Watch New Sons of Apollo Video for ‘Goodbye Divinity’
by Martin KieltySons of Apollo have released a new video for their track “Goodbye Divinity,” which appears on their upcoming album MMXX.
The band – which features former Guns N’ Roses guitarist Ron “Bumblefoot” Thal, ex-Dream Theater members Mike Portnoy and Derek Sherinian, onetime Journey singer Jeff Scott Soto and Mr. Big bassist Billy Sheehan – launch the follow-up to debut LP Psychotic Symphony on Jan. 17.
You can watch the “Goodby Divinity” video below:
“From the minute we finished writing ‘Goodbye Divinity,’ I knew we had our album opener and the first release off the album," drummer Portnoy told Prog. "I even remember posting on social media how excited I was about the song the day I tracked it!”
He continued: “The song has an immediacy that grabs you right away: great riffs, flashy playing and hooky vocal melodies. All of the elements that make up the SOA sound. The video was directed by Vicente Cordero who I have now done over 20 music videos with … its look helps catapult the band from the Greek mythological past of the last album into the 21st century with this new album."
When MMXX was announced, Portnoy reported: “Psychotic Symphony was the first time the five of us had worked together, so there was bound to be an air of experimentation happening. Now we can draw on having the experience not only of recording that album but also of touring together a lot. And now there is clearly a lot more obvious chemistry going on. ... The last time, it certainly must have felt a little weird for Bumblefoot to be writing with Derek and me, because we were strangers to him. Now we know one another better, and that helped things push along.”
Rock's Forgotten Supergroups
The Gak
Sebastian Bach participated in a one-off supergroup called the Gak with three members of Guns N' Roses -- Axl Rose, Slash and Duff McKagan -- and three members of Metallica: James Hetfield, Kirk Hammett and Lars Ulrich. The occasion was a party thrown by 'RIP' magazine in Los Angeles. They took their name from a slang term for cocaine.
Big Dirty Band
When the Canadian TV show 'Trailer Park Boys,' was set to make a movie, Rush's Geddy Lee and Alex Lifeson led an all-Canadian supergroup comprised of members of Big Wreck, Three Days Grace, Die Mannequin and the Tea Party. They recorded a cover of Bobby Fuller Four's "I Fought the Law."
Lord Sutch and Heavy Friends
Screaming Lord Sutch was an eccentric British horror rocker who gained a cult following in the '60s. For his 1970 debut, he got contributions from stars Jimmy Page (who co-produced), John Bonham, Jeff Beck, Nicky Hopkins and Noel Redding. Despite the musical firepower of the guests, it received savage reviews and reached only No. 84 in the 'Billboard' album chart.
Steampacket
Steampacket (or Steam Packet) could be called a reverse supergroup, in that everyone in it went to greater fame. In the summer of 1965, Long John Baldry, a mainstay of the British blues scene, formed the group with singers Rod Stewart and Julie Driscoll, keyboardist Brian Auger and guitarist Vic Briggs. They gigged around the U.K. for a little more than a year, with Stewart leaving in March 1966 and Baldry quitting that August.
Shadow King
After a pair of solo albums following his departure from Foreigner, Lou Gramm got together with guitarist Vivian Campbell, who had established quite a reputation by this point with Dio and Whitesnake, and Donnie Iris and the Cruisers drummer Kevin Valentine to form Shadow King. Their only album, a self-titled release from 1991, was produced by Keith Olsen, with whom Gramm had worked on Foreigner's 'Double Vision.' Another song they recorded, "One Dream," appeared on the soundtrack to 'Highlander II: The Quickening,' although it was credited to the Lou Gramm Band.
SuperHeavy
During a break from the Rolling Stones, Mick Jagger created SuperHeavy with Dave Stewart (Eurythmics), singer Joss Stone, reggae star Damian Marley and Bollywood composer A.R. Rahman. They reportedly cut 29 songs in only 10 days, and 12 were released on a self-titled album in 2011.
The Law
Singer Paul Rodgers teamed up with drummer Kenney Jones and created the Law. Their 12-song self-titled album came in 1991. Despite featuring songs written by Phil Collen, Bryan Adams and Chris Rea, and guitar work from Dave Gilmour on one track, the record peaked at only No. 126, although "Laying Down the Law" was a big hit at album-rock radio.
The Dirty Mac
The Dirty Mac was a one-off supergroup put together in 1968 for the Rolling Stones 'Rock and Roll Circus' television show, but it can't get much more super than its lineup: John Lennon, Eric Clapton, Keith Richards and Mitch Mitchell. They performed the Beatles' "Yer Blues" and backed Yoko Ono on a free-form piece called "Whole Lotta Yoko."
Bruce-Baker-Moore
Despite decades of well-known animosity between them, former Cream bandmates Jack Bruce and Ginger Baker looked to recreate their magic in 1993 with a new power trio. They brought in Irish guitar legend Gary Moore, who was also the principal songwriter, and put out 'Around the Next Dream' a year later. They broke up following a handful of concerts in the U.K. and Europe.
Eric Clapton’s Powerhouse
Looking to fill out a few tracks for a 1966 blues compilation called 'What's Shakin',' producer Joe Boyd, on the suggestion of Manfred Mann's Paul Jones, looked to use some of the stars of London's blues scene. Eric Clapton, fresh off his time with John Mayall's Bluesbreakers, was the guitarist, and Steve Winwood, who was starting to make his name with the Spencer Davis Group, was recruited to sing. The rest of the group was comprised of three members of Manfred Mann -- Jones (harmonica), Jack Bruce (bass) and Pete York (drums) -- and pianist Ben Palmer. They recorded four songs, three of which made the record, and Clapton and Bruce formed Cream soon after.
Damnocracy
Damnocracy was created in 2006 for the purposes of a VH1 reality program called 'Supergroup,' in which a bunch of rockers had to live together and collaborate on putting on a show. The group consisted of former Skid Row singer Sebastian Bach, Ted Nugent, Jason Bonham, Scott Ian (from Anthrax) and Evan Seinfeld (Biohazard). After the show, which includes highlights from their respective catalogs, some Led Zeppelin and AC/DC covers and a new song called "Take It Back," the members returned to their day jobs.
Captain Beyond
One of the longest serving supergroups, Captain Beyond formed in 1971 and, despite a handful of periodic breakups in between, toured as recently as 2015. Blending prog-rock intricacy with blues-based psychedelia, the band featured original Deep Purple singer Rod Evans (who fronted the band during their more prog-focused incarnation), guitarist Larry "Rhino" Reinhardt and bassist Lee Dorman, both of Iron Butterfly, and Johnny Winter drummer Bobby Caldwell. The band released three records including a live album during their initial run from 1971-73, and the current touring lineup includes Caldwell as the only original member; Reinhardt and Dorman both died in 2012.
Rock Star Supernova
After INXS found a new lead singer on the reality TV show 'Rock Star,' the second season featured a supergroup consisting of Tommy Lee, Jason Newsted and Gilby Clarke holding a competition to find a new singer. After 15 episodes, Lukas Rossi was crowned the winner. An album was released in late 2006, and they went on tour to promote it.
HSAS
In 1983, Sammy Hagar got together with Neal Schon of Journey, and recruited bassist Kenny Aaronson (Billy Squier, Foghat) and drummer Michael Shrieve (Santana) to form HSAS. They recorded their album, 1984's 'Through the Fire,' live in concert at the Warfield Theater in San Francisco, with minimal overdubs added. Their lone single was a cover of Procol Harum's "A Whiter Shade of Pale."
Planet Us
Sammy Hagar, Neal Schon, Michael Anthony and Deen Castronovo formed Planet Us in 2002. They tried to snag Slash too, but he turned them down, so the guitarist gig went to Joe Satriani instead. They didn't last long, but the seeds were planted for another supergroup - Chickenfoot.
WhoCares
In 2011, Ian Gillan of Deep Purple and Tony Iommi of Black Sabbath got together to raise funds to help rebuild a music school in Gyumri, Armenia, that had been destroyed by an earthquake. Along with friends Jon Lord, Jason Newsted, Nicko McBrain (from Iron Maiden) and Mikko Lindstrom (HIM), they recorded two songs as WhoCares, "Out of My Mind" and "Holy Water." That was followed a year later by a two-CD set that packaged those tracks with rarities from throughout Iommi's and Gillan's careers.
GTR
In 1985, prog-rock guitar heroes Steve Howe (Yes, Asia) and Steve Hackett (Genesis) formed GTR with singer Max Bacon. Their lone album reached No. 11 on the 'Billboard' album chart and they had a Top 20 hit in "When the Heart Rules the Mind." But perhaps it's best remembered for the review it received from J.D. Considine in 'Musician' magazine: "SHT."
Hardline
Formed in 1991 by brothers Johnny and Joey Gioeli, glam-metal supergroup Hardline included Todd Jensen (Sequel, Harlow), Neal Schon (Journey, Bad English) and Deen Castronovo (Bad English, Tony MacAlpine). The band released one self-titled album in 1992 before disbanding. They re-emerged in 2002 with an altered lineup, and have continued to record and perform.
The Storm
Exiled from Journey in 1985, the rhythm section of Ross Valory (bass) and Steve Smith (drums) picked up founding Journey keyboardist Gregg Rolie and 707 vocalist Kevin Chalfant and created the Storm. A one-hit-wonder, the Storm earned a Top 40 hit with their eponymous debut album's power ballad "I've Got a Lot to Learn About Love" in 1991 before dissolving two years later.
Blizzard of Ozz
A bit of explanation is in order: Ozzy Osbourne's first project after leaving Black Sabbath was originally intended as a supergroup. In 1980. he enlisted Randy Rhoads (Quiet Riot), Lee Kerslake (Uriah Heep), Bob Daisley (Rainbow) and Don Airey (Rainbow), and christened it Blizzard of Ozz. But even though early press photos confirmed it as a group, Jet Records instead credited the album to Osbourne and used the band name for the album's title. Daisley has since argued that he co-founded the band; Osbourne and Rhodes are generally recognized as the principal songwriting engine.
Squackett
More than two decades after GTR, former Genesis guitarist Steve Hackett got together with another Yes legend, bassist Chris Squire, and formed Squackett. It came about when Squire was looking for a guitarist for a solo project and was put in contact with Hackett. Their one album, 'A Life Within a Day,' came out in 2012.
B.L.T.
The talents of former Cream bassist Jack Bruce and ex-Procol Harum guitarist Robin Trower were always best-suited for a power trio, so it made sense that the two virtuosos would eventually work together. In 1981, they enlisted drummer Bill Lordan (from Sly & the Family Stone) and released 'B.L.T.' Although Lordan didn't last beyond that album, Trower and Bruce recorded 1982's 'Truce,' and returned for 2008's 'Seven Moons.'
Union
After his time with Motley Crue came to a halt, singer John Corabi formed Union in 1997 with late-era Kiss guitarist Bruce Kulick, David Lee Roth bassist James Hunting and touring drummer Brent Fitz. They lasted for three studio albums, 'Union' (1998), 'Live in the Galaxy' (1999) and 'The Blue Room' (2000), before calling it quits in 2002.
Brides of Destruction
Initially called Cockstar, Nikki Sixx and L.A. Guns guitarist Tracii Guns formed Brides of Destruction in 2002 following Mötley Crüe's 2001 hiatus. After briefly flirting with the moniker Motordog and testing differing lineup configurations, the group released its 2004 debut 'Here Come the Brides' with singer London LeGrand, drummer Scot Coogan and guitarist John Corabi. After further lineup shakeups, the band released its second and final album, 'Runaway Brides,' in 2005.
58
During Motley Crue's turn-of-the-century hiatus, Nikki Sixx got together with Boxing Gandhis guitarist Dave Darling, Steve Gibb (son of Bee Gee Barry) and drummer Bucket Baker. Taking their name from the year in which Sixx and Darling were born, 58's lone album, 'Diet for a New America,' featured a mash-up of genres, including a cover of Gilbert O'Sullivan's soft-rock 1972 hit, "Alone Again (Naturally)."
Paice Ashton Lord
After the breakup of Deep Purple's Mk. IV, founding members Ian Paice and Jon Lord picked up veteran singer Tony Ashton, who had worked with Lord in the past. Released in 1977, their only album, 'Malice in Wonderland,' veered away from the progressive hard rock of Deep Purple into R&B and funk territory. They broke up a year later.
Adler Z'Nuff
Chip Z'Nuff of Enuff Z'Nuff had played bass in Adler's Appetite, a project of former Guns N' Roses drummer Steven Adler from 2005-11. A year before Z'Nuff left, they recorded a self-titled five-song EP using both their names that they sold at gigs and online.
Badlands
After being fired from Ozzy Osbourne's band, guitarist Jake E. Lee formed Badlands with two former members of Black Sabbath, singer Ray Gillen and drummer Eric Singer, and bassist Greg Chaisson. After their 1989 self-titled debut, Singer left to join Kiss, and was replaced by Jeff Martin of Racer X. Internal squabbling led to Gillen being fired around the time of 1991's 'Voodoo Highway,' although he was brought back to tour behind it. The band broke up in 1993.
Duff McKagan’s Loaded
Assembling a backing band to tour in support of his 1999 solo album 'Beautiful Disease,' Duff McKagan's Loaded became a full-time operation when the album was shelved. McKagan's Loaded released their debut, 'Dark Days,' in 2001 with Martin Feveyear, Dave Dederer (from the Presidents of the United States of America) and Geoff Reading (New American Shame). The group disbanded in 2002, but returned with 'Sick' in 2009 and 'The Taking' in 2011.
Neurotic Outsiders
By the mid-'90s, punk rock was enjoying its third wave. And one of its premier architects, Sex Pistols guitarist Steve Jones, assembled a cast of like-minded industry luminaries to establish Neurotic Outsiders. Joined by Duran Duran's John Taylor, Guns N' Roses's Duff McKagan and Matt Sorum, the decorated quartet released their only album, 'Angelina,' in 1997.
Living Loud
After Ozzy Osbourne had reissued his first two solo albums with a different rhythm section, the men who played the original parts, bassist Bob Daisley and drummer Lee Kerslake, got together with the albums' original keyboardist, Don Airey, Deep Purple's Steve Morse and singer Jimmy Barnes to form Living Loud. For their self-titled 2004 record, they cut new versions of six Osbourne songs that Daisley wrote and five originals.
Saints of the Underground
Comprised of well-established glam-metal veterans, Saints of the Underground formed the way most first-time acts do: by light-heartedly jamming cover songs with peers. Featuring Jani Lane (Warrant), Bobby Blotzer (Ratt), Keri Kelly (Alice Cooper) and Chuck Wright (Quiet Riot), Saints of the Underground released their sole album 'Love the Sin, Hate the Sinner' in 2008.
Contraband
