I'm a full-stack developer and designer living in Atlanta. I work as a contractor providing full-stack and mobile development consulting. I've been working on the web for over ten years now, having worked with several awesome companies on several awesome products. For a longer bio, you can check this out.
If you'd like to check out my work or get in touch professionally, please check out my hiring page.
I'm on such a podcast kick lately, and this is my latest. I've only listened to the first episode so far, but I can already see the utility of the show's concept. Seems like a great series which explores how to build quality at all levels of a product.
Very awesome write-up about the art of taking knowledge and formulating it into an optimally learnable form. I already used several of these techniques intuitively but others are very interesting bits of neuroscience/psychology to know. I apply these kinds of concepts to distilling things down into Anki cards for long-term learning.
This is a very nice summary of the book 'A Guide to the Good Life' by William B. Irvine. I've been really into philosophy and developing emotional intelligence the past several months and it was an interesting read with great insights about life and how we experience it, as well as how our brains influence that experience.
Cool algorithm for detecting visually duplicate images and being able to tell in constant time if your database already contains a particular image. This will be very helpful for an app idea that I'm working on in my spare time.


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Back To Firefox
Back in 2002, Firefox was the new hotness in the world of web browsers. Rising from the ashes of Netscape Navigator, the browser emerged as a true competitor to the horror of Internet Explorer. It offered competition with superior rendering and web compliance without the plethora of security issues plaguing Internet Explorer. While Firefox grew in popularity against Internet Explorer through the mid-2000’s, it eventually started to decline in the face of Google’s Chrome browser which took the browser market by storm with its release in the latter half of 2008. People appreciated the speed and efficiency of Google’s new browser, leaving Firefox to languish.
Over the past decade, however, Firefox has undergone a slow yet steady transformation. Prior to the arrival of Chrome, Firefox was fixed on becoming the browser that could do everything, for better or for worse. At the peak of its decline, Firefox was trying to be your web browser, your RSS reader (for the minority of users who had any clue what RSS was), and your IRC client (for the significantly smaller minority of users who had any clue what the hell IRC was), which overall made the browser require more resources for features that most users didn’t need or want, all the while the browser existed inside of a single, monolithic binary. By comparison, the Chrome browser broke each tab into a separate process so that complications with one tab wouldn’t impact the operation of the others.
Recently, though, the tables have begun to turn yet again. After achieving dominance in the browser market, Google has started to act like a GOP senator; they’re willing to sacrifice the good of their constituents (users) in favor of their own interests. For example, Google recognizes the impact of adblocking on its own business. As a result, they’ve proposed changes which would cripple adblockers. While they’ve bounced back and forth on this particular change since they first proposed it in January, they’ve continued to flirt with the idea; clearly Google doesn’t see blocking advertisements as a good thing. Chrome’s resource utilization continues to grow.
At the same time, Firefox began a re-architecture of their browser which allowed for separate processes per tab. Since then, Mozilla has continued to refine their experience.
-
Firefox at 15: Its Rise, Fall, and Privacy-First Renaissance
-
Give Firefox a Chance for a Faster, Calmer, and Distraction-Free Internet
-
Bad News: ‘Unblockable’ web trackers emerge. Good news: Firefox with uBlock Origin can stop it.
There’s a lot to unpack here, and if you want the full details just read all of the articles linked above. The tl;dr is that Firefox now opens a separate process per tab so that each tab can operate independently. Firefox has taken a stance on blocking trackers and other invasive behavior to fingerprint users. Firefox has improved performance on macOS significantly over the past year.  Firefox is going to block those by default, and users have to actively opt into them. And as ISPs start to act even more shady in an attempt to circumvent user attempts to block tracking, Firefox is the browser empowering you to put the power over that tracking into your own hands.
As time goes by, it becomes more and more clear to me that Firefox is the browser focused on user rights and privacy. While I like the idea of Chromebooks and the simplicity they represent, they continue to become less attractive as I have to look at other options which don’t completely disregard my privacy. I’m feeling as though I’m better off getting a cheap laptop that I install my Linux distribution of choice on and use Firefox over opting for a Chromebook where Google will dictate my privacy choices on my behalf.


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SAML Raider is a Burp Suite extension for testing SAML infrastructures. It contains two core features - a SAML message editor and an X.509 certificate manager.
The message editor provides the following capabilities:
- Sign SAML messages & assertions (signature spoofing attack)
- Remove signatures (signature exclusion attack)
- Edit SAML messages (SAMLRequest, SAMLResponse & custom parameter names)
- Perform eight common XSW attacks
- Insert XXE and XSLT attack payloads
- Supported Profiles: SAML Webbrowser Single Sign-on Profile, Web Services Security SAML Token Profile
- Supported Bindings: POST Binding, Redirect Binding, SOAP Binding, URI Binding
The certificate manager provides the following capabilities:
- Import X.509 certificates (PEM and DER format)
- Import X.509 certificate chains
- Export X.509 certificates (PEM format)
- Delete imported X.509 certificates
- Display informations of X.509 certificates
- Import private keys (PKCD#8 in DER format and traditional RSA in PEM Format)
- Export private keys (traditional RSA Key PEM Format)
- Cloning X.509 certificates
- Cloning X.509 certificate chains
- Create new X.509 certificates
- Editing and self-sign existing X.509 certificates


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NORDIC ROSE
BLOG
ABOUT
LINKS
PROJECT
A few words about this blog platform, Ghost, and how this site was made
Why Ghost (& Figma) instead of Medium, WordPress or other options?


SalezApp is my final year project on Android, IT tooks about 6 months to build as per the client's requirements, and I learnt Android from that time.
SalezApp is a minified version of Customer Relationship Management(CRM) that is based on adding only required feature for a daily sales guy. It
SalezApp is avalible FREE on Google Play!


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MySQL Edit Restricted User
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There are three methods for editing a restricted user; you can use UniController, phpMyAdmin or MySQL Prompt. UniController provides a convenient menu option described bellow. To use this option ensure the MySQL server is running otherwise a warning message is produced.
Edit Restricted MySQL User using UniController
MySQL > Edit restricted MySQL User
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Edit Restricted User
- 1) Select the user to edit from the list. This populates the form.
- 3) Enter the current or a new password for the user
- 5) Select or deselect user privileges as required
- 6) Click "Update User" button
Delete Restricted User
- 1) Select the user to be deleted from list.
- 7) Click "Delete" button
Note 1: Cancel (8) clears only the edit fields.
Note 2: Cancel (9) clears only the selected user.
|
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Edit Restricted MySQL User using phpMyAdmin
Start Controller and start both servers, then click phpMyAmin button. To edit a restricted user, proceed as follows:
Note: Assume the user fred has already been created.
|
When first started the phpMyAdmin home page is displayed; you can always return to this page by clicking the home icon (1)
- 1) If not at the home page, click home icon
- 2) From the top menu bar, select Privileges
- 3) Under "Action", Click Edit Privileges
The Edit Privileges: User<EMAIL_ADDRESS>page is displayed.
From this page you can change the user privileges, the database(s)
the user is assigned to and privileges, password and login information.
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Edit Restricted MySQL User using MySQL Prompt
Editing an existing user with restricted privileges can be performed using the MySQL Client.
You can use REVOKE to remove some or all privileges or alternatively use GRANT to add additional privileges. This example assumes a user fred has been created with the privileges GRANT SELECT, INSERT, UPDATE, DELETE assigned on database wordpress.
You can revoke (remove) privileges; for example, the following command removes INSERT, UPDATE and DELETE.
REVOKE INSERT, UPDATE, DELETE ON wordpress.* FROM<EMAIL_ADDRESS>;
You can grant (add) privileges; for example, the following command adds INSERT and UPDATE.
GRANT INSERT, UPDATE ON wordpress.* TO<EMAIL_ADDRESS>;
You can display the grants assigned with the following command:
SHOW GRANTS FOR<EMAIL_ADDRESS>Example for the above commands. Open MySQL prompt window click MySQL Console button. Then enter the following commands:
SHOW GRANTS FOR<EMAIL_ADDRESS>REVOKE INSERT, UPDATE, DELETE ON wordpress.* FROM<EMAIL_ADDRESS>;
SHOW GRANTS FOR<EMAIL_ADDRESS>GRANT INSERT, UPDATE ON wordpress.* TO<EMAIL_ADDRESS>;
SHOW GRANTS FOR<EMAIL_ADDRESS>exit
The results are shown below.
Welcome to the MySQL monitor. Commands end with ; or \g.
Your MySQL connection id is 26
Server version: 5.5.33 MySQL Community Server (GPL)
Copyright (c) 2000, 2013, Oracle and/or its affiliates. All rights reserved.
Oracle is a registered trademark of Oracle Corporation and/or its
affiliates. Other names may be trademarks of their respective
owners.
Type 'help;' or '\h' for help. Type '\c' to clear the current input statement.
mysql> SHOW GRANTS FOR<EMAIL_ADDRESS>+-------------------------------------------------------------------------------------------------------------+
| Grants for<EMAIL_ADDRESS>|
+-------------------------------------------------------------------------------------------------------------+
| GRANT USAGE ON *.* TO<EMAIL_ADDRESS>IDENTIFIED BY PASSWORD '*F5F0B28BD93FCF0C77FD96BB97BBC745ED8EA6BC' |
| GRANT SELECT, INSERT, UPDATE, DELETE ON `wordpress`.* TO<EMAIL_ADDRESS>|
+-------------------------------------------------------------------------------------------------------------+
2 rows in set (0.00 sec)
mysql> REVOKE INSERT, UPDATE, DELETE ON wordpress.* FROM<EMAIL_ADDRESS>;
Query OK, 0 rows affected (0.00 sec)
mysql> SHOW GRANTS FOR<EMAIL_ADDRESS>+-------------------------------------------------------------------------------------------------------------+
| Grants for<EMAIL_ADDRESS>|
+-------------------------------------------------------------------------------------------------------------+
| GRANT USAGE ON *.* TO<EMAIL_ADDRESS>IDENTIFIED BY PASSWORD '*F5F0B28BD93FCF0C77FD96BB97BBC745ED8EA6BC' |
| GRANT SELECT ON `wordpress`.* TO<EMAIL_ADDRESS>|
+-------------------------------------------------------------------------------------------------------------+
2 rows in set (0.00 sec)
mysql> GRANT INSERT, UPDATE ON wordpress.* TO<EMAIL_ADDRESS>;
Query OK, 0 rows affected (0.00 sec)
mysql> SHOW GRANTS FOR<EMAIL_ADDRESS>+-------------------------------------------------------------------------------------------------------------+
| Grants for<EMAIL_ADDRESS>|
+-------------------------------------------------------------------------------------------------------------+
| GRANT USAGE ON *.* TO<EMAIL_ADDRESS>IDENTIFIED BY PASSWORD '*F5F0B28BD93FCF0C77FD96BB97BBC745ED8EA6BC' |
| GRANT SELECT, INSERT, UPDATE ON `wordpress`.* TO<EMAIL_ADDRESS>|
+-------------------------------------------------------------------------------------------------------------+
2 rows in set (0.00 sec)
mysql> exit
Bye
C:\UniServerZ\core\mysql\bin>
Related topics
MySQL Prompt
|


