Copies sponsored by HPCL to be distributed daily
by Special CorrespondentAimed at inculcating reading habits and instilling the quest for knowledge among students, The Hindu In School was launched in 50 government schools in the city on Monday.
The copies sponsored by Hindustan Petroleum Corporation Limited (HPCL), under their corporate social responsibility (CSR) initiative, will be distributed in 50 government schools in the city daily, throughout the academic year.
Sarabjit Singh, Chief Regional Manager, Cochin Retail Regional Office of HPCL, Ernakulam, inaugurated the initiative by handing over the copies to the Principal and students of Model Technical Higher Secondary School, Kaloor.
The initiative also focuses on ensuring that information is accessible to students of all classes in society.
In his address, Mr. Singh urged the students to utilise the newspaper to develop reading habit and to expand their general knowledge with updated information, a prerequisite in today’s world to achieve any goal.
Principal Saleena P. welcomed the gathering and Parent-Teacher Association president Soofi Mohammed offered felicitations. Aboobacker Naina C.A., Assistant Manager, Cochin Retail Regional Office, HPCL, and Suresh Kumar Pillai, Assistant General Manager, The Hindu, participated.


WITNESS LIST Higher Education Committee March 17, 2005-10:30A HB 1427 On: Griffin, Belinda (Texas Southern University) Slade, Priscilla (Texas Southern University) HB 1431 For: Glick, Howard (Self and Texarkana Chamber of Commerce) McGary, Derrick (Self) Morgan, Judy (Self) On: Hensley, Stephen R. (Texas A&M University - Texarkana) HB 1451 On: Maxwell, Valarie (Midwestern State University) HB 1491 On: McFarland, Keith D. (Texas A&M University - Commerce) HB 1504 On: Long, Russell (West Texas A&M Univ.) HB 1523 On: Langabeer, James (University of Texas-PanAmerican) HB 1537 On: Leach, Leon J. (UTMD Anderson Cancer Center) HB 1618 On: Matthews, Charles (Texas State University System) HB 1667 On: Calhoun, Kirk A (UT Health Center Tyler) HB 1712 On: Kennedy, Kerry (The Univ. of Texas @ San Antonio) HB 1713 On: Kennedy, Kerry (The Univ. of Texas @ San Antonio) HB 2291 On: Griffin, Belinda (Texas Southern University) Slade, Priscilla (Tx Southern University)


Being John Malkovitch (9/10)
In Being John Malkovitch, the world is a very strange place. We start to realise just how strange when struggling puppeteer Craig (John Cusack) takes a job as a filing clerk on the seven-and-a-halfth floor of a New York office building. Now that's pretty weird.  That's also pretty weird.
But the Alice in Wonderland factor really kicks into overdrive when Craig discovers a slippery gloopy portal from his office into the head of actor John Malkovitch. Now that's really weird. Being in need of cash to support his puppeteering, he teams up with his smoulderingly sexy and self-assured co-worker Maxine (Catherine Keener) to exploit this metaphysical rollercoaster ride, and they start selling trips into Malkovitch's head. Craig is keen to point out the serious philosophical questions that the Malkovitch portal raises, such as issues about the nature of self, but everyone, including the audience, is having too much of a wild time to care. When a truly bizarre and hilarious sexual triangle develops, things get very complicated for Craig and his concerns shift from the metaphysical to the personal.
In a wonderfully self-parodying and self-effacing role, Malkovitch portrays himself as a vain and pompous thesp, and his success as a film actor is called into question when some characters haven't even heard of him, and nobody can name any films he's been in. The other performances, including some surprise guest appearances all as self-mocking as Malkovitch's, add to the fun.
Director Spike Jonze and writer Charlie Kaufman have concocted an indie comedy that's wildly original and wildly funny, but it has its dark side, particularly in Craig's later treatment of Lotte, but never fear - justice is seen to be done in the end. Like the travellers into Malkovitch up there on the screen, we're sucked into a fabulous experience and spat out, exhilarated, at the other end. It all could so easily have fallen flat after the initial joke wore off, but the quality of the ideas and the performances sustain interest right to the end, although as is usually the case with plots based on gimmicky ideas, the ending can't quite tidy up the story as neatly as we'd like, but that's being waaayyy too picky. If David Cronenberg and Franz Kafka had got together to make a screwball comedy, they could hardly have come up with anything better than this very weird and very wonderful gem.
--
Gary Jones
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