In 1990, L.A. Guns manager Allen Kovac set out to construct a band consisting of glam-metal scene VIPs. Recruiting the likes of Michael Schenker (Michael Schenker Group), Richard Black (Shark Island), Tracii Guns (L.A. Guns), Share Pedersen (Vixen) and Bobby Blotzer (Ratt), the group released a self-titled album in 1991. The band was short-lived, however, dissolving two years later.
New Race
In 1981, a pair of Detroit proto-punks, Ron Asheton of the Stooges and Dennis "Machine Gun" Thompson of MC5, joined up with three members of Australia's Radio Birdman -- Deniz Tek, Rob Younger and Warwick Gilbert -- to create New Race for an Australian tour. 'The First and Last' was a live album compiled from those dates, although Younger re-recorded his vocals in the studio.
Blue Murder
In 1987, John Sykes picked up a record deal after getting fired from Whitesnake on the eve of the band's breakthrough. But rather than go solo, he hooked up with Firm bassist Tony Franklin and veteran drummer Carmen Appice and launched Blue Murder. But after their 1989 self-titled debut, he replaced them with Marco Mendoza and Tommy O'Steen for 1993's 'Nothin' but Trouble.' A live album released only in Japan followed the next year, and Sykes then opted to go solo.
Cactus
Birthed by Tim Bogart and Carmine Appice, the former Vanilla Fudge members enlisted the talents of Jim McCarty (Mitch Ryder's Detroit Wheels) and Rusty Day (the Amboy Dukes) to form Cactus in 1969. The band managed four albums before dissolving in 1975. They resurfaced for 'Cactus V' in 2006.
KGB
When the Electric Flag dissolved for the second time in 1974, blues-rock guitar legend Mike Bloomfield and Electric Flag co-founder, keyboardist Barry Goldberg, enlisted songwriter Raymond Kennedy. The trio used the first letter of their last names for their project, and they released 'KGB' in early 1976. The rhythm section was comprised of two men who had histories with supergroups: bassist Ric Grech (Blind Faith) and Carmine Appice (Beck, Bogert & Appice).
The Greedies
During some time away from Thin Lizzy in 1978, Phil Lynott formed a loose supergroup with Steve Jones and Paul Cook, who were without a band following the breakup of the Sex Pistols. Called the Greedies (short for "Greedy Bastards"), they played a handful of gigs, and sometimes Lynott's bandmates Gary Moore and Scott Gorham joined them. Their lone release was a 1979 Christmas single, "A Merry Jingle," a medley of "We Wish You a Merry Christmas" and "Jingle Bells."
Armageddon
After leaving the folk-inspired progressive group Renaissance in 1970, former Yardbirds singer Keith Relf then took to producing other artists, including Steamhammer. It was out of this venture that came his next musical project. Recruiting Steamhammer's Martin Pugh and Louis Cennamo on guitar and bass, respectively, the newly formed Armageddon would additionally include Bobby Caldwell, a drummer from Johnny Winter's backing band. Aided by Cennamo's friend Peter Frampton, the group struck a recording and management contract, releasing their only album, the eponymous 'Armageddon,' in 1975.
Orion the Hunter
As a result of internal band disputes, guitarist Barry Goudreau left Boston in 1981. In establishing Orion the Hunter, Goudreau sought the assistance of former Heart drummer Michael DeRosier and Fran Cosmo, who had performed on Goudreau's 1980 solo album. They released their sole self-titled studio album, which featured backing vocals by Boston's Brad Delp, in 1984.
Bloodline
Every aspiring guitar hero has to start somewhere. But Joe Bonamassa outdid most when he, while still in his preteen years, had refined his blues licks to the point where he was opening for B.B. King at the age of 12. Before Bonamassa was legal, he formed Bloodline, featuring musicians associated with Miles Davis, Robby Krieger and Berry Oakley. The group scored a minor hit with "Stone Cold Hearted" in 1994.
Mother's Army
A supergroup in the truest manifestation, members of Mother's Army covered the spectrum of rock acts. Featuring Joe Lynn Turner (Deep Purple, Rainbow), Carmine Appice (Cactus, Ozzy Osbourne), Bob Daisley (Black Sabbath, Rainbow), Jeff Watson (Night Ranger) and Aynsley Dunbar (Journey, Frank Zappa), the short-lived Mother's Army released three studio albums between 1993 and 1998.
Streets
When several members of Kansas became born-again Christians, Steve Walsh left to form Streets with guitarist Mike Slamer, bassist Billy Greer and drummer Tim Gehrt. '1st' arrived in 1983 and 'Crimes in Mind' followed two years later. The band broke up and Walsh returned to Kansas, where he remained until retiring in 2014.
Alcatrazz
Former Rainbow singer Graham Bonnet formed Alcatrazz in 1983 with former Iron Maiden drummer Clive Burr and rising guitar wizard Yngwie Malmsteen. But Burr left after a week and was replaced by Iron Butterfly's Jan Uvena. Their debut, 'No Parole From Rock 'n' Roll,' peaked at No. 128 on the 'Billboard' album chart. Malmsteen left for a solo career a year later and was replaced by another up-and-coming guitarist, Steve Vai. The group disbanded , but were revived from 2006-14.
Bad Moon Rising
Lion was most known in the U.S. for contributions to 'Transformers: The Movie' and 'Friday the 13th: The Final Chapter.' But when the group disbanded and Lion alums Kal Swan and Doug Aldrich forged Bad Moon Rising in 1990, they'd find soundtrack-free superstardom in Japan. They'd enjoy a fruitful eight-year run before disbanding in 1998.
U.K.
After King Crimson's 1974 breakup, the rhythm section of John Wetton (bass) and Bill Bruford (drums) decided to keep working together. They brought in guitarist Allan Holdsworth (Soft Machine, Gong) and keyboardist/violinist Eddie Jobson (Roxy Music) for U.K. An album followed in 1978, but Bruford and Holdsworth left after their tour. Deciding to go without a guitarist, they brought in drummer Terry Bozzio for 1979's 'Danger Money' and a live album, 'Night After Night.' Wetton formed Asia shortly afterward, but the trio reunited in 2012.
Alias
Three years after Canadian rockers Sheriff split up, their song "When I'm With You" became a hit in the U.S. Unable to get the band back together, singer Freddy Curci and guitarist Steve DeMarchi turned to three founders of Heart -- Roger Fisher, Steve Fossen and Mike DeRosier -- and created Alias. Their 1990 album resulted in two major hits, "More Than Words Can Say" and "Waiting for Love," and a minor one in "Haunted Heart." However, the Heart contingency soon left, and the two Sheriffs re-formed the group in 2009 with other members.
Gogmagog
As Iron Maiden grew in popularity in the mid-'80s, two former members, singer Paul Di'Anno and drummer Clive Burr, teamed up with guitarists Janick Gers (White Spirit) and Pete Wells (Def Leppard) and bassist Pete Murray (Whitesnake). They released a three-song EP, 'I Will Be There,' in 1985 and then broke up.
Oysterhead
In 2000, Les Claypool of Primus and Trey Anastasio of Phish were asked to put a project together for the New Orleans Jazz Fest. The got Stewart Copeland of the Police to drum, and they called themselves Oysterhead. It worked out so well that they kept it going, releasing 'The Grand Pecking Order' in 2001 and mounting a North American tour. They reunited in 2006 for a few festival dates, and have wanted to get back together, but their schedules have not synched up.
Street Sweeper Social Club
When Zack de la Rocha exited Rage Against the Machine in 2000, the remaining members soon found themselves fronted by late Soundgarden singer Chris Cornell, performing as Audioslave. Tom Morello, however, still desired a more political outlet. For this he paired with the Coup emcee Boots Riley to form Street Sweeper Social Club in 2006. The duo released a self-titled studio album in 2009 and a follow-up EP in 2010.
Tinted Windows
In 2009, former Smashing Pumpkins guitarist James Iha assembled a group of power-pop stalwarts under the banner of Tinted Windows. Accompanied by Tyler Hanson (from the brothers group Hanson), Cheap Trick drummer Bun E. Carlos and Fountains of Wayne bassist Adam Schlesinger, the group released a sole self-titled studio album in 2009. While no breakup was ever officially announced, the group has remained inactive since.
Satellite Party
When three-fourths of Jane's Addiction formed the Panic Channel, Perry Farrell went off with Extreme guitarist Nuno Bettencourt and established Satellite Party, with 2007's 'Ultra Payloaded' featuring guest contributions from members of the Red Hot Chili Peppers, New Order and the Black Eyed Peas. But Bettencourt and drummer Kevin Figg took exception to the increased role given to Farrell's wife, Etty Lau Farrell, and quit before the North American leg of their tour.
Arcadia
By the end of 1984, Duran Duran were a worldwide phenomenon - but one in need of some time apart from each other. So in 1985, they splintered into two side projects. Power Station, John and Andy Taylor’s team-up with singer Robert Palmer, grabbed the majority of the headlines. Meanwhile, Simon Le Bon, Nick Rhodes and Roger Taylor formed Arcadia, a synth-pop outfit that achieved a Top 10 hit on both sides of the Atlantic with “Election Day" before dissolving the following year.
The Wondergirls
More of a collective than a supergroup, extra-populated one-off project the Wondergirls was formed by Stone Temple Pilots' Scott Weiland in 1999. The Wondergirls released only two songs, "Let's Go All the Way" and "Drop That Baby," with contributions shared among an army of alternative-rock peers, featuring members of Sugar Ray, Orgy, the Cult, Queens of the Stone Age, 30 Seconds to Mars and more. A new version of "Let's Go All the Way" surfaced in 2013 for the 'Iron Man' soundtrack.
Ataxia
During his second stint with the Red Hot Chili Peppers, John Frusciante went off with Fugazi's Joe Lally (on bass) and drummer Josh Klinghoffer and created Ataxia. The experimental rock band put out two records: 'Automatic Writing' in 2004 and 'AW II,' a collection of tracks left over from the initial sessions, three years later. Klinghoffer would later replace Frusciante as the Chili Peppers' guitarist.
Automatic Baby
Both R.E.M. and U2 had been strong supporters of Bill Clinton during his 1992 presidential campaign. For his inauguration, two members from R.E.M. -- Michael Stipe and Mike Mills -- joined up with two from U2 -- Adam Clayton and Larry Mullen Jr. -- and performed "One" at MTV's inaugural ball. They called themselves Automatic Baby, after both bands' recent hit albums, U2's 'Achtung Baby' and R.E.M.'s 'Automatic for the People.'
The Backbeat Band
Ian Softley's 1994 film 'Backbeat' focused on the time the Beatles spent woodshedding in Hamburg. To underscore their lack of polish in 1960, Softley recruited a sextet of alternative rockers -- Greg Dulli (Afghan Whigs), Dave Pirner (Soul Asylum), Thurston Moore (Sonic Youth), Don Fleming (Gumball), Mike Mills (R.E.M.) and Dave Grohl (Nirvana) to play revved-up versions of covers that were part of the Beatles' set lists in those days.
The Both
After touring together in 2012, Aimee Mann and Ted Leo decided to start collaborating with the hopes of putting out an EP, which resulted in enough material for a full-length. They called themselves the Both, after the hashtag they created to promote their gigs. 'The Both' was a rare moment when two established acts came together and created something greater than the sum of its parts.
Deconstruction
Between Dave Navarro's tenure in Jane's Addiction and the Red Hot Chili Peppers lies a short-lived project called Deconstruction that's been lost to the dustbin of alt-rock history. Navarro, with drummer Michael Murphy and Jane's Addiction bassist Eric Avery, used Deconstruction as vehicle for more sensitive and experimental material. The trio released a self-titled album in 1994, but while the commercial impact of the record was nil, 'Deconstruction' has regained a modest cult following.
Eyes Adrift
In 2002, former Nirvana bassist Krist Novoselic got together with longtime friend Curt Kirkwood of the Meat Puppets and Sublime's Bud Gaugh to create Eyes Adrift. The group released only one self-titled album and one single, “Alaska,” which failed to chart.
Fear and the Nervous System
In 2008, Korn guitarist James "Munky" Shaffer began corralling his friends, including members of Faith No More, Avenged Sevenfold and Repeater, into the studio to jam. Four years later, the tracks saw the light of day in the form of Fear and the Nervous System's self-titled debut. Wes Borland of Limp Bizkit was also involved early on, but his contribution in the end was limited to the album's artwork.
The Glove
In 1982, the Cure's Robert Smith spent a bit of time playing guitar with Siouxie and the Banshees. The next year, he and Banshees' bassist-keyboardist Steven Severin went off and formed the Glove, with Jeanette Landray handling vocal chores. They released one album, 'Blue Sunshine,' which included drums by Andy Anderson, who would soon become a member of the Cure.
Hindu Love Gods
Hindu Love Gods were what R.E.M. and their friend Bryan Cook called themselves when they wanted to semi-anonymously play covers in the bars in their hometown of Athens, Ga., On one occasion in 1984, Warren Zevon sat in with them. When Zevon hired R.E.M to be his backing band for 1987's 'Sentimental Hygeine,' they devoted a late-night session to recording a bunch of folk and blues standards ... and Prince's "Raspberry Beret." They released the session under the Hindu Love Gods name in 1990.
The I Don't Cares
Friends for years, Paul Westerberg and Juliana Hatfield branded themselves as the I Don't Cares and released 'Wild Stab' in 2016. The record included a new version of "Born for Me," a track that was first found on Westerberg's 1999 release 'Suicane Gratifaction.'
Mongrel
After leaving the Arctic Monkeys in 2006, Andy Nicholson formed Mongrel with his former drummer Matt Heiders, Drew McConnell (Babyshambles) and Jon McClure and Joe Moskow (Reverend and the Makers). 'Better Than Heavy,' their album that focused on political issues, was released in 2009.
The Panic Channel
When Jane's Addiction broke up for the third time in 2004, guitarist Dave Navarro, drummer Stephen Perkins and bassist Chris Chaney picked up former MTV VJ Steve Isaacs and established the Panic Channel. After the fatefully titled and critically dismissed 'ONe' in 2006, Powerman 5000 bassist Siggy Sjursen replaced Chaney. But the band disbanded later that year.
Zwan
Following the dissolution of Smashing Pumpkins' original lineup, Billy Corgan took drummer Jimmy Chamberlin, longtime friend Matt Sweeney, David Pajo and future Pixies bassist Paz Lenchantin and formed the True Poets of Zwan, who are better known as just Zwan. They broke up due to internal conflicts a few months after the release of their only record, 2003's 'Mary Star of the Sea.'
Mick Nick Pick Mick Nick
If the idea of a supergroup named after Mick Mars (Motley Crue), Nick Rhodes (Duran Duran), Pick Withers (Dire Straits), Mick Box (Uriah Heep) and Nick Hogan (Hulk's son) sounds too weird to be real, you're right. It's a concoction of the comedy team of Tom Scharpling and Jon Wurster, and referenced on numerous occasions during their routines on their podcast 'The Best Show.'


