Lost nights with Mihai (from song "1, 2 si 3 de 4") watching YoMtvRaps
Wu-Tang Clan, Dr Dre, The Roots, DaLuniz, 2Pac, NaughtyByNature, SnoopDogg, Biggy plants "the seed".
"Clung" on to Dahey from Rool LK band and starts Vineri 13 project.
Makes 2 albums as Vineri 13 with Dahey and Johnny and bonds lifetime friendship.
New collaboration projects:
The Rock "seed", which was previously planted by Paul Birzu's guitar plays and collaborations with GOD band on Vineri 13 albums, finally blooms on DMan's "land of Hip-Hop" with MORPHINE project (with Dahey).
New collaboration with the rock band Rosu si Negru which was re-established in Iasi by the tenor Cosmin Marcovici. This collaboration has led to 2 new songs (Inger si Demon and O poveste), rehearsals and concerts in Iasi. The band was later on renamed to Karma.
New single: Las' ca-i bine
New single: Omul din oglinda (Sky above) with Erik (online artist)
New single: Nu ne pasa with Canaf and Zeni (Razvan Boroda) recorded at Dahey's Wicked Studio
After 5 years, Nimic a spune single is finally finished with the help of Dahey and the tenor Dragos Ionel at the Wicked Studio.
Collaborating with Johnny, Dahey and Seba for a new single Digital Me


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The Hamming distance between two texts of equal length is the number of positions at which the corresponding symbols are different.


Samantha Harvey is the author of four novels, The Wilderness, All Is Song, Dear Thief and, most recently, The Western Wind, which is one of our most requested titles.
Samantha’s novels have been shortlisted for the Orange Prize for Fiction, the Guardian First Book Award and the James Tait Black Prize, and longlisted for the Man Booker Prize, the Baileys Prize and the Jerwood Fiction Uncovered Prize. She has won the AMI Literature Award and the Betty Trask Prize.
1. Who were your literary influences as you were growing up?
I binge-read when I was a child, but I don’t know if I could call any books from my childhood ‘literary influences’. These came later, in my teens. Siddhartha by Herman Hesse, Milan Kundera, Thomas Hardy, Virginia Woolf, Mary Webb, Graham Greene, Victor Hugo, John Wyndham. Books took my breath away back then with a regularity that’s missing now – though some books do still astonish me. Are they influences? I’m not sure.
Two books strike me - A. S. Byatt’s Still Life and Graham Swift’s Waterland. There was something about them, when I read them in my early 20s, that inspired in me not just admiration but aspiration. I remember thinking, for the first time: I want to try writing. I want to try doing that.
2. The Western Wind is an amazing read. How did you immerse yourself in the 15th century? There must have been a lot of research?
Thank you. There were months of initial research, before I could put pen to paper. I hadn’t intended to set a novel in the 15th century and it caught me unawares - I knew nothing about it. I started with the Usborne Children’s Illustrated Guide to the Middle Ages and progressed from there.
Those first few months were a process of honing in, choosing a time and place and set of circumstances and themes. Once I’d done that, the deeper and more targeted research began, which I did as I was writing, and was a process that continued all the way through the three drafts of the novel.
The relationship between writing and research is a dance, creative in itself. You discover a fact, it opens a door into the fiction, you trace down the facts you now need to know to give texture to the fiction, you work them in, they illuminate a new possibility. There’s no drudgery in research; the difficulty is in knowing when to stop, when to reassure yourself you know enough to make your world hold true.
3. How did the ‘voice’ and character of John Reve come to you?
I begin with characters; I can never address the question of ‘what happens?’ without also establishing ‘who does it happen to?’. The bare bones of the story of The Western Wind came to me at once, on a walk, and with that story arrived John Reve, not only its protagonist but also its narrator, its filter – i.e. the story would be told according to him. There could be no story without him.
He was very vivid to me from the outset – a good man, a man compromised by events and by his anxieties, a man questioning what gives his life worth, and what threatens that worth.
His voice came in the writing. I think it’s a bit like tuning an instrument – you know the pitch you want, it exists in your head, and you write the voice in order to see where it accords with that and where there’s dissonance. Where is it flat? What are the false notes? Where do you hit the note perfectly?
I knew I wanted his tone to be warm and collusive, as if he’s always letting the reader in on private matters - yet guarding something too. He was a pleasure to write. But it doesn’t come at once for me, I have to get my ear in.
4. Is there anything you can tell us about your latest ‘work in progress’?
There is nothing. Is there anything you can tell me about it? I’d be grateful – for the first time in my writing life I am stuck for ideas. Let’s call it a ‘regenerative fallow period’.
5. Do you have a message for your readers in Suffolk Libraries?
Well for a start, thank you for being library users. I’m sitting in a public library writing this and I look around at everybody here, and it seems to me that libraries are a marker of how civilised a society is. They provide free space and resources to people, to anyone who wants to use them, without fear or favour. We may be holding on to them by a thread, but we are holding on, for now.
And thank you so much for being my readers. How amazing it is, to have readers. Sometimes it still seems improbable.
6. What is on your ‘to read’ list at the moment?
I’m reading Richard Flanagan’s The Narrow Road to the Deep North at the moment. Next is probably a reread of Saramago’s All the Names, a novel I love and have chosen to talk about as part of an interview for a book blog.
Then, Robert Edric’s Gathering the Water, which was recommended to me by the wonderful people at Primrose Hill Books in London. And perhaps Jane Austen’s Emma, which I’ve never read; I’m going through a bout of insomnia which isn’t being soothed by Flanagan’s forensic and brutal accounts of Japanese POW camps, funnily enough. Maybe Emma will be more tranquil company at 4am?
7. Can you tell us one thing that your readers may not know about you?
I’ve just made a life-size sculpture of my partner, Rick, out of cement. As you do.