DD(1) User Commands DD(1) NAME dd - convert and copy a file SYNOPSIS dd [OPERAND]... dd OPTION DESCRIPTION Copy a file, converting and formatting according to the operands. bs=BYTES read and write up to BYTES bytes at a time cbs=BYTES convert BYTES bytes at a time conv=CONVS convert the file as per the comma separated symbol list count=BLOCKS copy only BLOCKS input blocks ibs=BYTES read up to BYTES bytes at a time (default: 512) if=FILE read from FILE instead of stdin iflag=FLAGS read as per the comma separated symbol list obs=BYTES write BYTES bytes at a time (default: 512) of=FILE write to FILE instead of stdout oflag=FLAGS write as per the comma separated symbol list seek=BLOCKS skip BLOCKS obs-sized blocks at start of output skip=BLOCKS skip BLOCKS ibs-sized blocks at start of input status=noxfer suppress transfer statistics BLOCKS and BYTES may be followed by the following multiplicative suf‐ fixes: c =1, w =2, b =512, kB =1000, K =1024, MB =1000*1000, M =1024*1024, xM =M GB =1000*1000*1000, G =1024*1024*1024, and so on for T, P, E, Z, Y. Each CONV symbol may be: ascii from EBCDIC to ASCII ebcdic from ASCII to EBCDIC ibm from ASCII to alternate EBCDIC block pad newline-terminated records with spaces to cbs-size unblock replace trailing spaces in cbs-size records with newline lcase change upper case to lower case ucase change lower case to upper case swab swap every pair of input bytes sync pad every input block with NULs to ibs-size; when used with block or unblock, pad with spaces rather than NULs excl fail if the output file already exists nocreat do not create the output file notrunc do not truncate the output file noerror continue after read errors fdatasync physically write output file data before finishing fsync likewise, but also write metadata Each FLAG symbol may be: append append mode (makes sense only for output; conv=notrunc suggested) direct use direct I/O for data directory fail unless a directory dsync use synchronized I/O for data sync likewise, but also for metadata fullblock accumulate full blocks of input (iflag only) nonblock use non-blocking I/O noatime do not update access time nocache discard cached data noctty do not assign controlling terminal from file nofollow do not follow symlinks Sending a USR1 signal to a running `dd' process makes it print I/O sta‐ tistics to standard error and then resume copying. $ dd if=/dev/zero of=/dev/null& pid=$! $ kill -USR1 $pid; sleep 1; kill $pid 18335302+0 records in 18335302+0 records out<PHONE_NUMBER> bytes (9.4 GB) copied, 34.6279 seconds, 271 MB/s Options are: --help display this help and exit --version output version information and exit AUTHOR Written by Paul Rubin, David MacKenzie, and Stuart Kemp. REPORTING BUGS Report dd bugs to<EMAIL_ADDRESS>GNU coreutils home page: <http://www.gnu.org/software/coreutils/> General help using GNU software: <http://www.gnu.org/gethelp/> Report dd translation bugs to <http://translationproject.org/team/> COPYRIGHT Copyright © 2011 Free Software Foundation, Inc. License GPLv3+: GNU GPL version 3 or later <http://gnu.org/licenses/gpl.html>. This is free software: you are free to change and redistribute it. There is NO WARRANTY, to the extent permitted by law. SEE ALSO The full documentation for dd is maintained as a Texinfo manual. If the info and dd programs are properly installed at your site, the command info coreutils 'dd invocation' should give you access to the complete manual. GNU coreutils 8.12.197-032bb September 2011 DD(1)


SHERIFF (Scheel), Gertrude Alice
Date of death: Wednesday, November 27th, 2019
Date of birth: Monday, December 5th, 1921
Age: 97
Location: Kitchener, Ontario
Family
- Spouse: Earl
- Children: Randy Sheriff (Sue Calder) and Bonnie Fletcher
- Grandchildren: Amanda (Terry) Watson and Sarah (Nathan) Ayer, Tisha and Brandy Sheriff, Melissa and Shane Yandon, Sarah and Adam Calder
Interment: Tuesday, December 3, 2019 at 2:30 p.m. at Woodland Cemetery, 119 Arlington Blvd., Kitchener. Cremation has taken place.