Thanks for installing Cordova {VERSION}!
Plugins
- DO NOT CHECK the “Automatic Reference Counting” option when creating a new project, if not you will have compile errors.
- Plugins MUST add their plugin mapping to their app’s Cordova.plist Plugins key, if not they will not work (see your plugin’s README)
- Plugins MUST add any external hosts they connect to to the white-list in Cordova.plist/ExternalHosts (add hostnames only, NO protocols nor paths)
- A plugin’s Objective-C code MUST be added to the project properly in a “group” (YELLOW folder), if you incorrectly added it as a folder reference it would be a blue folder (just delete the reference, and re-add)
- A lot of plugins have changed their mapping names in Cordova.plist, you might have to copy and use the new Cordova.plist in your app.
Upgraders
- Please see the Upgrading Cordova iOS document on http://docs.phonegap.com
- See the FAQ in the README.pdf as well
Creating a new Cordova-based project
Follow the instructions in the Command-Line Usage section of http://docs.phonegap.com
The docs should also have been included in the distribution.
That’s it! Modify the contents of the “www” directory to add your HTML, CSS and Javascript.
Links


About Me
I am a young man a go getter and never settle for less. I always get myself around positive energy, i carry not a faint heart hence allows me to keeping moving not matter the challenges around. My greatest aspiration is to be a problem solver at the capacity am in. One of the greatest lessons i have learnt along the way is to see opportunity in every crisises and embrace change. I am a born-again believer during church events i do sound engineering, i do play the bass guitar. Am a student at Moringa school pursuing software development.Here are afew interesting things about me;
- I am highly perceptive and have razor sharp intuition. This does not mean that I know everything, and it does not mean that I am never wrong. But my instincts about people, events and situations are usually spot-on.
- Carrys a positive energy with me.
- I love to learn new things, and I embrace my inner nerd.
- I love shoes
- I love riding
- I am a highly sensitive person (HSP) . Figuring this out was life-changing.
- I used to be a conflict-avoider, but no more. I hated confrontation for the longest time, but I don’t do that anymore. I still love harmony in my relationships, but I choose to deal with issues directly and promptly so they don’t fester and get worse.


Overview
The following document outlines APIs and requests in common integration scenarios between the iQmetrix Endless Aisle solution and external systems utilizing APIs.
Postman Example
iQmetrix uses Postman when testing and debugging our APIs.
For Chrome or Mac users, click the button below to import the collection directly into Postman.
The Postman environment shared by all API references and guides can be found here.
Alternatively, you can download the collection by clicking here.
Who Is This Guide For?
The intended audience for this guide are developers who are integrating an external system with Endless Aisle, such as…
- eCommerce Solutions such as Magento
- Content Management Systems such as Joomla
- Inventory Management Systems such as Netsuite
- Point of Sale Systems such as Lightspeed
Onboarding Package
As part of the onboarding process, you will have received an onboarding package from the iQmetrix API team. This package provides you credentials and access details in order to perform the topics covered in this guide.
Should you require information beyond the scope of this guide, or did not receive the onboarding package, contact Support.
Environment
iQmetrix provides you with two environments: Sandbox and Production. Use the Sandbox environment to test your API and to perform end-to-end testing. After completing this stage proceed to the Production environment.
For more information on environments, see Environment.
The iQmetrix API supports JSON
and JSON + HAL
. See Supported Response Formats for more information.
Before You Begin
In order to make authorized requests to iQmetrix APIs, you need an Access Token.
See the table below for different ways of getting an Access Token.
| If… | Then… |
|---|---|
| You do not have an Access Token | See Obtaining an Access Token |
| You have an Access Token, but it is close to expiring | See Refreshing an Access Token |
The token is placed in the Authorization
header of requests to iQmetrix APIs, prefixed by the word Bearer
.
Example
Authorization: Bearer (Access Token)
Integration Areas
This guide is organized by functional areas of an external system that you may wish to integrate with Endless Aisle.
Feel free to skip to any section you are interested in:


An Adventure Awaits You!
Fate and Destiny have consipred to send you on the ultimate vacation! But what are you going to do? Relax at home for a nice staycation? Or are you interested in challenging yourself with something HIGH IMPACT? You could go out for an epic adventure that changes everything. Even bring a few of your friends (and frienemies) along. But wait! You might not fit this narrative at all. Are you a spaceman?  Take the test to find out!
Adventure!
Staycation!


We exchange networks!
- envisioneer bleeding-edge supply-chains
- exploit frictionless interfaces
- monetize plug-and-play functionalities
- synergize enterprise architectures
- morph synergistic markets
- e-enable cutting-edge markets
- reintermediate dynamic e-markets
- leverage rich schemas
- redefine dynamic metrics
- transform bleeding-edge interfaces
- repurpose sticky deliverables
- integrate granular channels
- aggregate revolutionary interfaces
- engage ubiquitous e-markets


Hello Again Blog!
Today we will discuss a little about the basic elements that surround any piece of content on the page. They are padding, border, and margin. In that order - outward from the content itself.
In the most basic definition. Padding is the space between the content and the border. The border is a (usually) visual demarcation between the content any other element on the page. The margin is the space between the element and another element on the page.
Padding.
Check out the difference between the the fours boxes in these pictures. The boxes in the first picture have almost no colored space between the letters in each box and the border. Some of the boxes in the second picture have large empty spaces of background color between the letters in the center and the border around the box. That space in between the letter in the border is called padding. In the first picture it is very close to 0. In the second picture it is considerably larger.
Border.
As discussed in the padding section the border is the line that encases the edges of the element, in this case the boxes labeled div 1, div 2, ... As you can see by comparing the Div 2 box, (where no visible border is expressed), and div 3,4 , there are many different styling aspects that can be applied to the border of an element.
Margin.
Margins are the spaces between the different boxes. If you look back at the first picture of the small equal sized boxes displayed in the center of the page, they are each separated by a small area of gray background about the same size as the boxes themselves. That gray space in between each box is the margin.