{% import "macros.html" as macros %} {% extends base_layout %} {% block title %}Authenticate :: {% endblock %} {% block page_styles %} {% endblock %} {% block navbar %} {% include 'navbar.html' %} {% endblock %} {% block content %}
“There is not much collective security in a flock of sheep on the way to the butcher.” ― Winston Churchill
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Reddit Programs
If you are a complete beginner to resistance training… #
…we strongly recommend getting started with one of the following routines, depending on your equipment access:
Barbell / Compound Lift Focused Routines #
- r/Fitness Basic Beginner Routine
A simple, modified version of Phrak’s GSLP to be used as a short term “training wheels” program for learning the fundamental barbell lifts, with guidelines for accessory work, cardio, and conditioning. If you’re new to barbell lifts, this is a good place to start.
- Greyskull LP
A beginner’s linear progression program. A 3 day or A/B routine.
- Jim Wendler’s 5/3/1
A popular, proven system for training that is effective for trainees of all levels by Coach Jim Wendler with many common variants available for free online. If you’re having trouble understanding any of the below, have a look at our 5/3/1 Primer for a breakdown of the system. Read reviews in the Program Review Archive.
- The GZCL Method
Powerlifter and r/Fitness regular Cody LeFever’s training system. A very flexible program that can be adapted for many different goals. See r/gzcl for more. Read reviews in the Program Review Archive.
- GZCLP
A linear progression template derived from the GZCL Method. A 3 or 4 day routine.
- Greg Nuckols’ Programs – 28 free training programs from longtime friend of r/Fitness and one of the juggernauts of strength science, Greg Nuckols of Stronger By Science. Read reviews in the Program Review Archive.
- Strong Curves
A program aimed at introducing women to weight lifting. The program can be tailored to the user and offers at-home alternatives for those without access to a gym. Some spreadsheets can be found in this post on r/xxfitness. More info can be found at /r/StrongCurves.
- nSuns LP
A “linear progression” focused program based very loosely on elements of 5/3/1 Spinal Tap, created by r/Fitness regular nSuns. Comes in 4 day, 5 day, and 6 day variations.
- Metallicdpas PPL (Archive)
Linear progression based push/pull/legs program. A 6 day routine. Can also be run as a 3 day routine.
- Westside For Skinny Bastards
A strength and muscle building program by Joe DeFranco. A 4 day program.
- PHUL (Power Hypertrophy Upper Lower)
Size and strength program by Brandon Campbell. A 4 day program.
- PHAT (Power Hypertrophy Adaptive Training)
Size and strength program by Dr. Layne Norton. A 5 day program.
- Arnold Schwarzenegger’s Splits
Body part splits from Arnold Schwarzenegger. Two variations, both are 6 day programs.
 Includes programs for Beginner, Intermediate, and Advanced trainees. Read reviews in the Program Review Archive.
Dumbbell Focused Routines #
Bodyweight / Home / Minimal Equipment Routines #
Hotel / Apartment / Planet Fitness-like Gyms #