The port is located one and half miles up the River Yser, roughly midway between Dunkirk and Oostende. It is a fishing port, an industrial centre, and also a beach resort.
Position 51° 09'28"N, 002° 42'54"E (harbour entrance)
Although the entrance is fairly narrow, is it accessible in all weathers.
There are now three yacht basins,Ljzervaarders, Vlotkom and Novus Portus.
The modern marinas here offer all facilities and the port also gives access the the Belgian Inland Waterway network for those boats prepared to de-mast.
Last updated April 2016.
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Tue Mar 22, 2011
We’ve checked out What To Expect When You’re Expecting, and it’s ok, albeit a little on the alarmist side. But it turns out, one of the most straightforward and well laid out books is the one published by Health Canada. Unfortunately, they stopped sending new parents the hard copy, but you can download the PDF here. This book also includes lots of illustrations of useful positions for when mom goes into labour.


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- Fabio Jun Takada Chino (chino.nosp@m.@icm.nosp<EMAIL_ADDRESS>-
Marcos Rodrigues Vieira (mrvie.nosp@m.ira@.nosp@m.icmc..nosp<EMAIL_ADDRESS>Definition in file stTypes.h.
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This type is used to store an unsigned 8-bit integer.
Definition at line 177 of file stTypes.h.
This type is used to store counters. By default it is an unsigned 32-bit integer.
Definition at line 205 of file stTypes.h.
This type is used to store distances in a metric space. By default it is a double.
Definition at line 198 of file stTypes.h.
This type is used to store an unsigned 32-bit integer.
Definition at line 160 of file stTypes.h.
This type is used to store the node type. By default it is an unsigned 16-bit integer.
Definition at line 212 of file stTypes.h.
This type is used to store a page ID. By default, it is an unsigned 32-bit integer.
Definition at line 184 of file stTypes.h.
This type is used to store an unsigned 64-bit integer.
- Todo:
- This data type is not correctly implemented for all compilers.
Definition at line 167 of file stTypes.h.
This type is used to store the size of a variable/vector in bytes. By default, it is an unsigned 32-bit integer.
Definition at line 191 of file stTypes.h.
This type is used to store an unsigned 16-bit integer.
Definition at line 154 of file stTypes.h.