The 1957 British film musical version of THE GOOD COMPANIONS (Directed by J. Lee Thompson for Associated British) creates a world far removed from the present in which a different, cosier set of values reigns, which isseductively attractive to those of a certain age. In the opening scene of the film the world of the theatre concert party is compared by a heartless theatre manager with the emerging culture of 'rock n' roll, striptease and television', and indeed the form of the film itself, in its use of widescreen, colour and enchanced sound (it is likely that at the film's premiere engagement at the Warner cinema in London's Leicester Square, the film had enchanced sound, as ABPC Elstree was experimenting with 'perspecta' (pseudo stereo) sound at this time), it directly takes on the new domestic competition of television, which was beginning to take hold of the British viewing public by 1957. In this old world is philanthropic spinster Miss Trant (Celia Johnson), living comfortably in middle age, and very much Laura Jesson from BRIEF ENCOUNTER, if she had not married Fred in that classic film. Her encounter with the struggling concert party, the 'Dinky Doos', and the world of the touring theatre as depicted by J.B. Priestley is well known to English audiences, and was much appreciated by the lyricist Johnny Mercer, who, with composer Andre Previn, worked on a stage musical of the story which played in London at Her Majesty's in 1974. THE GOOD COMPANIONS was previously filmed by Gaumont in 1932 with Jessie Matthews and John Gielgud. Apparently, a remake was planned in 1953 with ABPC contract stars husband and wife team Michael Denison and Dulcie Gray, together with a young and little known actress/dancer named Audrey Hepburn to be cast as Susie Dean. Then Hollywood became interested in Audrey, and Paramount brought her out of her contract with ABPC so she could star in ROMAN HOLIDAY, and the rest, as we know is history. ABPC then shelved the project, and released the others from their contracts. Three years later, they decided to revive the project, brought in new writers to polish the script, and decided to turn it into a CinemaScope musical, with newly commissioned songs from Paddy Roberts and others. They brought in a new cast, mainly composed of young contract talent, which is how Janette Scott, John Fraser and Rachel Roberts became involved.
The 1957 version of THE GOOD COMPANIONS had been out of circulation for many years - it was last shown on British television in the monochrome days of 1964. One had assumed that the colours had faded and that the film was beyond repair. What a joy therefore to see the new print which was first broadcast on Channel Four(UK) in 1997. In the restored print the CinemaScope image is simply wonderful with all colours looking bright and sharp, and TGC is now revealed as one of the most attractive and elegant British films of its decade. The lighting of interiors is exceptional - rooms and decor are beautifully depicted: Jess Oakroyd's living room, public houses, a private dining room at the back of a seedy cafe which takes on a warmth all of its own because of the theatricals seated round the table, theatre interiors, and there is a scene in a lavish hotel dining room with Joyce Grenfell (Lady Parlitt) in which the surroundings are rich in detail. Special praise should go to the director of photography (Gilbert Taylor).
As the setting of the story is updated from 1929 (when touring shows were highly popular) to the 1950's, when they were in decline, the musical style is also updated, and the songs are all catchy in the style of ballads/revue/variety c1956/7. This perhaps explains why the film was not a big commercial hit in 1957, in spite of an Easter release date- it had the misfortune to open just as rock and roll was taking off as the music for the young, and even to the teenagers of 1957 (the target audience defined in the film's press book), it must have seemed terribly old fashioned, looking to the past rather the present. It also had the misfortune to be released in the UK (it was never released theatrically in the USA- not the kind of film Allied Artists, the distributor of Associated British films in the USA was interested in- it had no 'exploitation' angle) in the same month as the Fred Astaire/ Audrey Hepburn FUNNY FACE, one of the all time classics of the musical genre, and critics were tempted to make comparisons with the British musical effort. In hindsight however, this is unfair to THE GOOD COMPANIONS, and with the passing of time the qualities of the film are more evident. For TGC is priceless as a 1950's British film musical which owes nothing to operetta or rock and roll - in its recording and celebration of fifties variety it is unique, bearing in mind that all television variety at the time went out live. In the UK little was filmed and videotape was still several years away. The decline of this form of entertainment is disguised by the triumphant finale, although earlier passing reference is made to the 'three graces' appearing 'stripped to the buff', as in the 1950's touring nude revues. Interestingly, at the same time as THE GOOD COMPANIONS was released, 1957, John Osborne's Play THE ENTERTAINER, with Laurence Olivier as Archie Rice, was premiered at London's Royal Court Theatre (and later filmed in 1960), and it provides a fascinating counterpoint to the essential optimism of TGC. What a fascinating double bill these two films would make! (An interesting foonote: the main location of the film of THE ENTERTAINER is the Lancashire seaside town of Morecambe, where Janette Scott spent her early years. Her grandfather was manager of the theatre used in THE ENTERTAINER, and this was the theatre where her mother, the actress Thora Hird (who incidentally appears in both films) made her stage debut).
THE GOOD COMPANIONS, although greatly condensed, remains faithful to the essential spirit of Priestley's novel in its celebration of showbusiness and the theatrical life, and in particular, the metaphor of the touring theatre as an escape for the middle aged male from a society that is domesticated, drab and puritanical, epitomised in those apron wearing, dour wives (played by Thora Hird and Beatrice Varley in TGC) who appear at the stage door and attempt to drag their 'erring' husbands away from the chorus girls, and back to a 'reality'. Then there is the sense of community amongst the performers, and of communal travel by steam hauled trains through the length of Great Britain from Wales to Yorkshire, to Bournemouth and on to London. This romantic vision is captured in a beautifully realised montage sequence which commences with a distant shot of a train crossing a viaduct, goes to the train (which looks like a toy train, but isn't) chugging through a verdant green mountain valley, which fades into a travelling shot of the view from a carriage window of a harsh industrial landscape, a steel works, which then cuts directly to the nets of a theatre stage and the performance of a ballad 'If Only' by Susie Dean (Janette Scott). The sequence is linked by the title song on the soundtrack, and the whole effect is strangely moving, perhaps something to do with the power of the entertainer to transform our perception of the world around us, and brighten our lives.
Practically all the minor roles in THE GOOD COMPANIONS are played by performers who subsequently became much more famous, so the film is full of incidental pleasures. Because so many of these artists were also appearing in West End shows in the 1950's, the film provides us with an invaluable snapshot of certain performers at a specific stage of their careers. Some were just beginning and had appeared in West End productions of the period: others were vetrans whose career in musical comedy goes back to the 1930's and earlier. In the latter category was Bobby Howes, who appeared in numerous shows from 1923 onwards, the most well known being Mr.Cinders(1929). In the 1950's he appeared in Paint Your Wagon(Her Majesty's 1953) and in the NY revival of Finian's Rainbow with Jeannie Carson (46th St. Theatre 1960). Joyce Grenfell, a West End revue artist since 1939, appeared in the 1950's revue Joyce Grenfell Requests the Pleasure of your Company (Fortune Theatre 1954 and for one month in NY in 1955). Paddy Stone and Irving Davies had both appeared in Annie Get Your Gun (London Coliseum 1947), in which the latter performed the duet 'Who do you Love, I hope?' with Wendy Toye: both Stone and Davies had also appeared in the aforementioned Joyce Grenfell revue in 1954, in which Irving Davies performed a duet with Joyce ('Ordinary Morning'). They also both appeared with Jeanie Carson in a song and dance number ('In Again/Out Again Heart') in the 1955 film AS LONG AS THEY'RE HAPPY (which was also directed by J. Lee Thompson, and featured Janette Scott). Regrettably THE GOOD COMPANIONS was Paddy Stone's only major featured film appearance. Apart from his brilliant solo chair number ('Where there's You'), he also choreographed all the numbers, with Irving Davies, and is responsible for much of the film's energy. Along with Davies, in the 1960's he became resident choreographer for Lord Lew Grade's Associated Television variety shows (featuring Millicent Martin, Librace, Englebert Humperdinck, Tom Jones and many others, and his most recent screen credit was as choreographer for the 1982 movie of VICTOR,VICTORIA. John Fraser was later to appear in Strike a Light (Piccadilly,London 1966) with Jeanie Carson and Evelyn Laye. He is probably best remembered for his portrayal of Lord Alfred Douglas to Peter Finch's Oscar Wilde in THE TRIALS OF OSCAR WILDE (US:THE MAN WITH THE GREEN CARNATION)(1960), and is an amiable romantic lead - there is a charming little scene where Inigo and Susie take a ride on the top deck of a tram in a Midlands town (actually filmed in London). John LeMesurier appeared in Twenty Minutes South ((Greenwell(m) /Browning(l)) at the Players Theatre in 1955. Anthony Newley had appeared in Cranks (Addison(m)/Cranko(l)) in London New Watergate Theatre 1955) and NY (1956). Rachel Roberts had appeared in the revue At the Lyric (Lyric, Hammersmith London 1953). As no recordings of this exist, her featured spot in THE GOOD COMPANIONS ('The Gentleman is a Heel' number) provides a good indication of the style she must have brought to revue. Soon after TGC she appeared in the musical Oh! My Papa! (Garrick, London 1957), and was later to appear in Lionel Bart's Maggie May (Adelphi 1964). So in TGC we can see the star of such classic British 'realist' films as SATURDAY NIGHT AND SUNDAY MORNING and THIS SPORTING LIFE as a song and dance lady! Incidentally, her co-star in the former film, Shirley Anne Field, appears briefly in TGC as the brunette of the 'three graces', and looks as pretty as a picture as a gold trilby hatted chorine. The distinguished actor Alec McCowen (who incidentally plays Professor Henry Higgins in the 1997 CD recording of the complete My Fair Lady score (TER records)), appears in an early scene as Albert, Jess Oakroyd's son. I will leave you to spot the rest of the familiar faces! Scenes are charmingly played by the two romantic leads, Janette Scott (Susie Dean) and the aforementioned John Fraser (Inigo Jolliphant), an archetypical 1950's 'nice couple',although Susie's calculating sense of ambition at moments threatens this spirit of niceness and prevents Susie from being too cloying.