Module svnmailer.typedstruct
Typed Data Structures
This module provides helpers for creating typed data structures.
Basic Usage
In order to create a new data structure, you inherit from
Struct
and define the members like so (the booleans are
explained later):
class MyStruct(typedstruct.Struct):
__slots__ = typedstruct.members(locals(), {
'name1': None,
# ... and/or ...
'name2': <type>,
# ... and/or ...
'name3': (<type>, <param>),
})
If there are no fixed types at all (always None
, you
can still benefit from the features of the Struct
class and further write it a bit
simpler:
class MyStruct(typedstruct.Struct):
__slots__ = typedstruct.members(locals(), (
'name1', 'name2', ...
))
Well, the main reason for using the Struct class is to get some
level of type safety and automatic conversion without a complex
written definition of property
for each and every member
(it uses some property like descriptors internally, however). This
encapsulates a lot of ugly logic and error handling (more or less)
into a single piece of code and makes the member definitions
much easier to read and maintain. For example, you can create
a struct member of type regex
. Now you assign a string
to this member and it is automatically compiled to a regex, which you
get, if you retrieve the value later. As you'll see, the
regex
type needs to be defined as a class which should
be inherited from the MemberDescriptor
class and assigned to
the regex
type name via a type mapping dict:
class RegexMember(typedstruct.MemberDescriptor):
def transform(self, value, arg):
import re
return re.compile(value)
# ...
typemap = {'regex': RegexMember}
# ...
class MyStruct(typedstruct.Struct):
__slots__ = typedstruct.members(locals(), {
'checker': 'regex',
}, typemap = typemap)
# ...
store = MyStruct()
store.checker = r'[a-zA-Z]$'
# ...
if store.checker.match(stringtocheck):
# do something
Constraints
Member names must be valid python identifiers. Further all names
starting and ending with underscores are reserved for Struct
's or python's own purposes.
| Function Summary |
list
|
members (space,
the_members,
aliases,
typemap)
supply the member and slot entries |
members(space,
the_members,
aliases=None,
typemap=None)
supply the member and slot entries
-
- Parameters:
space -
The namespace to pollute
(type=dict )
the_members -
The member list / description
(type=tuple or dict )
aliases -
The member name aliases
(type=dict )
typemap -
The type mapping table
(type=dict )
- Returns:
-
The list of __slots__ to use.
(type=list )
|


Well, quite some time since I posted, mainly as I haven’t had much time. Well, in order of events:
Went to the Lake District a few weeks ago with Phil from work, his brother and a mate. Great time, great food, and a great amount of mostly ale. Several new experiences - first frozen tent, first time in canoe (did length of Derwent Water and back), and first real end to end walk - from Grasmere to Keswick via Greenup Edge. Best news was the walk still wasn’t enough to hurt my knee - really building up confidence in it now.
Also, I have done decent walks over the Peak District, and Shropshire. Last week, I did my first non Cannock Chase forest walk in the Wyre Forest. Tough day, humid and wet, but good. This weekend sees me walking probably in the Brecon Beacons or eastern Snowdonia depending on where the weather is best.
Next weekend is particularly exciting though, booked trained tickets for a 2 day walk and wildcamp in the Coniston / Langdale area. Not expected in Coniston until about 13:00 next Saturday, so planning an easy walk over the Old Man, then over Wrynose to camp and Three Tarns. Then a Sunday exploration of nearby Great End / Ill Crag / Scafell Pike, finally descending to Langdale, to bus back to Windermere - train out late afternoon.
Hopefully, normal regular posting service will resume…


All variabel declarations are hoisted (lifted and declared) to the top of:
1. global context (if defined OUTSIDE a function)
2. the top of the function (if defined INSIDE a function)
The reason undefined prints first is because the local variable name was hoisted to the top of the function.


Coding became a passion of mine within days. I am currently pursing a career in computer programming through the CodeCrew coding boot camp. I spend my days solving puzzles and my nights experimenting with code I don't yet understand. One week into the boot camp I knew that I had found my true passion. I have a background in design and concern myself with aesthetic and content equally. I look to combine the sometimes frustrating rationality of code with the always frustrating subjectivity of design to reach beautiful solutions to complex problems. I've spent my whole life in Memphis and this vibrant city and surrounding towns offer inspiration and support at every turn. I aspire to tap into the pulsing vein of computer programming that runs throughout the city and add to its energy tenfold.