To be guided through the various benchmarks and learn about each test use the "Guide Me" mode. If you just want to run the tests on your own, use the "Navigator" mode.
The goal of this application is to demonstrate various methods of loading data in RIAs and see how those methods impact performance, bandwidth, and latency. These benchmarks aim to be honest and unbiased. Thus they are open source and anyone can submit patches to have new tests added or to have the existing tests improved.
Make sure you disable FireBug when running these benchmarks.
Google Code project page
Census 2 SVN repository
Dojo
Flex
JavaScript SOAP Library
Source Forge Project Page for the orignial Census Application
Code for the original Census in CVS
Copyright (C) 2007 James Ward
Parts Copyright (C) 2008 Alex Russell
All original parts of this application are licensed under GPLv2.


|
EIGHT O'CLOCK WALK - A Timeless Plot
by Stefan Machura
A nightmare could start like
the British film Eight O' Clock Walk, released 1953. However,
a loving woman and an attentive barrister save the day. Eight
O' Clock Walk has been overlooked by most law and film scholars
so far. Halliwell's Film and Video Guide (2000, 247) judges Eight
O' Clock Walk as follows: "Minor-league courtroom stuff,
an adequate time-passer". Hal Erickson, at least, disagreed.
In a text on director Lance Comfort, he wrote: "Many of
his postwar efforts, notably Eight O' Clock Walk..., were
distinguished by their creative utilization of actual locations
and well-sustained levels of suspense". "The iniquities
of circumstantial evidence are explored in the compact crime
drama Eight O' Clock Walk. ... Based on a true story,
Eight O' Clock Walk is one of the most oft-telecast of
1950s British films, and deservedly so" (Erickson). The
Lexikon des internationalen Films (1997/98) does not even list
Eight O' Clock Walk. This usually means that a movie did
not appear in Austria, Germany and Switzerland. Indeed, the movies
deserves attention as a typical trial film. This essay describes
the film following the order of its scenes and explores its meaning,
which is still relevant for a contemporary audience.
Postcard views of London open the movie Eight O' Clock Walk.
The establishing shots locate us at the place and time of the
story. Ordinary street scenes among them, but also a view of
Old Bailey, the famous London courthouse. Children appear on
a London street, they are making April-fool jokes. A man's voice
offscreen begins talking, introducing his story. It is Tom (Thomas
Leslie) Manning's story. The protagonist (played by Richard Attenborough)
has just married, he tells us. When he says farewell to his darling
and starts walking along the street, the crucial events begin.
A little school girl, Irene Evens, whom we saw before joking
with her friends, stands in Manning's way. She is crying. Good
hearted Manning gives her his handkerchief. She takes it and
says that she has lost her dog. Manning follows her into a neighboring
bombsite to help find the dog. Somewhere in the bombsite, the
girl shouts "Ha-ha, April foo-ool" and runs off. Manning
jokingly follows her, falls on the ground and threatens her with
his raised fist. Mrs. Zunz (Lilly Kann) witnesses this scene.
Alone again Irene is feeding ducks at the river bank, singing
a song about Old Bailey. The dark shadow of a man is falling
over her. A shrill steam engine whistle is heard, sounding frightening.
As the viewer suddenly understands, this sound indicates death.
Later scenes show the search for the missing girl, the detection
of her strangled body, Manning's arrest and the murderer's shadow
near children again. The police busily collects circumstantial
evidence: the handkerchief, the soil on Manning's coat from the
murder site, as well as the testimony of Mrs. Zunz. She states
that she saw Manning fighting with the girl. Also, a Horace Clifford
tells the police he watched Manning walking with the girl into
the bombsite. Up to this point of the film, the viewer knows
that an innocent man is arrested and that a dangerous madman
is still free.
Manning's wife Jill (Cathy O'Donnell is characterised as "US
star" by McFarlane 1999, 144) contacts lawyers to seek help.
But the legal professionals do not appear engaged in the case.
On top of all, the defending barrister refuses to see her and
her imprisoned husband, because he wants to preserve an "objective
view" on the case.
"Means they are not even interested, I suppose it's because
we are not paying anything. ...  Lawyers - they stay on the outside and make you
stay there, too", is her opinion.
After numerous interrogations by police and a psychologist, Manning
already starts to doubt his mind. Did he-suffering from a head-wound
from his times as a war pilot-have a "blackout"? We
see the wife's figure very small before the prison door. We see
her encouraging Manning in the prison. We see Mrs. Manning visiting
the barrister's office again. A clerk tries to send her away
but Peter Tanner (Derek Farr), the junior counsellor in her husband's
case invites her into his office. In their exchange, Mrs. Manning
contrasts the old legal practice on the one hand and humanity
and life on the other. A client needs encouragement, not detached
professional expertise. Tanner, moved by this, visits Manning
in prison, believes in his pledge of innocence and makes the
case his own.
The trial day comes. In a nicely set scene, a number of women
are polishing the courthouse floor. They are exchanging what
they have learned about the pending case from the papers. In
another scene, a middle-aged lady discusses the death penalty,
opposing it principally, sketching out the proponents' view as:
"You have to hang someone." She is a juror to Manning's
case, we learn. Next we learn that the young defender's father
will prosecute the case. Film scholar McFarlane (1999, 144) notes
that:
"The rival court appearances of Geoffrey Tanner Q.C. ...
and his son, Peter ..., who makes his debut in court as the Manning's
defence counsel when the barrister appointed for that purpose
is unable to appear. The two exchange a number of 'my learned
friend' and other conventional legal ripostes in court and go
off arm in arm at the end. In fact, the film's last image is
of them walking away from the camera. Their camaraderie is in
the West End theatre's jocular mode, and the only discernible
point of spending time on them is ... to suggest the incorruptibility
of British justice: whatever their feelings for another, they
are perfectly able to carry out the necessary legal procedures
on opposite sides of the case."
As another means to show the incorruptibility of the justice
system, McFarlane (1999, 144) mentions the figure of the presiding
Justice Harrington (Harry Welchman). The viewer learns that Harrington's
wife is in hospital that very morning for a dangerous surgery.
She will later die under the anaesthetic. To add to the dramatic
constellation at the beginning of the trial, the now familiar
shadow appears again, falling on the announcement of the case
in the court hall.
A powerful series of detailed court scenes filmed in Old Bailey
shows the start of the spectacle. The judge is dressed in his
wardrobe. Officials are waiting backstage. Finally the judge
is announced and enters the courtroom. In the cellar under the
court room, the defendant and his wardens are waiting. Summoned
as a witness, Manning walks upstairs into his dock. Everyone
is staring at him.
|
| Defending barrister
Peter Tanner (Derek Farr) gets in heavy trouble during the examination
of witnesses |
The trial develops quite unfavorably
for the defendant and his young barrister. The camera depicts
Tanner in despair (Picture above). The prosecutor impresses the
jury by passing photos of the victim's body.
Social psychological research demonstrated: the more severe the
pains and damage inflicted by a perpetrator, the tougher the
penalty advocated by beholders (e.g. Vidmar and Miller 1980,
584-5, Zamble and Kalm 1990, 334-5). To show photos of wounded
bodies to the jury serves as an effective strategy of the prosecution
in U.S. capital cases (Sarat 1995, 1124-7).
Austin Sarat (1995, 1127) quotes a woman juror who voted for
the death penalty in a case: "Normally I consider myself
a liberal easterner transplanted here to Georgia and against
capital punishment - always was - but after I saw that picture
of that man, something popped. I saw the pictures of him slumped
down behind the counter and he was shot at somewhere around here
and behind the ear, that was terrible. (...) I think about it
even now and it bothers me very much."
Later in Eight O' Clock Walk, the judge frightens Mrs.
Zunz, the lady witness from the bombsite, with a fine for leaving
the court building temporarily. She is a foreigner (a German!)
obviously not knowing how to behave before an English court of
law. To the viewer, she appears quite simple-minded, certainly
not able to differentiate between a joke and a real danger. The
movie skips her testimony, but its content is clear.
Then Mr. Clifford gives evidence, followed by a woman reporting
that she saw Manning in a dusty coat. A school comrade of Irene
recalled that Manning once asked him whether he had a small sister.
Then, on the witness stand, Irene's mother gives hearsay evidence
that Manning gave the victim sweets and allegedly has been after
her. When the mother breaks down in tears, the first adjournment
is ordered. On the second day, the mother continues her testimony,
talking about the girl's habit to feed ducks on the river bank
before school.
At the moment, when the defense begins to present its case, the
judge interrupts for a second adjournment. His daughter informs
the judge that his wife did not wake up after the anaesthetic.
Nevertheless, the judge is able to continue with the trial. Finally,
the defendant testifies under oath. The judge interrupts an attempt
by the prosecutor to provoke Manning unduly with his questions.
Time for the final arguments. The prosecutor appeals to the jury:
"... your duty, your CLEAR duty to return a verdict of guilty."
The judge suggests a break for lunch. Although they are not allowed
to, the jurors are starting to discuss the case, having not even
heard the defense's arguments. The lady juror we know from before
is now, like some of her colleagues, convinced of Manning's guilt.
Warned by another juror, she states: "Our duty is to do
what we think is right." Up to now the situation has only
changed from bad to worse for the defendant.
The following scenes show the real murderer.  A moment
before, Tanner (but not the audience) saw who gave it to her,
understands the connections, and back in court calls Horace Clifford
(Maurice Denham) to the witness stand. Clifford is confronted
with the similarity of the sweets.  It is
the same song that was sung by the victim at the murder site
(The audience knows this but Tanner does not). Clifford breaks
down. (Denham's play very much conforms to the popular stereotype
of a psychopathic child-killer.)
The title of the movie has a double meaning. On the one hand,
an eight o' clock walk is just a walk around eight. (Manning
started his a little late that morning, almost at nine.) On the
other hand, and most important here, an eight o'clock walk means
death. It refers to the hour at which executions are termed.
On the BBC, conservative MP Ann Widdecomb recently speculated
in public about the re-introduction of the death penalty to British
law. It has been suspended "indefinitely" by Parliament
in 1969. Later European law totally extinguished the death penalty.
MP Widdecomb is quoted: "I would also like some of the ritual
to go away, the black cap, the eight o'clock walk - none of these
are necessary". A pollster, Ben Page, reports that three-quarters
of the UK population consistently favour the death penalty "in
some circumstances" (BBC). Voices like these make films
such as Eight O' Clock Walk a timeless warning.
Indeed, Eight O' Clock Walk may be read as an anti-capital
penalty picture. Then, the message would be: Look, everyone can
be mistakenly accused and only by fortune the innocent gets away.
Circumstantial evidence might be enough to result in death. -
Brian McFarlane (1999, 145) writes that
"the film's real interest is in the process of the judicial
system and the dangers of circumstantial evidence. Considering
the debate that was raging at the time about capital punishment,
it is only weakly polemical ..."
But why, then, is not the film title "Circumstantial Evidence,"
if that is the main focus? However, McFarlane is right that the
film does not present its message too directly. Law is depicted
as a bureaucratic force. The legal system and some of its personnel
appear almost inhuman in their adherence to rigid rules. These
rules allow circumstantial evidence. Another of these rules-as
refracted by the movie-is that the barrister should not talk
to the defendant. For if the defendant pleads not guilty but
confesses to the barrister, the latter would be in a terrible
position, as Tanner is advised. Manning's wife Jill is American.
No wonder she expects a lawyer to fight for the client and search
for favorable evidence, as numerous Hollywood movie lawyers do,
and as indeed is the role of an American lawyer in criminal trials.
To be sure, the police and the jurists in Eight O' Clock Walk
are working routinely and there are no transgressions in any
phase, but all these quite proper activities lead to having the
wrong man on trial and having the dangerous man still out on
the streets. The depiction of the jury is remarkable. In a typical
film, it represents the people's good common sense, and also
stands for the audience (Machura/Ulbrich 2001). Here, the jury
represents a largely biased citizenship. The general picture
of the lawyers also is far from positive, despite the laudable
figure of young Tanner. Only some very good luck, combined with
the adversarial system with some import of engagement from the
U.S., saves Manning from the blind bureaucratic machine.
However, it is a parody of the English adversarial system, since
the inexperienced lawyer, the one who does like to have a personal
bond to his client, the one who has the instinct of a detective
and the abilities of a theatre director in framing the culprit
saves the innocent. At best, the Tanner figure could have been
understood as a promise of future generations of lawyers. The
film is staged in the early Fifties when being a barrister meant
a socially detached position in any respect. Tanner is ready
to encounter his client directly.
Far from legitimising the English legal system, Eight O' Clock
Walk, however, is undecided.. One can say, police does its
duty, as the prosecutor does, the judge acts more or less reasonably
in a most terrible personal situation, and there is a lawyer
capable of handling the case. Barriers in getting one's rights
are finally overcome. Such aspects essentially weaken the film's
critique. But on the other hand: Is not every system somewhere
in between perfect and discouraging?
Reference list
BBC. Http://news.bbc.co.uk/1/hi/uk_politics/2204738.stm, visited
18 November 2002.
Erickson, Hal. Http://www.blockbuster.com/bb/person/details/0,7621,BIO-P+85622,00.html,
visited 18 November 2002.
Erickson, Hal. Http://www.blockbuster.com/bb/movie/details/0,7286,VID-V++++90333,00.ht..,
visited 18 November 2002
Hallywell's Film and Video Guide 2001. 2000. Edited by J. Walker.
New York: Harper Resource.
Lexikon des internationalen Films. 1997/98. 2nd edition. Edited
by Katholisches Institut für Medieninformation (KIM) and
Katholische Filmkommission für Deutschland. München:
Systhema.
Maltin, Leonard. 1992. Movie and Video Guide 1993. New York:
Signet.
Machura, Stefan, and Stefan Ulbrich. 2001. Law in Film: Globalizing
the Hollywood Courtroom Drama. In Law and Film, edited by S.
Machura and P. Robson. Oxford: Blackwell.
McFarlane, Brian. 1999. Lance Comfort. Manchester: Manchester
University Press.
Sarat, Austin. 1995. Violence, Representation, and Responsibility
in Capital trials: The View from the Jury. Indiana Law Journal
70; 1103-35.
Vidmar, Neil, and Dale T. Miller. 1980. The Social Psychology
of Punishment. Law and Society Review 14; 565-602.
Zamble, Edward, and Kerry L. Kalm. 1990. General and Specific
Measures of Public Attitudes Towards Sentencing. Canadian Journal
of Behavioural Science 22; 327-37.
Filmography
Eight O' Clock Walk, Great Britain 1953, director: Lance Comfort.
Posted August 26, 2005
|