TGC is not an integrated musical - the songs (with composition shared between Paddy Roberts(m/l), C. Alberto Rossi(m/l), and Geoffrey Parsons(l) do not further character or plot, and the lyrics are not related to the story, except in a most tenuous way. All musical numbers are performed either on the theatre stage or in rehearsal. Nevertheless, they are staged with a professionalism that is rare in a fifties British musical film. Although imitative of Hollywood models, staging and colour design show some flair - for example the finale ('Round the World'), in the use of orange and red in the casbah scene and cool blue for 'Flo's Ice Club'. The lavish orchestral arrangements were provided by Laurie Johnson, later to compose the music for many films and television shows (ie THE AVENGERS), as well as the music for Lock up your Daughters (Mermaid Theatre London. 1959).  Eighteen year old Janette Scott (placed under contract by Associated British as a child actress, and groomed for stardom as a teenager throughout the 1950's, and once, according to David Frost (in volume one of his autobiography) in the running for the lead in My Fair Lady on Broadway in 1956) does not receive top billing, but clearly emerges as the star of THE GOOD COMPANIONS, and remains a potent icon of a past age of innocent screen romance. She displays great spirit and loads of charm, especially in 'Today will be a Lovely Day' in which she appears with Paddy Stone and Irving Davies as her two partners in a very slick routine, which starts with a gamine Jan liltingly responding to her suitors' invitation 'Whatya doin' Tonight?' - her enthusiasm is also quite infectious in the skilfully staged finale, when accompanied by a large troupe of dancers, she is joyously swept across the Elstree soundstage on a luggage trolley, and lifted into flight to exotic climes across the CinemaScope screen. Her youthful joie de vivre led one English critic, Peter Baker of 'Films and Filming' to write (April 1957) that he sees in Janette Scott 'that vivacity and unaffected warmth which marked the young Judy Garland in THE WIZARD OF OZ, BABES IN ARMS and LITTLE NELLY KELLY'. Reviewing the premiere at the Warner Cinema in London's Leicester Square, Variety's correspondent writes more modestly that 'Miss Scott makes a refreshing and appealing showing as the concert party star with ambitions'. At the conclusion of the 'Round the World' number, the pampered, overweight cigar smoking critic, sitting in his private box with his blonde 'secretary' comments directly to camera (ie to the cinema audience ):'It is my job to extinguish lights, but tonight I've seen a little light that one day may become a star', and we, the spectator, are invited to collude with this. However, this was the last musical film made by Janette Scott, and ABPC's next musical project was THE YOUNG ONES(1960), a much bigger commercial success which incorporated rock and roll (amongst the more traditional musical numbers by Peter Myers and Ronnie Cass) in the form of Cliff Richard and the Shadows. The type of musical represented by TGC was no longer a box office attraction. Janette made many later films of course, including the classic SCHOOL FOR SCOUNDRELS and several sci -fi films (such as THE DAY OF THE TRIFFIDS), but none of the later films have the spontaneous innocence of THE GOOD COMPANIONS, which is uniquely a film of its time. Janette Scott retired from feature films after her marriage (1966 to 1977) to Mel Torme.
I would also single out for praise Eric Portman, who is perfect in the role of Jess Oakroyd, and brings richness and depth to the role. There is a wonderful moment at the end of TGC, when after Susie Dean's triumph, he nods leans forward and glances towards Miss Trant, who is sitting in the same row of the theatre stalls, and almost telepathically communicates with her to share Susie's moment of triumph with a thumbs up sign followed by the removal of a handkerchief from his top pocket in order to dry his eyes. THE GOOD COMPANIONS has several moments like this (those looks that Jess Oakroyd (in the wings operating some piece of equipment) gives to Susie as she is performing, speak volumes. TGC is strong in rich character acting in a very English tradition (even a theatre manager has an individuality about him, even though he appears only briefly with one line of dialogue). It is also to the credit of the direction and the writing, that with such a large cast the characters are so clearly defined and the narrative remains focused. It is these qualities, together with the film's excellent production values and the charm of the performances make the film such good entertainment.
Back in April 1957, I saw THE GOOD COMPANIONS as an Easter treat at my local ABC cinema when it was first released. I was nine at the time and the film made a deep impression on me. Seeing it again for only the second time forty years later in 1997, I was amazed to find how much I could remember from the first viewing. A film must have something rather special to remain in one's memory so clearly for so long. I cannot think of any other British film of the 1950's that evokes so vividly a sense of time and place - of steam trains, rides on trolleybuses, tea rooms, provincial theatres and touring variety - it is all there in colour and CinemaScope, and thankfully, has been preserved.
If you have an interest in, or any comments about the subject of this article, or any notes for corrections and additions, please contact the author<EMAIL_ADDRESS>The review above was posted to the
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Address
in package
implements
JsonSerializable
`Address` Type to be passed into the *validateAddress* method and internal **AddressService**.
Tags
Interfaces, Classes and Traits
- JsonSerializable
Table of Contents
- $cityLocality : string|null
- The city or locality.
- $cityLocality : string|null
- $company : string|null
- $company : string|null
- The company name, if this is a business address.
- $countryCode : string
- $countryCode : string
- The ISO 3166 countryCode code
- $isResidential : bool|null
- $isResidential : bool|null
- Indicates whether the address is isResidential or commercial, if known.
- $name : string|null
- $name : string|null
- The name of the sender or recipient at the address, if applicable.
- $phone : string|null
- The phone number associated with this address, if any.
- $phone : string|null
- $postalCode : string|null
- $postalCode : string|null
- The postal code or zip code.
- $stateProvince : string|null
- $stateProvince : string|null
- The state or province.
- $street : array<string|int, mixed>
- $street : array<string|int, mixed>
- The street address. If the street address is multiple lines, then pass an array of lines (up to 3).
- __construct() : mixed
- Address Type constructor. This object is used in the AddressService methods as the $params object that gets passed in.
- jsonSerialize() : mixed
- Returns an array that can be easily JsonSerialized using `json_encode()` which will yield a JSON string representation of the `Address` Type.
- validateInput() : void
- Assertions to validate that the address array items are in the type/format we need them to be.
Properties
$cityLocality
The city or locality.
public
string|null
$cityLocality
$cityLocality
public
string|null
$cityLocality
$company
public
string|null
$company
$company
The company name, if this is a business address.
public
string|null
$company
$countryCode
public
string
$countryCode
$countryCode
The ISO 3166 countryCode code
public
string
$countryCode
Tags
$isResidential
public
bool|null
$isResidential
$isResidential
Indicates whether the address is isResidential or commercial, if known.
public
bool|null
$isResidential
$name
public
string|null
$name
$name
The name of the sender or recipient at the address, if applicable.
public
string|null
$name
$phone
The phone number associated with this address, if any.
public
string|null
$phone
$phone
public
string|null
$phone
$postalCode
public
string|null
$postalCode
$postalCode
The postal code or zip code.
public
string|null
$postalCode
$stateProvince
public
string|null
$stateProvince
$stateProvince
The state or province.
public
string|null
$stateProvince
$street
public
array<string|int, mixed>
$street
$street
The street address. If the street address is multiple lines, then pass an array of lines (up to 3).
public
array<string|int, mixed>
$street
Methods
__construct()
Address Type constructor. This object is used in the AddressService methods as the $params object that gets passed in.
public
__construct(array<string|int, mixed> $address) : mixed
Parameters
- $address : array<string|int, mixed>
Return values
mixed —jsonSerialize()
Returns an array that can be easily JsonSerialized using `json_encode()` which will yield a JSON string representation of the `Address` Type.
public
jsonSerialize() : mixed
Output Example:
{
"name": "ShipEngine",
"phone": "123465798",
"company": "ShipEngine",
"street": [
"4 Jersey St",
"ste 200"
],
"cityLocality": "Boston",
"stateProvince": "MA",
"postalCode": "02215",
"countryCode": "US"
}
Return values
mixed —validateInput()
Assertions to validate that the address array items are in the type/format we need them to be.
public
validateInput(array<string|int, mixed> $address) : void
Parameters
- $address : array<string|int, mixed>