Why ? -
Embedded js is a client side templating library, which is used to write cleaner HTML and JS code in the places that render html dynamically with javascript. Results in easy to write, clean, readable and maintainable code base.
Problem -
We have been working on a simple ajax based messaging app where as messages come they are updated in the UI through ajax. The messages are of different t...
Continue reading


| home.cell - Information - Porting VST PlugIns To BeOS |
With VST 2.0 the BeOS (x86 only) has become one of the supported platforms of Steinbergs VST standard (the others are Windows, MacOS and SGI/MOTIF). This includes full UI support if you're using the cross-platform VSTGUI library. In fact you can code one version of the plugin and recompile it on all platforms without much hassle. But also VST 1.0 plugins can be easily ported with one little modification, as long as you're not using custom, platform-dependant UI code.
On this page I'll give you detailled instructions on how to port your plugs. So if you're new to BeOS, but have it installed somewhere near you and are willing to port, this is for you. If you need help or don't have access to a BeOS machine, feel free to contact me at<EMAIL_ADDRESS>Contents:
First of all, if you don't have the BeOS specific files of the VST2 SDK (i.e. the folder 'beos'), you must first download the BeOS version of the SDK from the Steinberg site. Otherwise you'll probably have the files on a floppy or another partition of the same machine. In BeOS you can easily access both by 'mounting' them: right-click the Desktop to bring up its context-menu, select 'Mount' and choose the partition you want to access, or 'floppy' if the files are there. The icon of that disk will appear on the Desktop, simply double-click to browse its contents.
Then you'll have to put the files into a appropriate place on the BeOS partition. In BeOS the directory "/boot/home" is there for user-specific files, so everything that is yours goes there. I would recommend creating a folder inside the home directory called 'develop' and a subfolder called 'vstplugins' inside of that. Copy the directory 'source/common' from the SDK into the 'vstplugins' folder, and the file called 'vstgui.o' into a new folder 'vstplugins/lib'.
After you've done that, the structure should look something like this:
Note: the directory structure above is only a recommendation. Of course you can put the files anywhere you want, but I'll assume this structure for the following instructions./boot/home/develop/vstplugins/ /boot/home/develop/vstplugins/common AEffect.h aeffectx.h AEffEditor.hpp AudioEffect.cpp AudioEffect.hpp audioeffectx.cpp audioeffectx.h vstcontrols.h vstgui.h /boot/home/develop/vstplugins/lib libvstgui.o
To simplify things even further, I've created a BeIDE template for your convenience.
Get it here: vst_stationery.zip [3 kB].
Install it as suggested by the included 'Read Me' file.
When you've got that, launch the BeIDE from the Be/Applications menu, and a empty editor window will pop up. Select 'New Project...' from its 'File' menu and you should be getting this window:
Select the 'VST PlugIn' entry and click 'Create', leaving the 'Create Folder' option checked. Next you will be asked to select a directory and project name. Using the file panel, navigate into the 'develop/vstplugins' directory you've created before, and type in the name of your plugin (e.g. MyPlugIn.proj), which will become the project and folder name, and continue by clicking 'OK'.
Now you'll have to change the name of the binary image that will be linked (i.e. what will become the file name of your plug). To do this, select 'Settings...' from the 'Window' menu. A window similar to this should open:
Select the 'Project/x86 ELF Project' item in the left-hand list. Then enter the name of your PlugIn into the 'File Name' text field and 'Save'.
Next thing is to copy the source code of your PlugIn into the project folder. To access your code on a different partition see
Install the SDK files. You'll just need the actual source (i.e. *.cpp, *.hpp and *.h). When you've copied them into the project directory, you simply need to drag the *.cpp files into the project window, which will add them to the list. Your project window should now look something like this:
Now you can try to compile by choosing 'Make' from the 'Project' menu. Normally this should just work.
If your plug uses the VSTGUI though, you'll get a linker error here. The next page details on the additonal work to do for PlugIns using the VSTGUI...


Saw you downtown singing the Blues. Watch you circle the drain.  Heavy is the head that wears the crown. Yes, we make angels cry, raining down on earth from up above.


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PREV
UP
NEXT
ROADMAP
- Contribute to a Free silicon EDA ecosystem.
- Integration (Forward, Backward annotation) with backend tools (Klayout).
- Input filters for more schematic formats as done for GSCHEM / Lepton-Eda
(see right picture).
- Native Windows port.
- Schematic - Waveform Viewer cross-probing (with gaw, gawio socket?)
- Mixed mode simulation: Leverage Xyce / Icarus Verilog (XyceCInterface-VPI)?
- Other improvements driven by users. Your feedback is Welcome!