Ocean [ax31], ocean, in The Inner Sea
Last updated Turn #80
Ocean [ax31], ocean, in The Inner Sea
------------------------------------------------------------------------
12: The Savvy Aardvark [ha5r], ship, 2 hulls, 1 rowing port, 6 sails,
12: 10% damaged, arrived from Ocean [ax32], owner:
12: Phantasm [n4b], Imperial Empire, duke, with two peasants, eight sailors
13: The Savvy Aardvark [ha5r], ship, 2 hulls, 1 rowing port, 6 sails,
13: 10% damaged, departed for Ocean [ax30].
Routes leaving Ocean:
North, plain, to Plain of Tears [aw31], Mandoria, 2 days
Garrison [dk9u], garrison, Mandor Confederacy, with three peasants
East, to Ocean [ax32], 6 days
South, to Ocean [ay31], 6 days
West, to Ocean [ax30], 6 days


Find out what tags you have locally: {% highlight bash %} david$ git tag v1.0.0 v1.0.1 v1.1.0 {% endhighlight %}
Delete them all: {% highlight bash %} david$ git tag -d v1.0.0 v1.0.1 v1.1.0 {% endhighlight %}
Push all those deletes to the remote system: {% highlight bash %} david$ git push origin :refs/tags/v1.0.0 :refs/tags/v1.0.1 :refs/tags/v1.1.0 {% endhighlight %}
That's it. Destruction complete.


I am a Bachelor of Applied Physics / Electro-Optic Engineering. After several years of working in the field, I decided to implement my love for programming area by making a professional endorsement by independent study courses.
Familiar with:
Python 3, Javascript, React, Redux, Html & Css (grid + flexbox), Node.js, Express.js, PostgreSQL, MongoDB, Git, Github, Heroku etc.
I have an analytical thinking and highly motivated to work - looking for my junior position!
A cool background generator built with html, css, javascript & DOM manipulation
A face-detection app build with React, Node, PostgreSQL and Clarifai API.
Just enter an image link and let the smart brain detect your face !
PHONE:<PHONE_NUMBER>
Send an Email


Back
Settings
<% if @rhoconnectclient_ext %>
Client ID:
Reset Database
Perform Sync
Logout
Login
<% end %>
×
Reset Database
Are you sure?
Resetting removes all objects from your device.


Hi, How's it going?!
I like to introduce myself as a UW Bootcamp Student & Pizza Enthusiast.
Ashley Rostenbach
Designer & Pizza Lover
Hello World
I love to introduce myself as the team captain of multiple dodgeball teams.
Amanda Konenkamp
Project Manager
Howdy!
I love to introduce myself as the path finder.
Dan O' Connell
The Odysseus of carrer searching
Hey ya'll!
I love to introduce myself as a forver student .
Claudia
The Midnight Pie Eater
Hey ya'll!
I love to introduce as a wine enthusiast .
Sara
The Bug Fixer