Plugin Information |
|---|
View TuxDroid on the plugin site for more information. |
Allows to publish the result of a build to a TuxDroid community.
Downloads
Configuration
Access to the Hudson's configuration page and fill in the TuxDroid Settings section:
- TuxDroid API URL - The REST API URL of your TuxDroid.
Then, on your project configuration page, specify following parameters
- Report On Sucess - Default will be 'false', only failure and recovery will be reported.
- Animate Penguin - Move flippers and mouth of the penguin.
- TuxDroid Text for Failure - The text pronounced when build fails.
- TuxDroid Text for Success - The text pronounced when build suceed.
- TuxDroid Text for Recover - The text pronounced when build suceed after a failure.
- TuxDroid Text for Unstable Build - The text pronounced when build is Unstable.
- Voice - The locutor voice used by the TuxDroid to spread the build status.
Example
TuxDroid Plugin Video (YouTube)
Change Log
Version 1.7 (Nov 4, 2011)
- JENKINS-11613
Version 1.6 (Feb 10, 2010)
- Update code for more recent Hudson.
Version 1.5 (Jun 5, 2009)
- Check Connection when entering REST API URL of your TuxDroid.
- Add a new parameters: Animate Penguin, move mouth and flippers.
- Use the Java Tuxdroid API (0.0.2).
- Use the global Hudson proxy configuration.
- Custom Build Parameters are now available in Text-To-Speach messages. Syntax: ${param1}.
- Text-To-Speech messages supports ${PROJECTNAME}, ${BUILDNUMBER} and ${BUILDSTATE} (not case sensitive).
Version 1.2 (March, 2009)
- Initial release
- Text-To-Speach messages supports ${projectName}, ${buildNumber}


A faculty project made by a team of three passionate students which aims to merge different cloud storage platforms into a single one.
? Correct an Address
The final project for the Advanced Programming course, made in Java with Spring Boot. The project's goal is to correct a partially-correct address entered by the user.
Jenkins
The Jenkins build server handles the building process of software. Click to go it. Easy, boy! It's secured :)


WILLIAM SHAKESPEARE'S A MIDSUMMER NIGHT'S DREAM (Fox Searchlight) Starring: Kevin Kline, Michelle Pfeiffer, Rupert Everett, Stanley Tucci, Calista Flockhart, Anna Friel, Christian Bale, Dominic West, David Strathairn, Sophie Marceau. Screenplay: Michael Hoffman, based on the play by William Shakespeare. Producers: Leslie Urdang and Michael Hoffman. Director: Michael Hoffman. MPAA Rating: PG-13 (adult themes, brief nudity) Running Time: 115 minutes. Reviewed by Scott Renshaw.
The cinematic cynic in me suspects that the lofty, unwieldy title of WILLIAM SHAKESPEARE'S A MIDSUMMER NIGHT'S DREAM has as much to do with timely marketing as it does with a nod to literary fidelity. After all, when adults are flocking to the Oscar-winning SHAKESPEARE IN LOVE and teens are catching "The Taming of the Shrew" turned into 10 THINGS I HATE ABOUT YOU, the Bard would seem to be riding a unique wave of cross-demographic hipness. Then again, Shakespeare has always been pitched both at the gallery and at the groundlings, mixing the matters of kings with the matters of clowns. To that extent, this MIDSUMMER NIGHT is truly William Shakespeare's in its mix of disparate elements, with all the delights and potential pitfalls that accompany them.
Writer/director Michael Hoffman transports the tale from Greece to 19th century Tuscany, where many plotlines swirl around the impending wedding of Duke Theseus (David Strathairn) and Hippolyta (Sophie Marceau). Hermia (Anna Friel), the daughter of one of Theseus' courtiers, is forcefully engaged to marry Demetrius (Christian Bale), but Hermia instead shares a love with Lysander (Dominic West). Demetrius, meanwhile, is the object of affection of Hermia's childhood friend Helena (Calista Flockhart). Another thread finds a group of amateur actors, led by the weaver Nick Bottom (Kevin Kline), preparing a play to be performed for the Duke's wedding, perhaps to receive an award if it is well-liked. The paths of these characters all cross in the nearby forest, where complications ensue as the machinations of the Fairy King Oberon (Rupert Everett) and his mischievous servant Puck (Stanley Tucci) -- aided by a little love potion -- cause every romantic entaglement to become further entangled.
At its most basic level, A MIDSUMMER NIGHT'S DREAM is a precursor to bedroom farce without the slamming doors (doors being hard to come by in the forest). As the enchanted lovers become a circle of frustration -- Lysander is made to love Helena, who still loves Demetrius, who still loves Hermia, who still loves Lysander -- saucy exchanges alternate with good old-fashioned female mud wrestling. It takes more than a little while for the film to find its pacing, hindered by the atypically awkward work of Strathairn, but once the pleasantly low-tech, stage-set world of the forest becomes the focus, the high and low comedy both begin working. The one major hindrance may be the clash of acting styles: while Bale, Friel and West go for pure Royal Shakespeare, Flockhart plays Helena as a neurotic mess fretting over her appearance a la Ally McBeal. It's an interesting interpretation, but one that doesn't always mesh with the other players.
The other major sub-plot becomes both A MIDSUMMER NIGHT DREAM's high point and its source of greatest disappointment. Kevin Kline, turning in one of his better performances, plays Nick Bottom as a wonderfully tragi-comic sadsack, an unhappily married laborer with grand dreams of how the stage will offer him a chance at greatness. When he is simultaneously transformed into an ass and into the object of desire of the love potion-affected Fairy Queen Titania (Michelle Pfeiffer), it's touching to note how his moment of glory makes him oblivious to his physical state. Unfortunately, Hoffman doesn't exploit Kline's performance for all it can offer, never really delivering a satisfying resolution to the character he has set up.
He does, however, build to a wonderfully comic climax as the actors finally perform their play within the play. The bumbling performance is pure slapstick -- malapropped lines, misaligned props, over-the-top acting and, to quote SHAKESPEARE IN LOVE, a bit with a dog. The one nice twist comes as Flute (Sam Rockwell), the actor-in-drag performing the ingenue in the play, breaks from character to deliver an earnest paean to true love. It's a sweet note on which to end a play of sometimes discordant tones, perhaps making this DREAM seem less uneven that it should. The course of this tale about the course of true love never does run smooth; it merely offers a fanciful comedy deserving enough of the author's name.
On the Renshaw scale of 0 to 10 enchanted forests: 7.
Visit Scott Renshaw's Screening Room http://www.inconnect.com/~renshaw/ *** Subscribe to receive new reviews directly by email! See the Screening Room for details, or reply to this message with subject "Subscribe".
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
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Related links: index of all rec.arts.movies.reviews reviews