Somesh Shinde started working as an employee under Sudhir Khot since year 2012. He joined Kaijing with salary of just Rs. 6000.
At Kaijing, we have a have a very special ritual of setting goals on January 1 st of every year. Every person working at Kaijing has to think on his financial timeline. “What is your plan for current year and how do we achieve that?” Answer to this one question clarifies actions for the rest of the year.
Even though he was drawing very small salary he started with an SIP of just Rs. 1000/- per month. Every year with increase in salary he increases his investments in mutual fund and stock market.
At the age of 23 he is holding decent portfolio of over 2 lacs in the market where most people are even afraid to enter.


PandoraBoy’s user interface is pretty screwed up since the recent Pandora update. I’ve talked with Pandora and it’s a known problem with WebKit. You’ll see the same issues if you run Safari. Pandora is working on a fix, and when they deploy it, PandoraBoy should automatically work again.
PandoraBoy 0.8
I’ve put out PB 0.8. It has a small number of preference and hotkey fixes, upgrades to the latest ShortcutRecorder (which took a lot more work than I hoped, and I still think may be a little flakey), dropped 10.4 support (because of the latest ShortcutRecorder), and adds experimental Rowmote support. (I may accidentally list “rowmote” as “rowmate” in the changelog; sorry about that.) I say “experimental” because I haven’t gotten around to testing it myself. The author of Rowmote kindly provided me a patch, and I’ve applied it and nothing seems to have blown up.
I’m planning at least another day of PB work this week, so vote on the Issues list for things you most care about and I’ll hit those first. Testing 10.6 support is obviously top of the charts. My main production box is still 10.5, and that’s where I run PB, so I haven’t actually run into the problem yet. But I have 10.6 boxes around to test with.
I know there are a lot of significant bumps with PB these days. I focus almost all of my development time on my full time Mac and iPhone projects, and only look at PB now and then (since it does everything I really want it to). But later this week I’ll make some more time to take care of the bigger issues that impact folks the most. Pandora is still my favorite music service, and I spend a lot of time listening to it. I like to help others enjoy it as much as I do.
GCD + iPhone
The long-lasting power of Snow Leopard from The Yankee Group.
Ever since I first saw GCD at WWDC, I’ve been amazed by it and eager to give it a real spin. But since the vast majority of my work is in low-level libraries that run on both Mac and iPhone, GCD is closed to me (as is garbage collection; more on that later). I’ve said that multi-core would come to mobile devices because everything will come to mobile devices (laptops are the new desktops, and mobile is the new laptop). And for the iPhone, multi-core also makes a lot of sense by allowing Apple to dedicate a core to its own use during important functions like phone calls. But Carl Howe makes an even more compelling argument for mobile multi-core: better battery life.
With multi-core comes another strong possibility: garbage collection. The availability of a second core makes this more likely on iPhone. Yes, memory is tighter, but ever-growing. And GC will likely do a better job of reclaiming memory faster than much of the leaky programs I see from novice programmers. But to do it well, I think a second core is a real must. I’ve grown good at memory management over the years, and it’s hard for me to write GC Cocoa because it “feels wrong.” But I think I could get used to it…. And it would help alleviate the biggest class of coding error I see in Cocoa programs.
Of course, the clang static analyzer will probably help get rid of 90% of those errors anyway, so maybe the need for GC just went way down…. Have I mentioned recently how incredible clang really is? I desperately long for them to finish bringing it to Obj-C++ so I can use it.
Implementing NSCopying (or NSCopyObject() Considered Harmful)
NSCopying
is not always as simple to implement as you would think. Apple has a good write-up discussing the complexities, but let me elaborate. Forgive some ranting digressions. It’s important to know how to work around the problems I’m going to discuss, but it’s also important to understand how insane it is to have to work around this issue.
First, there’s the fairly obvious problem of deep versus shallow copies. If object foo
has an instance variable *bar
, should a copy of foo
have a second pointer to bar
, or should it have its own copy of whatever bar
points to? There is no way to answer this question generally; it depends on the nature of the objects.
Most of the time, this can be dealt with fairly easily by implementing the accessors with the correct behavior (retain versus copy), and you wind up with a copyWithZone:
like this:
- (id)copyWithZone:(NSZone *)zone
{
Product *copy = [[[self class] allocWithZone: zone] init];
[copy setProductName:[self productName]];
return copy;
}
That works really well as long as your superclass doesn’t implement NSCopying
, but if it does, you may not have enough information or access to cleanly copy it. Now you would think this would be easy:
- (id)copyWithZone:(NSZone *)zone
{
Product *copy = [super copy];
[copy setProductName:[self productName]];
return copy;
}
But that may or may not work. If super
implements -copyWithZone:
as described above, then all is fine. But what if your superclass uses NSCopyObject()
? Things go badly, and in ways very difficult to understand and debug.
Importing UIKit vs. Cocoa
I work on a lot of projects that share significant code between iPhone and Mac versions. This is the beauty of Cocoa. While working on these projects, I’ve bumped into this idiom many times:
#ifdef TARGET_OS_IPHONE
#import <UIKit/UIKit.h>
#else
#import <Cocoa/Cocoa.h>
#endif
This is almost never correct, and almost always means that someone imported Cocoa.h into a model class. Model classes should never rely on UIKit or Cocoa. They should just import Foundation.h.
There is one interesting exception that we’ve run into: NSImage versus UIImage. These are really model classes, but they’re part of AppKit and UIKit. They have very similar interfaces, so in most code you should be able to interchange them and keep everything portable. What to do?
Re-growling Song in PB
I started implementing a hotkey to regrowl the current song. ishermandom sent me a patch months ago to do this, and I’ve just started integrating it. It’s very small, I just hadn’t done it yet. Since I’ve restructured hotkeys due to the ShortcutRecorder upgrade, I’ve actually had to reimplement it anyway, but really, it’s not complicated.
I also pulled some of the NSLog() statements out, so PB will no longer fill your Console with messages about what song is playing. If you want need this functionality for something, let me know. There are better ways for me to implement it.
Funny, Pandora seems down this morning? The silence is deafening. Even while I’m investigating why the flash player isn’t coming up (even in Safari), I keep hitting my “play” shortcut because its too quiet. I guess I pull out iTunes….
PandoraBoy Moving to Leopard
For the last couple of nights I’ve finally gotten back to PandoraBoy work. The backlog of issues has gotten a bit out of hand as I’ve focused on other projects. One thing that has hung me up for a while has been the Hotkey preferences pane, which uses ShortcutRecorder. SR had an IB Pallet that only worked with IB2.5, not IB3, which made working on that panel very difficult. I’ve finally upgraded SR to the latest version, which required a lot of recoding since PB relied SR’s now-deprecated autosave functionality.
The side effect of all of that is that the latest SR requires Leopard, and so now PB requires Leopard. I had planned to wait for SnowLeopard’s release to drop Tiger support, but this accelerates that a bit. It does make my coding a work a bit easier, since 10.5 has many nice developer features.
Drop me a note if you’re still running PB on Tiger. Every other major user of ShortcutRecorder had already gone Leopard-only, which is why they made the move. Tigers are getting pretty rare out there.
Flash Bug, SIGINT From Debugger()
Thank you stinkblog, thank you for saving me a great deal of pain debugging this. PandoraBoy work can now continue.
Quit Using +stringWithString:
I keep coming across code like this:
newMonster.trueName = [NSString stringWithString:@"New Monster"];
It’s time to say stop it already with the extra +stringWithString:
. I haven’t worked out yet where this anti-pattern comes from. Maybe it’s a misunderstanding of some sample code in Kochan? Maybe it’s a Java/.NET thing? I’m not sure. But I see it so often from so many places that it’s clearly something that needs discussing. (The rest of the linked article is good; it just gave me a good example of this issue.)
View Controllers and Notifications
Observing NSNotifications in a view control is a good thing. But remember, just because you’re not onscreen doesn’t mean that you’re not still observing. This is particularly noteworthy on iPhone, where your view can get dropped any time memory is tight and you’re offscreen, but it can bite you anywhere.
ViewControllers, WindowControllers and other UI controllers are often better off registering and uregistering for notifications when they are put on and off the screen rather than when they are allocated and deallocated. This often means that they will need to update their state when put on screen. For example, an icon indicating “connected” might be part of a StatusViewController. When StatusView comes on screen, StatusViewController should update the connected status and then begin observing changes on it. When StatusView goes off screen, StatusViewController should stop observing.


PLANET SICK-BOY: http://www.sick-boy.com "We Put the SIN in Cinema"
If you believe what you see in the movies, everyone who has ever picked up a paintbrush is completely whacked out of their mind. Henry Thomas' character in Fever should have been locked up forever, and let's not even talk about the messed-up Mafia art in Mickey Blue Eyes. Films based on real-life talents like Jean-Michel Basquiat and Jackson Pollock aren't much different, showing artists as suffering, angst-ridden kooks with a gift that ultimately consumes them.
Carlos Saura's Goya in Bordeaux is more of the same. Spanish painter Francisco de Goya, considered by many to be the greatest artist of the modern era, is portrayed as an unhinged madman with a life full of enough hallucinations to make Timothy Leary jealous.
Bordeaux shows two different Goyas – one young and vivacious (José Coronado), and one old and out of his mind (Francisco Rabal). The tales of young Goya are shown in flashbacks as the older Goya bores his young daughter (Daphne Fernández) with story after story of his glory days as he rots away on his deathbed.
We see a young Goya hoping to one day become the court painter to Spain's Charles IV but instead finding exile with other nationalists after the liberal-stomping Ferdinand VII reclaimed his throne in 1814. He fell in love with a beautiful Duchess (Maribel Verdú), and in his 40s, Goya went blind and found himself tormented by powerful headaches. His work, which was always pretty dark, became even more disturbing. The painter found himself haunted by both his troubling art and the Duchess, who died because of her opposition to the Queen.
Bordeaux's story plays second fiddle to the film's amazing visuals, which are as close as you can get to a Peter Greenaway film without actually having Greenaway involved. Armed with his extraordinary cinematographer, Vittorio Storaro (Bulworth), Saura keeps the film interesting with several unique cinematic devices, ranging from the use of transparent wallpaper to having Goya's art coming to life before your very eyes. The film is highlighted by a recreation of Goya's series of paintings called `Disasters of War,' which depicted Napoleon attacking the Spanish.
It would have been one thing if Saura (Tango) made Bordeaux into a plodding, two-plus-hour film, but it barely cracks the 90-minute mark – just enough to hold my attention. The film won several Goya Awards, which are the Spanish equivalent of the Oscars. Interestingly enough, the American film Oscar did not win any Oscars.
1:39 – R for some sexual content and violent imagery
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


House clear-out finds Irish News paper boy statue
by SUZANNE MCGONAGLEDOES this statue look familiar?
A clear-out of a house in south Belfast has unearthed the discovery of an unusual Irish News ornament.
Crossgar woman Margaret McCriskin found the statue of the paper boy clutching a copy of the newspaper in her late mother-in-law's house in the Ormeau Road area.
The delivery boy, wearing blue trousers, green jacket and cap with copies of The Irish News under both arms, is believed to have been given to May McCriskin during the 1960s.
Intrigued by the discovery, Mrs McCriskin sent in a photograph of the ornament to the Irish News.
"We found it in my late mother-in-law's house a few years ago," she said.
"Apparently someone brought it back for her when they were on holiday in Omeath in the 1960s.
"She had a ritual of a Belfast bap and a copy of the Irish News every day, so I think that's why the statue was brought back for her."
Ms McCriskin said it was a "lovely memento" to have and wondered if anyone else also had a similar statue.
"It's unfortunate that there's some slight marks on the front, but it's still in one piece," she said.
"It's lovely that she kept it and when she passed away it was the one thing that my husband insisted that he wanted to keep.
"It's a lovely little memento."
** If you own a similar statue or know where it came from, please get in touch by calling 028 9033 7547 or email<EMAIL_ADDRESS>Subscribe to our most read headlines in the evening newsletter