Vim documentation: debugger
main help file*debugger.txt* For Vim version 7.2. Last change: 2005 Mar 29 VIM REFERENCE MANUAL by Gordon Prieur Debugger Support Features *debugger-support* 1. Debugger Features |debugger-features| 2. Vim Compile Options |debugger-compilation| 3. Integrated Debuggers |debugger-integration| {Vi does not have any of these features}
1. Debugger Features *debugger-features* The following features are available for an integration with a debugger or an Integrated Programming Environment (IPE) or Integrated Development Environment (IDE): Alternate Command Input |alt-input| Debug Signs |debug-signs| Debug Source Highlight |debug-highlight| Message Footer |gui-footer| Balloon Evaluation |balloon-eval| These features were added specifically for use in the Motif version of gvim. However, the |alt-input| and |debug-highlight| were written to be usable in both vim and gvim. Some of the other features could be used in the non-GUI vim with slight modifications. However, I did not do this nor did I test the reliability of building for vim or non Motif GUI versions. 1.1 Alternate Command Input *alt-input* For Vim to work with a debugger there must be at least an input connection with a debugger or external tool. In many cases there will also be an output connection but this isn't absolutely necessary. The purpose of the input connection is to let the external debugger send commands to Vim. The commands sent by the debugger should give the debugger enough control to display the current debug environment and state. The current implementation is based on the X Toolkit dispatch loop and the XtAddInput() function call. 1.2 Debug Signs *debug-signs* Many debuggers mark specific lines by placing a small sign or color highlight on the line. The |:sign| command lets the debugger set this graphic mark. Some examples where this feature would be used would be a debugger showing an arrow representing the Program Counter (PC) of the program being debugged. Another example would be a small stop sign for a line with a breakpoint. These visible highlights let the user keep track of certain parts of the state of the debugger. This feature can be used with more than debuggers, too. An IPE can use a sign to highlight build errors, searched text, or other things. The sign feature can also work together with the |debug-highlight| to ensure the mark is highly visible. Debug signs are defined and placed using the |:sign| command. 1.3 Debug Source Highlight *debug-highlight* This feature allows a line to have a predominant highlight. The highlight is intended to make a specific line stand out. The highlight could be made to work for both vim and gvim, whereas the debug sign is, in most cases, limited to gvim. The one exception to this is Sun Microsystem's dtterm. The dtterm from Sun has a "sign gutter" for showing signs. 1.4 Message Footer *gui-footer* The message footer can be used to display messages from a debugger or IPE. It can also be used to display menu and toolbar tips. The footer area is at the bottom of the GUI window, below the line used to display colon commands. The display of the footer is controlled by the 'guioptions' letter 'F'. 1.5 Balloon Evaluation *balloon-eval* This feature allows a debugger, or other external tool, to display dynamic information based on where the mouse is pointing. The purpose of this feature was to allow Sun's Visual WorkShop debugger to display expression evaluations. However, the feature was implemented in as general a manner as possible and could be used for displaying other information as well. The Balloon Evaluation has some settable parameters too. For Motif the font list and colors can be set via X resources (XmNballoonEvalFontList, XmNballoonEvalBackground, and XmNballoonEvalForeground). The 'balloondelay' option sets the delay before an attempt is made to show a balloon. The 'ballooneval' option needs to be set to switch it on. Balloon evaluation is only available when compiled with the |+balloon_eval| feature. The Balloon evaluation functions are also used to show a tooltip for the toolbar. The 'ballooneval' option does not need to be set for this. But the other settings apply. Another way to use the balloon is with the 'balloonexpr' option. This is completely user definable.
2. Vim Compile Options *debugger-compilation* The debugger features were added explicitly for use with Sun's Visual WorkShop Integrated Programming Environment (ipe). However, they were done in as generic a manner as possible so that integration with other debuggers could also use some or all of the tools used with Sun's ipe. The following compile time preprocessor variables control the features: Alternate Command Input ALT_X_INPUT Debug Glyphs FEAT_SIGNS Debug Highlights FEAT_SIGNS Message Footer FEAT_FOOTER Balloon Evaluation FEAT_BEVAL The first integration with a full IPE/IDE was with Sun Visual WorkShop. To compile a gvim which interfaces with VWS set the following flag, which sets all the above flags: Sun Visual WorkShop FEAT_SUN_WORKSHOP
3. Integrated Debuggers *debugger-integration* One fully integrated debugger/IPE/IDE is Sun's Visual WorkShop Integrated Programming Environment. For Sun NetBeans support see |netbeans|. top - main help file


main page for postlock documentation
Author: Peter Neumark <neumark at postlock dot org>
Postlock Documentation
This is the current documentation for postlock. These files serve as both specifications for how postlock should be
built and as an API reference aimed at developers building postlock into their own applications. Please edit these files
before commiting changes to the master
branch on github so that the documentation is always up to
date. In addition to these files, there is also a postlock wiki on github
for content that is not specification/reference material.
About postlock
Postlock is a system allowing processes running on different computers to access a globally shared state
space without the need to explicitly lock objects or perform low-level synchronization. Postlock has an
optimisitic concurrency model, meaning each client can modify the shared state without consulting with other
clients or the server.
Each client maintains their own copy of the global state. Clients must apply changes to their local copy
first. Once the local modification is complete, the changes are sent to the postlock server which broadcasts the changes to all clients, effectively making the changes global.
Table of contents
- Messages
- Postlock acts as a message bus, allowing any two clients connected to the session to exchange messages
asynchronously. This can be used even without postlock's shared state functionality. In fact, it may be the easiest way
to get server-side programs to push messages into the users' browser (using websockets). Message broadcasting is also
supported (although currently unimplemented) through the use of participant groups.
- Data types
- Postlock's shared state is composed of objects managed by postlock. These objects have a well-defined set of
operations which can be used to alter them.
- Transactions
- Transactions are messages exchanged between clients and the server which carry information about changes
made to the local copies of postlock.