This screens provide options to maintain the indexes as well as the percolators.
Using this button makes you remove the complete index and recreate all percolator queries for the provinces.
Using this button imports all postal codes


public class DatabaseConnector extends java.lang.Object implements IDatabaseConnector
| Modifier and Type | Class and Description |
|---|---|
static class |
DatabaseConnector.Mode
The SQL dialects supported by the connector.
|
| Modifier and Type | Field and Description |
|---|---|
boolean |
connected
A flag used to gate the connect() and disconnect() functions.
|
java.sql.Connection |
connection
The SQL object representing the connection to the accounting database.
|
private DatabaseConnector.Mode |
currentMode
The current mode of SQL dialect being used by this connector.
|
private java.lang.String |
password
The password for accessing the accounting database.
|
private java.sql.ResultSet |
results
The results returned by SQL queries.
|
private java.sql.PreparedStatement |
statement
A statement object used to prepare SQL transactions.
|
private java.sql.PreparedStatement |
statement2
Additional statement object used to prepare SQL transactions.
|
private java.lang.String |
url
The host location of the accounting database.
|
private java.lang.String |
username
The username for accessing the accounting database.
|
| Constructor and Description |
|---|
DatabaseConnector()
Instantiates a new database connector.
|
| Modifier and Type | Method and Description |
|---|---|
private void |
cleanUp()
Frees all database resources.
|
void |
connect()
Connect to the current database host.
|
void |
disconnect()
Disconnect from the current database host.
|
java.util.ArrayList<Experiment> |
getActiveExperiments()
Queries the database for all experiments where active == 1.
|
java.util.ArrayList<VirtualMachine> |
getActiveVirtualMachines()
Queries the database for all virtual machines where the associated experiment has field active == 1.
|
DatabaseConnector.Mode |
getMode()
Gets the current SQL dialect mode of this connector.
|
private java.lang.String |
getModeSpecificIdentity()
Gets the name of the dialect specific function for returning the last generated id for an inserted record on this connection.
|
java.util.ArrayList<PhysicalHost> |
getPhysicalHosts()
Queries the database for all physical machine records.
|
void |
insertNewExperiment(int experimentId)
Insert a new experiment record into the database.
|
void |
insertNewPhysicalHosts(java.lang.String[] hosts,
java.lang.String siteName)
Insert a new physical hosts record for each element of the supplied hosts array and associate that record with the supplied site name.
|
void |
insertNewSites(java.lang.String[] locations)
Insert a new site record for each element of the supplied array.
|
void |
insertNewVM(int experimentId,
java.net.URI location,
long timeStamp,
java.lang.String host,
java.lang.String site)
Insert a new virtual machine record into the database.
|
void |
setExperimentAggregator(int experimentId,
java.net.URI aggregator)
Sets the aggregator on the the record with the specified experiment id.
|
void |
setExperimentTerminated(int experimentId)
Sets the active value on the record with the specified experiment id to 0.
|
void |
setMode(DatabaseConnector.Mode mode)
Sets the current SQL dialect mode of this connector to either Mode.MYSQL or Mode.HSQLDB.
|
void |
updateMetrics(java.util.List<? extends Resource> resources,
java.lang.String itemsTable)
Updates the database records associated with the supplied resources with the collection of Items (metrics data) on each resource.
|
private java.lang.String username
private java.lang.String password
private java.lang.String url
public java.sql.Connection connection
private java.sql.PreparedStatement statement
private java.sql.PreparedStatement statement2
private java.sql.ResultSet results
private DatabaseConnector.Mode currentMode
public boolean connected
public DatabaseConnector()
public void connect()
IDatabaseConnector
connect
in interface IDatabaseConnector
public void disconnect()
IDatabaseConnector
disconnect
in interface IDatabaseConnector
private void cleanUp()
public void insertNewExperiment(int experimentId)
IDatabaseConnector
insertNewExperiment
in interface IDatabaseConnector
experimentId
- the experiment idpublic void setExperimentTerminated(int experimentId)
IDatabaseConnector
setExperimentTerminated
in interface IDatabaseConnector
experimentId
- the experiment to set inactivepublic void setExperimentAggregator(int experimentId, java.net.URI aggregator)
IDatabaseConnector
setExperimentAggregator
in interface IDatabaseConnector
experimentId
- the experiment idaggregator
- the indicator of the aggregator compute resourcepublic void insertNewVM(int experimentId, java.net.URI location, long timeStamp, java.lang.String host, java.lang.String site)
IDatabaseConnector
insertNewVM
in interface IDatabaseConnector
experimentId
- the id of the experiment with which the virtual machine is to be associatedlocation
- the indicator of the compute resourcetimeStamp
- the timestamp of the compute creation event that produced the virtual machinehost
- the physical host machine which the virtual machine is running onsite
- the site/testbed where the physical host machine is located.public void insertNewSites(java.lang.String[] locations)
IDatabaseConnector
insertNewSites
in interface IDatabaseConnector
locations
- the location names of each site. e.g. { "uk-epcc", "fr-inria", "de-hlrs", etc. }public void insertNewPhysicalHosts(java.lang.String[] hosts, java.lang.String siteName)
IDatabaseConnector
insertNewPhysicalHosts
in interface IDatabaseConnector
hosts
- the host names of each physical machinesiteName
- the name of the site where the specified physical machines are housed.public java.util.ArrayList<Experiment> getActiveExperiments()
IDatabaseConnector
getActiveExperiments
in interface IDatabaseConnector
public java.util.ArrayList<VirtualMachine> getActiveVirtualMachines()
IDatabaseConnector
getActiveVirtualMachines
in interface IDatabaseConnector
public java.util.ArrayList<PhysicalHost> getPhysicalHosts()
IDatabaseConnector
getPhysicalHosts
in interface IDatabaseConnector
public void updateMetrics(java.util.List<? extends Resource> resources, java.lang.String itemsTable)
IDatabaseConnector
updateMetrics
in interface IDatabaseConnector
resources
- the collection of resources subject to update. Each resource object has a List of Items containing the metrics gathered.itemsTable
- the items table which is associated with the resources being updated. e.g. When the resources are virtual machines, the itemsTable string must be "virtual_machines".private java.lang.String getModeSpecificIdentity()
public DatabaseConnector.Mode getMode()
public void setMode(DatabaseConnector.Mode mode)
mode
- the mode as represented by the Mode enum.


Dear Dry,
Right now, you can help make a difference [ http://org.salsalabs.com/o/1400/p/dia/action3/common/public/?action_KEY=16873 ] for student survivors of sexual assault.
Please sign the petition now [ http://org.salsalabs.com/o/1400/p/dia/action3/common/public/?action_KEY=16873 ]. The University Virginia – a premier university with students from throughout the nation and all over the world – is accepting public comments on a new proposed Student Sexual Misconduct Policy to improve the university’s response to rape and sexual assault on campus.
*We need all petition signatures by 5 PM on Friday, December 19 [ http://org.salsalabs.com/o/1400/p/dia/action3/common/public/?action_KEY=16873 ]*.
We must use our collective voice, as concerned people from across the nation, to help make the UVA Student Sexual Misconduct Policy as strong as it can be. This policy is a critical tool for student survivors at UVA


--- layout: leftcolumn title: Download group: download commentsEnabled: true permalink: /download/ ---
Features binary image for Hawaii 0.7.0.
SHA256: c1c466d23121a6ab20035f14d14943368f3800ddf311fdc986d042ef026539da
At the graphical login prompt just hit Enter to log in.
Hardware supported by Open Source drivers should work. Here's the list of supported GPUs:
VirtualBox does not currently support Wayland reliably, please use other virtualization solutions such as virt-manager.


Did you find this page useful? Do you have a suggestion? Give us feedback or send us a pull request on GitHub.
First time using the AWS CLI? See the User Guide for help getting started.
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AWS Device Farm is a service that enables mobile app developers to test Android, iOS, and Fire OS apps on physical phones, tablets, and other devices in the cloud.