Ultron is a high-intelligence robot. It gathers intelligence so it can start improving upon his rudimentary design. It will learn your event emitting patterns and find ways to exterminate them. Allowing you to remove only the event emitters that you assigned and not the ones that your users or developers assigned. This can prevent race conditions, memory leaks and even file descriptor leaks from ever happening as you won't remove clean up processes.
The module is designed to be used in browsers using browserify and in Node.js. You can install the module through the public npm registry by running the following command in CLI:
npm install --save ultron
In all examples we assume that you've required the library as following:
'use strict';
var Ultron = require('ultron');
Now that we've required the library we can construct our first Ultron
instance.
The constructor requires one argument which should be the EventEmitter
instance that we need to operate upon. This can be the EventEmitter
module
that ships with Node.js or EventEmitter3
or anything else as long as it
follow the same API and internal structure as these 2. So with that in mind we
can create the instance:
//
// For the sake of this example we're going to construct an empty EventEmitter
//
var EventEmitter = require('events').EventEmitter; // or require('eventmitter3');
var events = new EventEmitter();
var ultron = new Ultron(events);
You can now use the following API's from the Ultron instance:
Register a new event listener for the given event. It follows the exact same API
as EventEmitter.on
but it will return itself instead of returning the
EventEmitter instance. If you are using EventEmitter3 it also supports the
context param:
ultron.on('event-name', handler, { custom: 'function context' });
Just like you would expect, it can also be chained together.
ultron
.on('event-name', handler)
.on('another event', handler);
Exactly the same as the Ultron.on but it only allows the execution once.
Just like you would expect, it can also be chained together.
ultron
.once('event-name', handler, { custom: 'this value' })
.once('another event', handler);
This is where all the magic happens and the safe removal starts. This function accepts different argument styles:
removeAllListeners()
API.
and ,
to create a
list of events that need to be cleared.ultron.remove('foo, bar baz'); // Removes foo, bar and baz.
ultron.remove('foo', 'bar', 'baz'); // Removes foo, bar and baz.
ultron.remove(); // Removes everything.
If you just want to remove a single event listener using a function reference
you can still use the EventEmitter's removeListener(event, fn)
API:
function foo() {}
ultron.on('foo', foo);
events.removeListener('foo', foo);
MIT


Where are the files of the menu icon?
-
bastian
i want to customize thestandard icon of the winswitch menu. Where i can found the image?
-
Greg Hurrell
I think you need to look inside:
WinSwitch.menu/Contents/Resources
-
bastian
umm... and were is WinSwitch.menu? i cant locate it
-
Greg Hurrell
Code:locate WinSwitch.menu
Will probably tell you the answer... ;-)
But in any case, I believe the installer puts it in:
/Library/Menu Extras/
Reply
This topic is now closed.


ReadProgramData()
Syntax
Result = ReadProgramData(Program, *Buffer, Size)Description
Reads data from the given programs output (stdout) and puts it in the specified buffer. This function waits until there is data available to read from the program. To prevent this wait, AvailableProgramOutput() may be used first to check if there is something to read.
Parameters
Program The program to use. It must have been started before with RunProgram() and the #PB_Program_Read flag. *Buffer The memory buffer to read the data into. A memory buffer can be created for example with AllocateMemory(). Size The size to read, in bytes. The buffer should be large enough to handle this size.
Return value
The number of bytes actually read.
Remarks
The function reads up to 'size' bytes, but also less if not that much is available (but it will not return zero bytes because it always waits for some data to read).
See Also
ReadProgramString()
Supported OS
All


The abstract superclass for SassScript objects.
Many of these methods, especially the ones that correspond to SassScript operations, are designed to be overridden by subclasses which may change the semantics somewhat. The operations listed here are just the defaults.
Compares this object with another.
@param other [Object] The object to compare with @return [Boolean] Whether or not this literal is equivalent to `other`
# File lib/sass/script/literal.rb, line 164 164: def ==(other) 165: eq(other).to_bool 166: end
The SassScript `and` operation.
@param other [Literal] The right-hand side of the operator @return [Literal] The result of a logical and:
`other` if this literal isn't a false {Bool}, and this literal otherwise
# File lib/sass/script/literal.rb, line 40 40: def and(other) 41: to_bool ? other : self 42: end
@raise [Sass::SyntaxError] if this literal isn’t an integer
# File lib/sass/script/literal.rb, line 175 175: def assert_int!; to_i; end
The SassScript `,` operation (e.g. `!a, !b`, `“foo”, “bar”`).
@param other [Literal] The right-hand side of the operator @return [Script::String] A string containing both literals
separated by `", "`
# File lib/sass/script/literal.rb, line 101 101: def comma(other) 102: Sass::Script::String.new("#{self.to_s}, #{other.to_s}") 103: end
The SassScript default operation (e.g. `!a !b`, `“foo” “bar”`).
@param other [Literal] The right-hand side of the operator @return [Script::String] A string containing both literals
separated by a space
# File lib/sass/script/literal.rb, line 92 92: def concat(other) 93: Sass::Script::String.new("#{self.to_s} #{other.to_s}") 94: end
The SassScript `/` operation.
@param other [Literal] The right-hand side of the operator @return [Script::String] A string containing both literals
separated by `"/"`
# File lib/sass/script/literal.rb, line 128 128: def div(other) 129: Sass::Script::String.new("#{self.to_s}/#{other.to_s}") 130: end
The SassScript `==` operation. **Note that this returns a {Sass::Script::Bool} object, not a Ruby boolean**.
@param other [Literal] The right-hand side of the operator @return [Bool] True if this literal is the same as the other,
false otherwise
# File lib/sass/script/literal.rb, line 61 61: def eq(other) 62: Sass::Script::Bool.new(self.class == other.class && self.value == other.value) 63: end
@return [String] A readable representation of the literal
# File lib/sass/script/literal.rb, line 151 151: def inspect 152: value.inspect 153: end
The SassScript `-` operation.
@param other [Literal] The right-hand side of the operator @return [Script::String] A string containing both literals
separated by `"-"`
# File lib/sass/script/literal.rb, line 119 119: def minus(other) 120: Sass::Script::String.new("#{self.to_s}-#{other.to_s}") 121: end
The SassScript `!=` operation. **Note that this returns a {Sass::Script::Bool} object, not a Ruby boolean**.
@param other [Literal] The right-hand side of the operator @return [Bool] False if this literal is the same as the other,
true otherwise
# File lib/sass/script/literal.rb, line 72 72: def neq(other) 73: Sass::Script::Bool.new(!eq(other).to_bool) 74: end
The SassScript `or` operation.
@param other [Literal] The right-hand side of the operator @return [Literal] The result of the logical or:
this literal if it isn't a false {Bool}, and `other` otherwise
# File lib/sass/script/literal.rb, line 50 50: def or(other) 51: to_bool ? self : other 52: end
Evaluates the literal.
@param environment [Sass::Environment] The environment in which to evaluate the SassScript @return [Literal] This literal
# File lib/sass/script/literal.rb, line 30 30: def perform(environment) 31: self 32: end
The SassScript `+` operation.
@param other [Literal] The right-hand side of the operator @return [Script::String] A string containing both literals
without any separation
# File lib/sass/script/literal.rb, line 110 110: def plus(other) 111: Sass::Script::String.new(self.to_s + other.to_s) 112: end
@return [Boolean] `true` (the Ruby boolean value)
# File lib/sass/script/literal.rb, line 156 156: def to_bool 157: true 158: end
@return [Fixnum] The integer value of this literal @raise [Sass::SyntaxError] if this literal isn’t an integer
# File lib/sass/script/literal.rb, line 170 170: def to_i 171: raise Sass::SyntaxError.new("#{self.inspect} is not an integer.") 172: end
The SassScript unary `/` operation (e.g. `/!a`).
@param other [Literal] The right-hand side of the operator @return [Script::String] A string containing the literal
preceded by `"/"`
# File lib/sass/script/literal.rb, line 146 146: def unary_div 147: Sass::Script::String.new("/#{self.to_s}") 148: end
The SassScript unary `-` operation (e.g. `-!a`).
@param other [Literal] The right-hand side of the operator @return [Script::String] A string containing the literal
preceded by `"-"`
# File lib/sass/script/literal.rb, line 137 137: def unary_minus 138: Sass::Script::String.new("-#{self.to_s}") 139: end
The SassScript `==` operation. **Note that this returns a {Sass::Script::Bool} object, not a Ruby boolean**.
@param other [Literal] The right-hand side of the operator @return [Bool] True if this literal is the same as the other,
false otherwise
# File lib/sass/script/literal.rb, line 83 83: def unary_not 84: Sass::Script::Bool.new(!to_bool) 85: end
Disabled; run with --debug to generate this.
Generated with the Darkfish Rdoc Generator 1.1.6.