We monetize cats!
- seize killer functionalities
- strategize viral mindshare
- repurpose compelling communities
- exploit synergistic eyeballs
- grow bleeding-edge niches
- drive one-to-one supply-chains
- maximize transparent systems
- repurpose sticky infrastructures
- reintermediate global content
- repurpose sexy ROI
- synergize granular metrics
- deliver innovative e-business
- seize frictionless relationships
- synthesize end-to-end convergence


Larne, Northern Ireland
The Friends' Goodwill Memorial
Honoring one of the first boats to leave Ulster destined for America.
by TownTacticsJust a five minute walk from Larne town’s Main Street lies the historic Curran Park, where you can find a statue depicting a historic Irish migration.
The statue commemorates the many that fled Ireland from Larne Harbor and pays homage to the Friends’ Goodwill, one of the first ships to leave Ulster. The ship left Ireland in May 1717, bound for Boston, Massachusetts with 52 passengers (mainly Ulster-Scots) aboard. Historical accounts say the journey was difficult—at one point, straws were drawn to see who would be the first eaten. Thankfully the ship made it before things got that bad, and the ship arrived in America after more than three and a half months.
Between 1717 and 1776, nearly 300,000 Ulster-Scots and Scotch-Irish made the journey across the Atlantic. The exact cause of this mass migration is still unknown, but we do know that Ireland suffered multiple droughts between 1714 and 1719, which would have caused a major impact on food prices and availability. In 1716 many sheep were affected by a destructive disease known as rot, and severe frosts occurred across most of Europe.
Every year Larne town celebrates that historic migration with the Friends Goodwill Festival in May, celebrating the Irish-American relationship with music, sports, and lots of food and drink.
Know Before You Go
The Friends of Goodwill Memorial Statue is located in the grounds of Curran Park, a short walk from Larne Town Center down the Curran Road.
Community Discussion
-
No Comments Yet
Start the discussion.
forum Visit our forums.
Sources
- http://www.causewaycoastalroute.com/larne-website.html
- https://www.midandeastantrim.gov.uk/news/friends-goodwill-festival-260418
- http://www.ulsterscotsagency.com/news/article/262/friends-goodwill-and-the-journey-to-a-new-land/
- https://www.midandeastantrim.gov.uk/friendsgoodwill/history-of-the-friends-goodwill-voyage
- http://www.ulsterscotsagency.com/fs/doc/2017-events/FGW_Programme.pdf


Flood warning as heavy rain expected in Northern Ireland tomorrow
A yellow weather warning has been issued for the north tomorrow with heavy rain and flooding expected to cause disruption.
The Met Office warning for eastern parts highlights "difficult driving conditions and some road closures."
The alert also warns of "a small chance that some communities could be cut off by flooded roads."
Householders and businesses have been advised to prepare in the event that properties will be flooded as a result of the expected downpours.
The warning comes into effect from 5am tomorrow morning and lasts until 8pm.
January 2019: 45,000 properties 'at risk of flooding' as country braces for more extreme weather


You can add natures to this resource group to activate additional functionality. Please select a nature and click "Add nature" to add a nature to this group.


Register
Please fill in this form to register.
Status
Surname
Firstname
I.D number
Date of birth
Flat/Room name and number
Street name and number
Suburb
Postal code
1st Cellphone number
2nd Cellphone number
Marital type
Date married
Date divorce
Present accomodation
Accomodation details
By creating an account you agree to CFT's
Terms & Privacy
.
Register


Use the checkbox below to enable this inspection to report variables which are initialized with a call to a constructor. This makes the inspection potentially unsafe in cases where the constructor has non-local side-effects, but make it more powerful in that it can find objects that are allocated before necessary, causing increased memory usage.
Powered by InspectionGadgets