HLI Lab.
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Redux is a predictable state management library for JavaScript applications and is the most popular State container for React applications. By now, we have discovered that building out applications using React requires a lot of forethought to give an application scalability. Specifically, we have noticed some complications around the area of state-management. You may have asked yourself a question like “Which of my components should have state vs. which of my components should just be a way to present some DOM elements?”
Redux is a predictable state management library for JavaScript applications and is the most popular State container for React applications. By now, we have discovered that building out applications using React requires a lot of forethought to give an application scalability. Specifically, we have noticed some complications around the area of state-management. You may have asked yourself a question like “Which of my components should have state vs. which of my components should just be a way to present some DOM elements?”
Luckily you’re not alone in this dilemma. In fact, the Facebook team that
built React in the first place noticed that managing state could become a
nightmare at scale were they only to use component state. So, they built a
pattern, and said, “everyone here at Facebook is going to write code after
this pattern.” This way, they could eliminate many of the problems that
unwieldy state-full components could surface. That pattern was called
Flux
link to docs (Links to an external site.), and it’s primary use case was to add some stringency to the React
ecosystem because by itself, React is very unopinionated in how one should
be designing their application and managing state.
Flux was great, but developers had a hard time with implementation because the pattern presented a few other problems. Because of this, (and around the same time that React was becoming so popular) Dan Abramov (Links to an external site.) built out a ‘Time-traveling’ approach to debug an application. This method eventually became known as Redux. Dan wanted to be able to go back in time to see when/where the state had changed in his application, and to do that, he ended up creating one of the most popular state-management libraries known to React Developers today.
Redux is a small, light-weight state container for use when building JavaScript applications. Remember, Redux has nothing to do with React other than the fact that many developers use them together. The core concepts/principles of Redux are 3 fold:
Everything that changes within your application is represented
by a single JavaScript Object known as the store. The store
contains our state for our application.
When the application state changes, we clone the state object, modify the clone, and replace the original state with the new copy. We never mutate the original object, and we never write to our store object.
Given the same input, a pure function returns the same output every time. All functions (reducers) in Redux must be pure functions. Meaning they take in some state and a description of what changes took place and return a copy of our state.
Redux is pretty simple at its core, the complications with Redux arise when we try and implement it within a React application. Usually, these issues are because there is some new syntax, and it’s just a matter of time spent learning to sort them out.
Watch the first 4 videos in this series (Links to an external site.) and try to wrap your head around how this would be useful in a React application. Think of your projects that you’ve built in React up until this point. What types of problems would Redux have solved in those projects if any?
Write your thoughts on why Redux exists and at least one reason to use it as well as one reason to not use it.
In this section, we’ll learn how to create the Redux Store and how to use a library called react-redux to connect our React application to the Store. Because Redux is a standalone library, (meaning it can be used on its own or with another library/framework for state-management and data flow) we have to use a second helper package that will enable us to string together Redux within a React application. That package is called React-Redux (Links to an external site.). Some more documentation and information lives here (Links to an external site.). The packages React and Redux are entirely separate, as quoted in the Redux documentation.
In this section, we’ll learn how to create the Redux Store and
how to use a library called react-redux
to connect our React
application to the Store. Because Redux is a standalone
library,
(meaning it can be used on its own or with another library/framework for
state-management and data flow) we have to use a second helper package
that will enable us to string together Redux within a React application.
That package is called
React-Redux (Links to an external site.). Some more documentation and information lives
here (Links to an external site.). The packages React
and Redux
are entirely
separate, as quoted in the Redux documentation.
From the very beginning, we need to stress that Redux has no relation to React. You can write Redux apps with React, Angular, Ember, jQuery, or vanilla JavaScript.
The first step we’re going to take to enable Redux within a React application is to install it. This process assumes you’ve used Create React App to boilerplate out a React application.
npm install react-redux redux
Now that we have redux
and
react-redux
installed, let’s learn how to set it up within
our application. We will use the createStore
function from
redux
, so let’s import that first.
import { createStore } from 'redux';
createStore
will take in a single reducer that represents the
state (data) of our application globally. We need to create a
store
variable, and use createStore
to create
the Redux store.
const store = createStore(reducer);
You’ll notice that we passed a reducer into createStore
, but
we don’t have a reducer yet. We’ll learn a lot more about reducers soon.
For now, let’s create a function called reducer
that returns
an object representing our state.
function reducer() {
return {
title: 'Hello world! I\'m in the Redux store!',
}
}
const store = createStore(reducer);
Now that we have a store, we want to make our application aware of it. The
way this works is that react-redux gives us a
<Provider></Provider>
component that wraps around
our entire application. We will pass our newly created store to that
component as a prop.
Within our Root Component (usually Index.js
), go ahead and
import Provider
from react-redux
.
import { Provider } from 'react-redux';
Then, all we need to do is wrap our <App/>
with the
<Provider>
component and pass a store
prop
set equal to the store we created. This will look like this:
<Provider store={store}>
<App/>
</Provider>
Let’s go ahead and take a peek at our application using the React Dev Tools now that we’ve wrapped it up in a Provider Component.
Now, take the time to think about where and when you’ve done this before? Is there a package that we’ve used this same way? If so, which package is it? It is important to note that a large number of packages that we use in React are implemented this way.
Write down a few thoughts on what you see, where you’ve seen similar patterns, etc, and send that to your PM.
Now that we have built a store to manage our state, we need to connect our components to that store. We can do so using the connect function, within the components themselves. We can also build a helper function within the component files to tell the connect function what pieces of state we want to access. This function is usually named mapStateToProps, and it will map pieces of our Redux state to the props of our component. Let’s try it out.
Now that we have built a store to manage our state, we need to connect our
components to that store. We can do so using the
connect
function, within the components themselves. We can
also build a helper function within the component files to tell the
connect
function what pieces of state we want to access. This
function is usually named mapStateToProps
, and it will map
pieces of our Redux state to the props of our component. Let’s try it out.
Using the app you created earlier that has the redux store wired up, change the object you initially returned out of the reducer function to look like this:
{
user: {
name: 'Dustin'
},
movies: [
'Star Wars',
'Lord of the Rings',
'Harry Potter'
],
todoList: [
{ task: 'Learn Redux', id: 0, completed: false }
],
moviesToWatch: 13
}
Now create a component called MovieList
. Next, we’ll take a
look at the syntax we use to connect our React component to Redux, then
we’ll talk about it. To start, import the connect
function
into your component:
import { connect } from 'react-redux';
Next, we use the connect
function, where we export the
component at the bottom of the file. We invoke connect
twice
(function currying). First with two arguments - a function and an object.
Second with just the component we are trying to connect. For now, we’ll
pass null
and {}
into the first invocation.
export default connect(null, {})(MovieList)
Now MovieList
is connected to the store. Let’s write our
mapStateToProps
function now, to tell
connect
which pieces of our state we want to bring in to this
component. This function takes in state
as a parameter, then
returns an object where the properties can be passed to props, and the
values are retrieved from the store for our component.
For a MovieList
component, we probably only want to know
about the movies
array and the
moviesToWatch
number, maybe the
user
object. We’ll not worry about the todoList
,
since our component doesn’t need to know about that part of our state.
Let’s bring those three pieces of our state into the component.
const mapStateToProps = state => {
return {
movies: state.movies,
moviesToWatch: state.moviesToWatch,
user: state.user
}
}
Let’s pass this in as the first argument to the first
connect
invocation. Notice that state
is being
passed into this function. Under the hood, connect passes our entire state
tree to mapStateToProps
. That means that within that
function, we have access to all our state via the
state
argument. But, the component only receives the pieces
of state that we turn out of mapStateToProps
.
export default connect(mapStateToProps, {})(MovieList)
Now, if you look at the props in the React tools, you will see that all
three pieces of our state have been passed to our component through the
connect
function! As a side note, other props we’ve passed to
this component the traditional way are still going to be available.
By the way, did you notice that we are using a function that takes in a
component, extends its functionality, and returns a component?
connect
is a HOC!!!`
Create a new application. Add the redux
and
react-redux
packages. Create a redux store with some test
data (have fun with this part!). Build a component and connect that
component to the store using connect
and a
mapStateToProps
function. Render the connected data from your
connected component.
In the world of Redux there’s a whole new set of programmer jargon. The first we’ll talk about here is actions.
In the world of Redux there’s a whole new set of programmer jargon. The
first we’ll talk about here is actions
.
Actions in Redux are packets of information that contain an action type and associated data.
In code, an action is simply an object with up to two properties - a
type
property and an optional payload
property.
Each action MUST have a type
property. The
type
property is a string that explains what interaction just
happened. By convention, we use all caps and underscores for types - ie
'LOGIN_USER
or TOGGLE_TODO
. The
payload
property is data that goes along with that
interaction.
Actions are “dispatched” to our reducer - aka, passed into the reducer function as an argument. When our reducer recieves an action, it will update the state according to the type and payload on the action.
Let’s say we have a toggle handler function that switches a boolean field
called show
, which is set on our state in our Redux store. An
action for such an event would look like this:
{ type: "TOGGLE_SHOW", show: !state.show };
This allows us to keep things as simple as possible when responding to events and interactions!
Importantly in Redux, reducers are the only place we can update our state. Actions tell our reducers “how” to update the state, and perhaps with what data it should be updated, but only a reducer can actually update the state.
From what we’ve learned so far, we can start to see the flow of data in a React/Redux application:
Store sets the state ->
Event or user interaction happens ->
An action desctibing the event and possible changes is dispatched to reducer ->
The reducer handles the action and replaces the store accordingly.
Actions should not be confused with action creators
(though
admittedly, it’s very easy to confuse them). An action creator is a
function that creates an action. Or in other words, an action
creator is a function that returns an action object.
Action creators are a middle step between events/interactions and the dispatch process. They make it possible to write reusable functions that can create actions on the fly, rather than us hard coding actions into our components. With action creators in mind, here is an updated look at our data flow:
Store sets the state ->
Event or user interaction happens ->
An action creator is called and dispatches an action ->
Actions tell us about the changes from the event ->
Reducers handle those actions and replace the store accordingly.
This flow is one of the reasons that Redux is so powerful. The two major
principles here are Functional Programming
and
Immutability
. Dispatched actions are the trigger for
reducers, and reducers are pure functions that never produce any
side-effects. Everything you do in Redux is functional.
The final term we want to cover here is action types
. We’ve
talked about, and even demonstrated the type
property of an
action. We want to change that up right now, ever-so-slightly… Instead of
passing a string to action.type
we create a variable with the
name of the string, and assign it the string we would have passed to an
action. Then we give action.type
the variable as it’s value.
We do this because we deal with strings like we deal with
types
. Strings are used in multiple places like you’ll see in
reducers very soon, misspellings occur, and are very hard to debug. If we
misspell our action type in our reducer, our state won’t be updated
correctly, and we’ll be left wondering what went wrong.
Instead, we’ll create an action type, and import it wherever we need it. That way, with linters IntelliSense in our code editor, we can spot errors a lot quicker. This is what action types looks like:
export const TOGGLE_SHOW = 'TOGGLE_SHOW';
{ type: TOGGLE_SHOW, payload: !state.show }
Now let’s try all of this in code!
Let’s build our first action creator. We’ll assume that we have a Redux
store connected to our app, and a component connected to the store. On the
state object, we have a title
property brought into the
component via the mapStateToProps
function. Our component has
an input field and an “update title” button. When we type into the input
and click the button, we want to update our state object with our new
title. (You can start with
this codesandbox (Links to an external site.))
First, we need to create a new folder in the src
folder
called actions
. Inside that folder, create an
actions.js
file. Inside that file, create a variable called
UPDATE_TITLE
with the value 'UPDATE_TITLE'
. The
variable is an action type. Next, let’s create a function called
updateTitle
that takes in a new title. This will be our
action creator, and it will simply return an action with the type
UPDATE_TITLE
and a payload of the new title we passed into
it. Don’t forget to export both the action type and the action creator
function. (Note that these will be named exports
, so they
will be imported with curly brace sytnax -
import { namedExport } from './place';
)
export const UPDATE_TITLE = 'UPDATE_TITLE';
export function updateTitle(newTitle) {
return {
type: UPDATE_TITLE,
payload: newTitle
}
}
See how easy that was? It sounded pretty scary up above, but in practice, this is all very concise and intuitive. Now we have an action creator that can dispatch our action to the reducer and send the reducer the new title. Let’s import our action creator into our component, and talk about how to use it there.
When we use action creators in our connected components, we first import
the action creator. Then, we pass the action creator into the
connect
function. Action creators are passed to the object
that is the second argument in the first connect
invocation.
export default connect(mapStateToProps, { actionCreator: actionCreator })(Component);
Then, just like the state pieces that we brought into our component via
the mapStateToProps
function, we have access to our action
creator in props. This step is important because it is the
connect
function that works in the background to actually
dispatch our actions to the reducer. We can’t just import an action
creator and use it in our component. It must go through
connect
and be used from the props object.
Let’s see how we would do this in the app we have been building. Go to the
Title
component, import updateTitle
, and pass it
into the connect
function.
import React from 'react';
import { connect } from 'react-redux';
import { updateTitle } from '../actions/actions';
...
export default connect(
mapStateToProps,
{ updateTitle }
)(Title);
Now when the “Update title” button is pushed, invoke a function on the
class that invokes this.props.updateTitle
that gets
this.state.newTitleText
passed into it.
updateTitle = (e) => {
e.preventDefault();
this.props.updateTitle(this.state.newTitleText)
}
...
<button onClick={this.updateTitle}>Update title</button>
Yes, names will be the same all over the place with this stuff. Just note
that props.updateTitle
is the action creator.
To make sure it is working, let’s add a console.log in the action creator, and log out the newTitle that is passed into it. Since we don’t have a reducer to handle this action yet, we won’t see the state or title updated yet. So this is the best way we can make sure it’s working.
export function updateTitle(newTitle) {
console.log(newTitle);
return {
type: UPDATE_TITLE,
payload: newTitle
}
}
Here’s what our codesandbox (Links to an external site.) should look like now.
In the application you created earlier, look at the state you are displaying. Find something easy, like a string or a number, to update. (Add a string to your state if you only have arrays or objects. This will keep things simple today while we learn this brand new state management flow).  Make sure you have a console.log in the action creator so you will know if it’s working.