* Hampton Creek is a company working to innovate food. Its first product makes an egg substitute with plant protein
today’s Very Short List:
food 28 Jun 2013
Karyn Campbell is a designer and investor at Collaborative Fund. She edits VSL and generally likes real food. WEBSITE
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* Really not a foodie? Want something more extreme? A group of entrepreneurs concocted Soylent, a controversial product
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@(user: models.users.User, editPlayerForm: Form[models.Player], player: models.Player)
@import helper._
@main("New Player", user) {
Edit a Player
@if(flash.containsKey("error")) {
@flash.get("error")
}
@form(action = routes.PlayerCtrl.submitEditPlayer(player.playerID), 'class -> "form-horizontal", 'role -> "form") {
@inputText(editPlayerForm("playerName"), '_label -> "Name")
@inputText(editPlayerForm("jerseyNum"), '_label -> "Jersey Number")
@inputText(editPlayerForm("attVal"), '_label -> "Attack Stat")
@inputText(editPlayerForm("midFVal"), '_label -> "Midfield Stat")
@inputText(editPlayerForm("defVal"), '_label -> "Defence Stat")
@inputText(editPlayerForm("gkVal"), '_label -> "GoalKeeper Stat")
@inputText(editPlayerForm("health"), '_label -> "Health")
}
}


Corporate Elites, seeking to demoralize and control the public, have outlawed pizza and forced all pizza-making robots to flee to the underground.
Only one brave robot dares to defy them: PizzaBot. With the suport of his loyal and fearless delivery dudes, PizzaBot brings snacks and freedom to the masses.
Join the resistance. Eat a pizza.
PizzaBot: 2183
In a future where Pizza is outlawed, only Outlaws will have pizza
Menu
Click to add or remove toppings to your pizza
Small $10, Medium $15, Large $20. All Pizzas include up to one sauce, one cheese, and either one meat and one veg, or two veggies. Additional meat or cheese (s/m/l): $1.50/2.00/3.00 Additional Sauce or veggies (s/m/l): $0.75/1.00/1.50


--- layout: post title: All work and no play.... date: 2012-12-13 13:38:42.000000000 -08:00 type: post background: '/img/posts/bg.jpg' parent_id: '0' published: true password: '' status: publish categories: - travel tags: [] meta: _edit_last: '2' _thumbnail_id: '102' permalink: "/travel/all-work-and-no-play/" ---
Day spent behind a computer (yes, like now). I'm on 11 hours straight and wiped out. A low-grade fever comes and goes, never as full-on as at 4:30am, when I woke up chilled and unable to get warm. Not a good sign. Nothing 12 cups of coffee can't fix and a whole lotta computer work. I don't know how much longer I can go without crashing though, and the letters are hard to make out on this blog entry.
Made a random discovery the other day that I wanted to mention, though. A shop near my place offers everything, check out this list of services: ear piercing, dental work (crowns, cavities, whitenings), botox, fillers, boob jobs, rhinoplasty, the works. Oh yeah. Can't wait to drop some coin in that place and wake up with.... You fill in the blanks. :)
Again, lazy, no pics, don't think I've even left the computer, much less the apartment. The view from the balcony and roof help me feel as though I'm not just wasting away, but it's also a glittering skyline of what I'm not doing too. Have to have these days and there are more like this coming. Hopefully I'll be well, have a gallon of coffee, and the code will flow as does some hard hitting music.
 I'm running on less than 4 hours total and can't seem to keep going any longer than I have. Til tomorrow!
P.S. The guys had a wild evening that ended up with Aaron face-down on the couch when I got up this morning, looking for a blanket, and no Shaughnessy. Shaughnessy just rolled in two hours ago - apparently a Thai bartender took pity on him when she found him drunk, penniless and wandered off alone.  Thailand, the land of smiles.


--- layout: article title: '“Come hear this ditty”: Seventeenth-Century Drinking Songs and the Challenges of Hearing the Past' authors: - hailwood-mark excerpt: > What do English football matches and seventeenth century alehouses have in common? Drunken singing. Mark Hailwood explores the boozy sounds and social history of the English drinking ballad and the limits of sober understanding. permalink: /issues/2013/7/come-hear-this-ditty-seventeenth-century-drinking-songs-and-hearing-the-past supernotes: /issues/1/3/hailwood-ditty.json toc: 7 volume: 1 number: 3 audio: true ---
In April, 1612, the constables of Calne, Wiltshire, made a desperate plea to their superiors—the county magistrates—to help them reverse a surge in the number of alehouses in their town. Their complaint was that the alehouses “doe all brewe and vie who maye brewe the strongest Ale and thither do resorte all the great drinkers bothe of the Towne and Countrie to spende theyer tyme in idleness and theyer monie in excessivie drinkinge.” When the constables sought to discourage such behavior by charging the men involved with drunkenness, their efforts were unsuccessful, for “all men for the most parte love these cupp companions so well, that no man will take uppon him to be a sworne witnes against any drunkard.”
As this case shows, alcohol played a central role in early modern life, occupying much of the time of both law enforcement officers and guzzling “cupp companions.” Historians have long known this, but until recently it was not considered to be a particularly interesting feature of these past societies. Even the most astute pioneers of cultural history saw it as an inevitable product of life in unstable and harsh worlds, in which people drank heavily to “blot out the horror of their lives.” In this interpretation, drink served as an anesthetic against an oppressive and tedious existence.
This has changed, and historians now see drinking as an activity that is culturally meaningful. Decisions about who to drink with, how to drink, what to drink, how to pay, how much to drink, how often to drink, and how to judge the drinking behavior of others, are thought to provide an insight into the underlying values of a society.
But how can we answer these questions for distant people who drank in distant contexts, such as the denizens of a village alehouse in seventeenth-century England or the “cup companions” of Calne? There is no archive expressly designed to capture this sort of everyday cultural activity, so we are extremely lucky to be able to access it through a remarkable source: seventeenth-century drinking songs.
The broadside ballad was a particularly popular form of printed product in the seventeenth-century Anglo-American world. These were songs printed on a single sheet of paper and sold cheaply for a penny by sellers who recited them in the streets and in alehouses. There were millions of these sheets in circulation; the staple subjects for the songs included courtship and marriage, affairs of state, sensational murders, chivalric adventures, and moral guidance. Best of all from the perspective of the historian of drinking cultures, one particularly popular genre was the “Drinking and Good Fellowship” ballad. These were drinking songs designed to be recited in the alehouse, and many alehouse-keepers pasted them up on the walls to attract drinkers to their establishment.
It is amazing that any of these broadside ballads survive. They were cheap and ephemeral products, and often ended up being used as kindling or toilet paper when they became worn and unreadable, or when their songs fell out of favor. Thankfully, a handful of gentlemen collectors—most notably Samuel Pepys—took an interest in these manifestations of “low” culture that many of their peers found vulgar, and carefully pasted their purchases into bound volumes that have survived to the present.
The drinking songs amongst these surviving ballads are a unique form of evidence for answering questions about the character and meanings of seventeenth-century drinking culture. They often contained warnings about the types of companion to avoid, or extrapolated the qualities of the ideal drinking companion:
Roome for a lusty lively Lad,
dery dery downe,
That will shew himselfe blyth be he ne’re so sad,
dery dery downe,
That cryes a fig for poverty
And takes all troubles patiently,
Will spend what he gets,
And drinke more then he eates,
That never meanes to vary
From good fellowship free,
If thou such a one be.
Ile drinke to thee kinde Harry.
Some contained drinking games within them, with each verse including instructions for more mugs to be fetched and drained, with drinkers/singers getting through thirteen helpings of beer by the end of the song!
Be merry my hearts, and call for your quarts,
and let no liquor be lacking,
We have gold in store, we purpose to roare,
untill we set care a packing.
Then Hostis make haste, and let no time waste,
let every man have his due,
To save shooes and trouble, bring in the pots double
for he that made one, made two.
…
Then Hostesse go fetch us some, for till you do come
we are of all joyes bereaven,
You know what I meane, make haste come again,
for he that made ten, made eleven.
…
Then Hostesse lets know, the summe that we owe,
twelve-pence there is for certaine,
Then fill tother pot, and heres money fort
for he that made twelve, made thirteene.
Other songs attacked those who refused to engage in bouts of alehouse jollity as covetous misers, whose individualistic worldview posed a threat to communal solidarity:
There’s many men get store of treasure
yet they live like very slaves:
In this world they have no pleasure
the more they have, the more they crave.
Hang such greedy-minded misers,
that will ne’r contented be.
These songs can be read and analyzed to reconstruct the key features of seventeenth-century English drinking culture and the broader societal values and assumptions that underpinned it, and doing precisely this has formed a large part of my historical research.
There is a major problem here though: these songs don’t really survive at all. I can sit at my desk and read their words, but this is hardly giving me access to how these words would have been experienced by early modern drinkers. I sit quietly, alone, peacefully reading and reflecting on a ballad. They would have huddled around an ale bench, shoulder-to-shoulder with drinking companions, and bellowed out these words—they would have heard these songs as much as they read them.
Historians that have worked on broadside ballads have not been deaf to this aspect of their source material, and attempts have been made to recover something of their sound. Most of these songs specified the tune to which they should be sung, and it has been possible to reconstruct many of these melodies. The creators of the English Broadside Ballad Archive, a free online database of surviving seventeenth-century ballads, have even had a go at singing the ballads along to their tunes and recorded the results. Take a moment to listen to their version of the drinking ballad “A Messe of good Fellows.”
“A Messe of good Fellows”
This is a fabulous resource, but I can’t help feel that this still falls short of capturing the way drinking songs were experienced by alehouse-goers. It gives us a sense of how the tunes were simple and catchy, designed as much as a mnemonic device as an aesthetic one. It may also assist imaginative efforts to hear the lone-voice of a ballad singer in the street—though even for this purpose it is perhaps too polished, as one seventeenth-century writer complained that ballad sellers’ voices tended to be “as harsh a noise as ever Cart-wheel made.” It certainly doesn’t capture the atmosphere we would expect to accompany an alehouse ballad performance, for which we might imagine background noise, rhythmic hand-clapping, and massed voices for the chorus.
We might also expect instrumental accompaniment. It was common for fiddlers to perform in alehouses, particularly on special occasions. Drumming might be heard, as it was in Glastonbury’s Ship Inn one night in 1657, when a gentleman who had planned to lodge with a friend there overnight had a change of heart due to the presence of “a disorderly company ranting and drinking and drumming,” who “beat the drum all night [such] that the neighbors were much disturbed and could not sleep.” In another raucous drinking bout in a 1609 Cheshire alehouse, one drinker repeatedly blasted a trumpet to “call together all the drunkards.”
The sound of a drinking song is likely then to have been much more vibrant and boisterous than the sound evoked by listening (alone at a desk) to the recordings offered by the English Broadside Ballad Archive, however innovative a resource they are. There are other problems here, of course, that even an attempt to create a recording that more closely evoked an alehouse atmosphere would not overcome. One is that a ballad would not only have been sung or listened to—it would have been a performance to be seen as well. A wink or a nod to accompany certain lines, or a sideways glance or grin at a drinking companion, could have transformed the meanings of the lines being delivered, something which will forever be lost to the historian.
And then, of course, there is the issue of drunkenness. Even if we replace the practice of sitting quietly at a desk reading a ballad with sitting at a desk listening to a recording of a ballad and trying hard to imagine drums, trumpets, and raucous merriment, the average historian (one would expect) is still going to be sober. The drinking song experience was not. A beer at lunchtime might help, but the levels of intoxication that would accompany the drinking song experience might again exert considerable influence on a song’s meaning, as humor and camaraderie become enhanced and exaggerated.
In other words, simply hearing a recording of a ballad drinking song may not take us very much further towards recovering the way it was experienced than reading it does. Again, ballad scholars have not ignored this, and efforts have been made at various ballad conferences to try to create a performative atmosphere through collective singing, sometimes with alcohol involved. I haven’t yet had this experience myself—though I will at a conference next spring—but I already have one major reservation (other than being hopeless at singing) about what this can achieve. A group of academics closely analyzing every aspect of the dynamics is hardly likely to create an authentic or natural atmosphere: the whole thing is likely to be too self-conscious.
How, then, can the historian intent on ‘hearing’ their source material get closer to doing so? I’m not sure we can, but if the answer lies anywhere then I’m fairly sure it cannot be found at my desk. Arguably my greatest insight into the experience of the seventeenth-century drinking song came not from a recording, nor any sort of forced imaginative effort. It came when attending a recent English football match. Standing shoulder-to-shoulder with fellow supporters of Bristol City, I heard the slow, repetitive beat of a drum, and a lone voice projecting the words to a familiar exhortation of our team’s quality.
Gradually, those around me took up the song—a few knew all the lines, most could bellow out the chorus—and we worked our way through a boisterous rendition, complete with well-worn jokey asides, reaching a crescendo that delivered with it a swelling sense of collective solidarity and camaraderie. It was, admittedly, an almost exclusively masculine experience, but this too had echoes of many an alehouse drinking bout of the seventeenth century.
And crucially, of course, we were all drunk. I’d experienced this many times before, but not before had I made the connections between those imaginative efforts at my desk and these cold Saturday afternoon experiences away from it.
I could be wrong: the experience of a twenty-first-century English football song and the experience of a seventeenth-century English drinking song might be some distance apart. Yet it seemed there were greater parallels between these two experiences than there were between some of my more detached academic attempts to ‘hear’ the songs of the past and how those songs were actually experienced. I’m generally wary of letting personal experience stand in for historical knowledge based on a reading of source material, but when we try to recover aspects of the past that no amount of reading can achieve, we have to open our minds to approaches that transcend the more conventionally academic.
Listening to the past is a step in the right direction, but when this too is done in a detached and reflective way in the comfort of an office, seminar room, or conference gathering, we are still missing something—something that we may need to move further away from our desks to get close to.
All together now…
(To the tune of “Land of Hope and Glory”)
“We all follow the City,
Over Land and Sea,
We all follow the City,
On to Victory”