Vettel ready for first corner sprint after P2: "First lap is important"
by Matt GrettonSebastian Vettel missed out on pole position by just 0.012. The damage was done in the opening lap of the Q3 session with Valtteri Bottas producing a strong lap to open the session. Vettel improved but not enough to continue Mercedes' pole position drought.
The Ferrari driver, who will start from P2, is keen to attack Bottas on the first corner of the race. With the Ferrari strategy similar to their German rivals, Vettel knows his best chance will be on the first lap.
"Overall happy. Let's see for tomorrow and have a good start.and then a good race. All of us are on the medium tyre so nobody had an advantage there. The first lap for sure is important but it's a long race after that," Vettel said after the qualifying session.


The expression is reported if it's free of side effects and its result is always the same (in terms of Object.equals()
).
The examples of such expressions are a + b
, Math.max(a, b)
, a.equals(b)
,
s.substring(a,b)
. To make sure the result is always the same, it's verified that the variables used in the expression don't
change their values between the occurrences of the expression.
Such expressions may contain methods of immutable classes like String
, BigDecimal
, and so on,
and of utility classes like Objects
, Math
(except random()
).
The well-known methods, such as Object.equals()
, Object.hashCode()
, Object.toString()
,
Comparable.compareTo()
, and Comparator.compare()
are OK as well because they normally don't have
any observable side effects.
Use the Expression complexity threshold option to specify the minimal expression complexity threshold. Specifying bigger numbers will remove reports on short expressions.
Path.of
and Paths.get
calls are treated as equivalent calls if they have the same arguments. These calls
are always reported no matter how complex their arguments are. This behaviour can be tweaked using different complexity threshold.
New in 2018.3


This is a free bootstrap admin template with basic pages you need to craft your project.
Use this template for free to use for personal and commercial use.
Some of its features are given below :
-
Responsive Design Framework Used
-
Easy to use and customize
-
Font awesome icons included
-
Clean and light code used.


Choose the product you would most likely purchase from the set of 3. You will have 25 chances to make your preferred selections.


Bucket
class Bucket
Rate Limit Thing
-
Dispatch Queue to handle requests
Declaration
Swift
let worker: DispatchQueue
-
Array of DispatchWorkItems to execute
Declaration
Swift
var queue: [DispatchWorkItem] = []
-
Limit on token count
Declaration
Swift
let limit: Int
-
Interval at which tokens reset
Declaration
Swift
let interval: Int
-
Current token count
Declaration
Swift
var tokens: Int
-
Last reset in terms of Date
Declaration
Swift
var lastReset = Date()
-
Used for Dispatch, but is basically ^
Declaration
Swift
var lastResetDispatch = DispatchTime.now()
-
Creates a bucket
Declaration
Swift
init(name: String, limit: Int, interval: Int)
Parameters
name
Name of bucket
limit
Token limit
interval
Interval at which tokens reset
-
Check for token renewal and amount of tokens in bucket. If there are no more tokens then tell Dispatch to execute this function after deadline
Declaration
Swift
func check()
-
Executes the first DispatchWorkItem in self.queue and removes a token from the bucket.
Declaration
Swift
func execute()
-
Queues the given item
Declaration
Swift
func queue(_ item: DispatchWorkItem)
Parameters
item
Code block to execute
-
Used to take x amount of tokens from bucket (initial http request for route)
Declaration
Swift
func take(_ num: Int)
Parameters
num
Amount of tokens to take


The homemade pizza dough is produced in-house daily and is another reason why the pizza at Pizza Inn always tastes better. The Twisty Bread, the signature Wingz and the delicious Double Meal are additional value-for-money options that keep our satisfied customers coming back time after time.
These are the meals that have made our Terric Tuesday everyone’s favourite day of the week. When entertaining, a Hawaiian, a Regina, or a Peri Peri Chicken pizza from Pizza Inn is the obvious and perfect option to please crowds of all ages.