{% extends "page_with_title_and_lede.html" %} {% load i18n %} {% block head_title %}Young Coders{% endblock %} {% block heading %}Young Coders{% endblock %} {% block body_class %}program{% endblock %} {% block lede %} {% endblock %} {% block content %}
We will have a Young Coders class this year. Only 10 seats available, registration opens on July 14th at 8:30 AM!
It's the same class as taught at PyCon! Details: https://us.pycon.org/2017/events/letslearnpython/
Except there's one slight difference: At the end of our class, the kids take everything home but the monitors: Pi, case, power supply, keyboard, mouse, and HDMI cable. They can plug into a flat screen TV and keep on learning.
The class is open to teens from 12-17, and is aimed at kids who have never programmed before. (Seriously, if they are already doing this stuff at home on their own, they'll be bored.)
Exceptions to to the age policy may only be made in advance by the PyArkansas Chair in consultation with the class instructor. Exceptions will only be made for children under 12 if they will be entering the 7th grade (US school system) or higher in fall of 2016. Exceptions will only be made for persons over 17 if they have not yet graduated high school (12th grade US school system). Proof of education level may be required.
Contact<EMAIL_ADDRESS>if you have questions about this policy.
Additional info on Young Coders and previous classes is available here:
{% endblock %}


{% extends "layout.html" %} {% block page_title %} Prove you can apply for benefits in the UK {% endblock %} {% block content %} {% include "includes/phase_banner_prototype.html" %} {% if serviceName %} {{ serviceName }} {% endif %} Things on here Tool to prepare for a residency interview Example single-choice form validation Example multiple-choice form validation Example autocomplete form validation Other resources Guide to GOV.UK Elements Service design manual Government Digital Service Design Principles {% endblock %}


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Thanks for booking, your order is being processed and you will be emailed your tickets soon
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HURDLE HERO Press a key to jump varying hurdles. Win the race. Missing a hurdle slows you down. Can you win the regionals? Can you win the Olympics? To cheat to a higher competition, click the level number and then click Restart. A one-day game by Ethan Kennerly (February 23, 2014) Inspired by Hurdle Champion on iPhone, Speed Match on Lumosity, and Interactive Metronome.


Giggs relishes ‘one of greatest nights of his life’ as Wales reach Euro 2020
The Wales manager was elated after his team booked their Euro 2020 place.
Wales boss Ryan Giggs has described his team’s Euro 2020 qualification as “one of the greatest nights of my life”.
Giggs looked on as his players clinched a place at next summer’s showpiece thanks to Aaron Ramsey’s double in a 2-0 victory over Hungary at Cardiff City Stadium.
Wales had to win in their quest for an automatic Euro 2020 place, and they duly delivered, backing up their achievement in reaching – and then excelling – at Euro 2016.
Giggs followed his predecessor Chris Coleman in guiding Wales to a major championship, and he was understandably elated.
“It is a special, special night,” Giggs said.
“The lads have showed great determination and quality and a never-give-up attitude. They deserve all the plaudits. There was no room for error, and the quality and concentration they have shown, they deserve it.
“It is one of the greatest nights of my life. Simple as that.
“I achieved a lot as a player, but it’s different as a manager, the pressure you are under and you are helpless as a manager.
“I was never nervous as a player, but as a manager you are.
Giggs paid tribute to Ramsey, who scored his first Wales goals since September last year – a first-half header followed by a calm close-range finish early in the second period.
“We have missed him,” Giggs added. “We have some very good players, but they don’t grow on trees – players who make the difference.
“Aaron tonight was the difference. I am really pleased for him.”
Giggs was asked if he had won over sceptics, and he said: “I hope so. I’m struggling if it hasn’t!
“I asked the players who have been there and done it to climb that mountain again. A lot is made of the younger players, but you can’t do it without the older players too.
“Wayne (Hennessey’s) double save, Gareth (Bale) putting his body on the line, and it’s not easy leaving out Ash (Ashley Williams) who is perhaps the greatest captain Wales have ever had.
“I set out to quality for a major championship, but more than that, to leave Welsh football in a better state than when I took over.
“This is just the beginning. We have seen a lot of young players over the last 18 months, and they can get better – they can definitely get better.
“It probably hasn’t sunk in yet. The players can get better with the help of the more experienced lads who aren’t over the hill by any stretch of the imagination.
“I didn’t think it was a fantastic performance. We showed grit and determination, but our quality on the ball can, and needs to be, better with the quality we possess.
“As a player, you want to play in major championships. My first memory of a major championship was 1982 (World Cup). It’s different as a manager.
“This is different. It feels amazing – the group of players I have got and my staff.
“I am a relatively young coach, and I could not have done it without my staff. Together we did it.
“As a player, basically you look after yourself.  As a manager you have to manage everything, so it’s a completely different kettle of fish.
“I didn’t think about my playing career, it was all about getting Wales to another championship, as a manager.”
Hungary now go into the play-offs for a place at Euro 2020 after seeing their hopes of automatic qualification end.
“We made too many mistakes,” Hungary coach Marco Rossi said.
“The first goal was a big mistake. Wales absolutely deserved to win. They showed class.
“The guys tried to fight, but at this level it is not enough. “We are a double-faced team in terms of playing at home and away. It is difficult to explain. We have problems playing away.”


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QuickFIX comes with a comprehensive suite of automated unit tests written.  Catch2 allows developers to test C++ code by writing code that calls functions on objects and asserting correct behavior. These test verifies not only that the code works correctly, but also that it works the same on all platforms.
This sample shows the setup and execution of the test that verifies the Parser object can correctly extract messages from a stream.
struct readFixMessageFixture { readFixMessageFixture() { fixMsg1 = "8=FIX.4.2\0019=12\00135=A\001108=30\00110=31\001"; fixMsg2 = "8=FIX.4.2\0019=17\00135=4\00136=88\001123=Y\00110=34\001"; fixMsg3 = "8=FIX.4.2\0019=19\00135=A\001108=30\0019710=8\00110=31\001"; object.addToStream( fixMsg1 + fixMsg2 + fixMsg3 ); } std::string fixMsg1; std::string fixMsg2; std::string fixMsg3; Parser object; }; TEST_FIXTURE(readFixMessageFixture, readFixMessage) { std::string readFixMsg1; CHECK( object.readFixMessage( readFixMsg1 ) ); CHECK_EQUAL( fixMsg1, readFixMsg1 ); std::string readFixMsg2; CHECK( object.readFixMessage( readFixMsg2 ) ); CHECK_EQUAL( fixMsg2, readFixMsg2 ); std::string readFixMsg3; CHECK( object.readFixMessage( readFixMsg3 ) ); CHECK_EQUAL( fixMsg3, readFixMsg3 ); }


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Contrast checker
Check the contrast ratio of many colours at once.
Foreground colours (as HEX values)
Background colours (as HEX values)
All combinations
Contrast ratio of 3.1:1 or more (AA UI)
Contrast ratio of 4.5:1 or more (AA text)
Contrast ratio of 7:1 or more (AAA text)
Check contrast


noteMD
package is an R package that print text from shiny ui (support markdown syntax) into pdf or word reports!This package works as a widget for shiny
apps and rmarkdown
reports!
By using this package, user need to have a shiny app and simply do following steps to insert a text area and interact with (pdf or word) reports.
Step 1: create a textarea in shiny ui: tags$textarea( "Please using any **markdown** syntax!", id = 'markdowninput', rows = 3, style = 'width:100%;')
, note that the id of this tag is markdowninput
.
Step 2: insert an html output (as a preview) in a shiny app, use output$htmlmarkdown = reactive({note_in_html(input$markdowninput) })
, then put htmlOutput('htmlmarkdown')
in the shiny ui.
Step 3: if your report is in pdf, put note_in_md_pdf(input$markdowninput)
in an R chunk (whereever you want to insert the text); if your report is in word, put note_in_md_word(input$markdowninput)
in an R chunk!
This is code for app.R
, please note that since this project is to interact with Rmarkdown
outputs (reports), the note_in_md_pdf
and note_in_md_word
functions should be used in Rmarkdonw
part of shiny app.
app.R code:
library(shiny)
library(noteMD)
library(knitr)
library(rmarkdown)
ui <- fluidPage(
fluidRow(
column(12,
helpText("Note: Any comments made in the box will be printed if you download the summary report.") ),
column(12,
tags$textarea(
"Please using any **markdown** syntax!",
id = 'markdowninput',
rows = 3,
style = 'width:100%;')) ),
helpText("Preview:"),
htmlOutput('htmlmarkdown')
)
# Define server logic required to draw a histogram
server <- function(input, output) {
output$htmlmarkdown = reactive({
note_in_html(input$markdowninput)
})
output$describe_download = downloadHandler(
filename<- function(){
paste("Summary",Sys.Date(),switch(
input$format, PDF = '.pdf', Word = '.docx'
),sep = "")
},
content = function(file) {
if (input$format=="PDF"){
#### Progressing indicator
withProgress(message = 'Download in progress',
detail = 'This may take a while...', value = 0, {
for (i in 1:15) {
incProgress(1/15)
Sys.sleep(0.01)
}
## End of progression
src <- normalizePath('summary_report.Rmd')
# temporarily switch to the temp dir, in case you do not have write
# permission to the current working directory
owd <- setwd(tempdir())
on.exit(setwd(owd))
file.copy(src, 'summary_report.Rmd', overwrite = TRUE)
library(rmarkdown)
out <- render('summary_report.Rmd', pdf_document())
file.rename(out, file)
})
}else{
withProgress(message = 'Download in progress',
detail = 'This may take a while...', value = 0, {
for (i in 1:15) {
incProgress(1/15)
Sys.sleep(0.01)
}
## End of progression
src <- normalizePath('summary_report_word.Rmd')
# temporarily switch to the temp dir, in case you do not have write
# permission to the current working directory
owd <- setwd(tempdir())
on.exit(setwd(owd))
file.copy(src, 'summary_report_word.Rmd', overwrite = TRUE)
library(rmarkdown)
out <- render('summary_report_word.Rmd', word_document())
file.rename(out, file)
})
}
})
}
# Run the application
shinyApp(ui = ui, server = server)
Note: when running this example, please put summary_report.Rmd
and summary_report_word.Rmd
in the same direction as the shiny app.R
.
summary_report.Rmd code:
---
title: "Summary Report"
author: "User Name"
date: "25 February, 2019"
output: pdf_document
---
### Put this following code in an R chunk
note_in_md_pdf(input$markdowninput)
summary_report_word.Rmd code:
---
title: "Summary Report"
author: "User Name"
date: "25 February, 2019"
output: word_document
---
### Put this following code in an R chunk
note_in_md_word(input$markdowninput)