We are sending a rover to Mars, and we need to be able to move it through a series of instructions sent from the Earth. As the final exercise for this part of the module, you will be leading this project.
Enter an array of character commands for each rover, which can include:
These commands will be the first letter of either (f)orward, (r)ight, or (l)eft. To test it, use the string: ‘rffrfflfrff’.
The rovers will be represented as their letter id and the direction (N,E,S,W) they are facing.
Obstacles will be represented as a Thunder Lightning symbol.
The robots are smart enough to detect the obstacles and other rovers in their path before landing on them. Review the "Rovers' Log" to keep track.


Welcome to Mt kenya east evagelistic team MKEET-KU A potters house where you are molded by God to becoming a minister
Bishop Bundi James is an associate member of MKEET-KU he was previously a dad in MKEET
students members


With drag drop features, full-colour options, and alert functionality, TM3 provides flexible, easy to use diary management software ensuring efficient organisation of all appointments and events in your practice.
Whether it’s an existing patient or a new one TM3 makes creating appointments effortlessly. For existing patients it’s as simple as searching their name and booking them in. For new patients, simply add their details while creating the appointment to seamlessly create a new patient record.
Quick Pay makes receiving payments quick and easy.
At a quick glance, your receptionist can see a complete administration overview.
If you’ve not got a receptionist, not to worry. Take advantage of TM3’s 24/7 reception services.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vestibulum sollicitudin.
Separate calendar views make it easy on your reception no matter how many locations you have. It's easy to toggle between appointment books and report on your finances separately for each location.
With TM3 patient management software, take the hassle and margin for error away from managing the daily flow of patients as your patient data is securely stored and easily accessible.


Boris Johnson and Corbyn share awkward handshake during live TV clash
Jeremy Corbyn offered to give Boris Johnson a copy of A Christmas Carol so the PM could understand how ‘nasty’ Scrooge was.
The jibe came after the rivals were asked what they would give each other for Christmas during the ITV general election debate.
Boris retorted by saying he’d give Corbyn a copy of his Brexit deal – or a pot of damsel jam.
It came after they were forced to share an awkward handshake by presenter Julie Etchingham.
The sour tone of politics dominated much of tonight’s leaders debate, with the pair both facing accusations of degrading debate and making the political climate toxic.
The two leaders were challenged to step up their game on tackling abuse and poor behaviour in politics, after a tumultuous few years that has seen a rise in hate crime towards MPs, including the murder of Labour MP Jo Cox.
The audience applauded after one member of the public asked the party leaders how the nation could ‘trust’ either of them.
Responding, Johnson blamed the lack of trust in politicians on parliament repeatedly blocking Brexit and said the way to restore trust was to ‘get Brexit done’.
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Corbyn said ‘trust has to be earned’ and that this could only be done by ‘listening to people’ – from Chief Executives to rough sleepers.
The pair then obliged somewhat awkwardly to a request from Julie Etchingham to pledge to ‘raise the tone’ of politics and to shake hands on it.
She said: ‘There are many people, many politicians indeed, who feel that the nastiness of political debate in this country has got out of control.
‘Will you two tonight look at one another and no matter who becomes prime minister make a gesture to improve things today – make a pledge and promise?.
But the rare moment of ‘unity’ left some viewers cringing.
Others felt like it was insincere given the rest of the debate saw them clash over issues like Brexit and the NHS.
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After the debate, a snap YouGov poll out Boris Johnson mildly ahead of Jeremy Corbyn, by 51 to 49.
However, many viewers were left underwhelmed by the debate.
Andrew Neil said given the Tories were way ahead in the polls ahead of the deabte, it was not a ‘great result’ for Johnson, but it was not a ‘game changer either.
Sky News correspondent Lewis Goodall said both leaders seemed ‘disliked in equal measure’ by the audience, which he said ‘more or less tallies with my travels on the road.’
Journalist Paul Mason said the debate was ‘stiled’ and that neither leader got into full flow.
Got a story for Metro.co.uk?
Get in touch with our news team by emailing us at<EMAIL_ADDRESS>For more stories like this, check our news page.


This demo is an example of how you can use the Video Room plugin to implement a simple videoconferencing application. In particular, this demo page allows you to have up to 6 active participants at the same time: more participants joining the room will be instead just passive users. No mixing is involved: all media are just relayed in a publisher/subscriber approach. This means that the plugin acts as a SFU (Selective Forwarding Unit) rather than an MCU (Multipoint Control Unit).
If you're interested in testing how simulcasting can be used within
the context of a videoconferencing application, just pass the
?simulcast=true
query string to the url of this page and
reload it. If you're using a browser that does support simulcasting
(Chrome or Firefox) and the room is configured to use VP8, you'll
send multiple qualities of the video you're capturing. Notice that
simulcasting will only occur if the browser thinks there is enough
bandwidth, so you'll have to play with the Bandwidth selector to
increase it. New buttons to play with the feature will automatically
appear for viewers when receiving any simulcasted stream. Notice that
no simulcast support is needed for watching, only for publishing.
To use the demo, just insert a username to join the default room that is configured. This will add you to the list of participants, and allow you to automatically send your audio/video frames and receive the other participants' feeds. The other participants will appear in separate panels, whose title will be the names they chose when registering at the demo.
Press the Start
button above to launch the demo.