jQuery YouTube Tubeplayer Plugin
Home
Unit Tests
TubePlayer API
YouTube Player API
GitHub
Contact/Email Nirvana Tikku
TubePlayer Console
TubePlayer
TubePlayer Initialization Options
HTML5 Version
Initial Video ID
Theme
dark
light
Color
red
white
Protocol
http
https
Preferred Qualty
default
small
medium
large
hd720
hd1080
highres
Allow Full Screen
Show Controls
Show Related
Show Annotations
Auto Play
Auto Hide
Show Info
Modest Branding
Load SWFObject
Create YouTube TubePlayer
YouTube Player Activity
API Events
TubePlayer Settings
TubePlayer Data
.tubeplayer("data")
TubePlayer Callbacks


Production Team
Jason Contini
Director, Co-Writer, CoProducer, Editor
John Contini
Co-Writer, CoProducer
Nicholas J. Hearne
Co-Writer, CoProducerWyatt Weed
Director of Photography, Co-ProducerGayle Gallagher
CoProducerTaylor Pietz
Composer, CoProducerRobert Clark
Lead Gaffer, CoProducerSue Ellen Cougherty - Co-Producer
Michelle Saur - Teaser poster artist


Created scripts to rewrite duplicate codes among different files, and checked specific error manually. The scripts reduced almost 50% of time compared with manual modification to get the same result.
If you would like to know more about my ability,
I can always be reached at the email address or phone number listed below.
I would appreciate an opportunity to discuss my qualifications and your needs.


A Web Developer based in London, Canada. I have a bachelor's degree from Western University in software engineering and have good knowledge of front-end techniques. I love structure and order and also stand for quality.


- What is the secret message in Santa’s Tweets?
- Bug Bounty - Encoded via an “ASCII Image”
- What is inside the ZIP File distributed by Santa’s team?
- The Android Application: SantaGram v4.2
- What is the username and password embedded in the apk?
- guest:busyreindeer78, which is used to log into the Analytics Server
- What is the name of the audible component (audio file) in the SantaGram APK File?
- discombobulatedaudio1.mp3
- What is the password for the “cranpi” account on the Cranberry Pi system?
- yummycookies
- How did you open each terminal door and where had the villain imprisoned Santa?
- See Part 3
- Service Exploitation:
- See Part 4
- What are the name of the audio files?
Track Filename Location 1 discombobulatedaudio1.mp3 APK File 2 discombobulatedaudio2.mp3 Analytics - Guest 3 discombobulatedaudio3.mp3 Dungeon 4 debug-20161224235959-0.mp3 Dev 5 discombobulatedaudio5.mp3 Ads 6 discombobulated-audio-6-XyzE3N9YqKNH.mp3 Exception 7 discombobulatedaudio7.mp3 Analytics - Admin - Who is the villain behind the nefarious plot?
- The Doctor.
- Why had the villain abducted Santa?
- An attempt to fork the timeline in 1978, in order to prevent the Star Wars Holiday Special from seeing the light of day.


openMIC
v0.1
openMIC Node
Windows 2012, uptime: 2 days, 14 hours
Welcome
openMIC User
opener
On
Dashboard
Settings
Security
Statistics
Logs
Logs
View openMIC Logs
Loading logs, please wait...
Logs loaded.
Schedule Logs
Operation Logs
Error Logs


Contributing to Open Source Part I: The Easy Way
58.140 views • 27 feb. 2014
The Odin Project
1000 subscribers
How do you contribute to open source? In this video, I'll describe the easiest way to make a simple contribution to an open source project -- without using the command line, a text editor, "forking a repo", or even touching Git outside of Github. I'll also describe what kinds of contributions open source software projects are typically looking for. As an example, I use submitting a student solution to a web development exercise from The Odin Project, a free online curriculum for learning web development with Ruby on Rails. You can find more information about that project at http://theodinproject.com.
Loading...


By Clicking Create Account, you acknowledge you have read and agreed to our Terms of Use and Privacy Policy


{{set . "title" "Fever Of Time"}} {{template "header.html" .}} {{set . "postTitle" "Fever Of Time"}} {{template "base.html" .}}
My name is Issam. Musician. Dev and support @ Gengo. I put down my thoughts and musings here.
I use these social apparatuses:


Plan A
- Making FB page, Instagram and other social media accounts.
- Logo making ₹1000/- ( one time charge)
Plan B
- Managing all your social media accounts.
- Two Post per week on Facebook, Instagram, Twitter, LinkedIn, WhatsApp and on all digital platforms.(post or ads given by client)
- Write up and contents for the post.
- Digital Calender will be provided.
| Cost |
Time |
| ₹1000/- |
1 month |
| ₹2600/- |
3 months |
| ₹5000/- |
6 months |
| ₹9600/- |
1 year |
Plan C
Making Creative Posters ( ads ) including Write up & Content only
₹200/- Per Poster.
Plan D
Advance version (Full year package)
A 12 month digital calender will be given in advance. This includes:
- Two post a week on social media,
- Making and managing Facebook, Instagram, Linkedn and other social media accounts and advertising on various platforms,
- Bulk mail/ messages and content writing (products or services),
- Google ads (for professionals, insurance etc),
- Advertising on Amazon ads (for products) company will bear the cost,
- Webinar a Month - arranging, making and publishing on social media,
- Reviews twice a month,
- Blog writing (for website),
- Website management,
- Content writing
₹ 5000 per month.
We have customised and negotiable packages.


|
Drake
|
Classes | |
| class | TestEllipsoidsSeparation |
| This test is taken from the course notes of EE127A from University of California, Berkeley The goal is to find a hyperplane, that separates two ellipsoids E₁ = x₁ + R₁ * u₁, |u₁| ≤ 1 E₂ = x₂ + R₂ * u₂, |u₂| ≤ 1 A hyperplane aᵀ * x = b separates these two ellipsoids, if and only if for SOCP p* = min t₁ + t₂ s.t t₁ ≥ |R₁ᵀ * a| t₂ ≥ |R₂ᵀ * a| aᵀ(x₂-x₁) = 1 the optimal solution p* is no larger than 1. More... | |
| class | TestQPasSOCP |
| This example is taken from the course notes of EE127A from University of California, Berkeley For a quadratic program 0.5 * x' * Q * x + c' * x s.t b_lb <= A * x <= b_ub It can be casted as an SOCP, as follows By introducing a new variable w = Q^{1/2}*x and y, z The equivalent SOCP is min c'x + y s.t 2 * y >= w' * w w = Q^{1/2} * x b_lb <= A * x <= b_ub. More... | |
| class | TestFindSpringEquilibrium |
Namespaces | |
| drake | |
| drake::solvers | |
| drake::solvers::test | |
Enumerations | |
| enum | EllipsoidsSeparationProblem { kProblem0, kProblem1, kProblem2, kProblem3 } |
| enum | QPasSOCPProblem { kProblem0, kProblem1 } |
| enum | FindSpringEquilibriumProblem { kProblem0 } |
| This example is taken from the paper Applications of second-order cone programming By M.S.Lobo, L.Vandenberghe, S.Boyd and H.Lebret, Section 3.6 http://www.seas.ucla.edu/~vandenbe/publications/socp.pdf The problem tries to find the equilibrium state of a mechanical system, which consists of n nodes at position (x₁,y₁), (x₂,y₂), ..., (xₙ,yₙ) in ℝ². More... | |
Functions | |
| std::vector< EllipsoidsSeparationProblem > | GetEllipsoidsSeparationProblems () |
| std::vector< QPasSOCPProblem > | GetQPasSOCPProblems () |
| std::vector< FindSpringEquilibriumProblem > | GetFindSpringEquilibriumProblems () |


Congratulations! 🎉 We provide the essential building blocks for any digitalization strategy.
TCG manages the daily deluge of all important documents and data that is flooding your organization. TCG’s world-class products and technologies are designed to provide a flexible, easily adaptable, one-stop environment for all the input automation needs of your organization. Its modern process automation software architecture, and highly scalable performance can support various deployment scenarios for companies and service providers alike. TCG helps your organization adapt to the digital future and elevates your customers’ experience to a new level
Any incoming document or data, regardless of format (paper, fax, email + attachments, PDFs, e-streams etc.) and regardless of channel (email, scanner, fax, mfp, mobile, chat etc.) is securely captured. All different inputs are then normalized to one single industry standard.
State-of-the-art technologies (including artificial intelligence and robotics) are applied to understand content. Subsequently, data from the documents is extracted in a highly automated process. By matching this data with database entries and checking it against business logic the ‘raw’ data is refined into actionable business intelligence
By further combining the business intelligence obtained with automated and/or human decision making, DocProStar dynamically processes entire document-centric cases through all process steps up to the transactions.