Status Message:
Q: I want to see these documents when I'm not online! What must I do?
A: Install Gears on your computer and then click "Capture" to store the documents to your computer. You can then access the URLs without a network connection.
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The astropy.cosmology subpackage contains classes for representing cosmologies, and utility functions for calculating commonly used quantities that depend on a cosmological model. This includes distances, ages and lookback times corresponding to a measured redshift or the transverse separation corresponding to a measured angular separation.
There are many functions available to calculate cosmological quantities. They generally take a redshift as input. For example, the two cases below give you the value of the hubble constant at z=0 (i.e., H0), and the number of transverse proper kpc corresponding to an arcminute at z=3:
>>> from astropy import cosmology
>>> cosmology.H(0)
70.4
>>> cosmology.kpc_proper_per_arcmin(3)
472.8071851564037
All the functions available are listed in the Reference/API section. These will use the “current” cosmology to calculate the values (see The Current Cosmology section below for more details). If you haven’t set this explicitly, they will use the 7-year WMAP cosmological parameters and print a warning message.
There are also several standard cosmologies already defined. These are objects with methods and attributes that calculate cosmological values. For example, the comoving distance in Mpc to redshift 4 using the 5-year WMAP parameters:
>>> from astropy.cosmology import WMAP5
>>> WMAP5.comoving_distance(4)
7329.328120760829
A full list of the pre-defined cosmologies is given by cosmology.parameters.available.
An important point is that the cosmological parameters of each instance are immutable – that is, if you want to change, say, Om, you need to make a new instance of the class.
Most of the functionality is enabled by the FLRW object. This represents a homogenous and isotropic cosmology (a cosmology characterized by the Friedmann-Lemaitre-Robertson-Walker metric, named after the people who solved Einstein’s field equation for this special case). However, you can’t work with this class directly, as you must specify a dark energy model by using one of its subclasses instead, such as FlatLambdaCDM.
You can create a new FlatLambdaCDM object with arguments giving the hubble parameter and omega matter (both at z=0):
>>> from astropy.cosmology import FlatLambdaCDM
>>> cosmo = FlatLambdaCDM(H0=70, Om0=0.3)
>>> cosmo
LambdaCDM(H0=70, Om0=0.3, Ode0=0.7)
A number of additional dark energy models are provided (described below). Note that photons and neutrinos are included in these models, so Om0 + Ode0 is not quite one.
The pre-defined cosmologies described in the Getting Started section are instances of FlatLambdaCDM, and have the same methods. So we can find the luminosity distance in Mpc to redshift 4 by:
>>> cosmo.luminosity_distance(4)
35842.35374316948
or the age of the universe at z = 0 in Gyr:
>>> cosmo.age(0)
13.461701807287566
They also accept arrays of redshifts:
>>> cosmo.age([0.5, 1, 1.5])
array([ 8.42128059, 5.74698062, 4.1964541 ])
See the FLRW and FlatLambdaCDM object docstring for all the methods and attributes available. In addition to flat Universes, non-flat varieties are supported such as LambdaCDM. There are also a variety of standard cosmologies with the parameters already defined:
>>> from astropy.cosmology import WMAP7 # WMAP 7-year cosmology
>>> WMAP7.critical_density(0) # critical density at z = 0 in g/cm^3
9.31000313202047e-30
>>> from astropy.cosmology import WMAP5 # WMAP 5-year
>>> WMAP5.H(3) # Hubble parameter at z = 3 in km/s/Mpc
301.71804314602889
You can see how the density parameters evolve with redshift as well
>>> from astropy.cosmology import WMAP7 # WMAP 7-year cosmology
>>> WMAP7.Om([0,1.0,2.0]), WMAP7.Ode([0.,1.0,2.0])
(array([ 0.272 , 0.74898525, 0.9090524 ]),
array([ 0.72791572, 0.25055062, 0.09010261]))
Note that these don’t quite add up to one even though WMAP7 assumes a flat Universe because photons and neutrinos are included.
In addition to the LambdaCDM object, there are convenience functions that calculate some of these quantities without needing to explicitly give a cosmology - but there are more methods available if you work directly with the cosmology object.
>>> from astropy import cosmology
>>> cosmology.kpc_proper_per_arcmin(3)
472.8071851564037
>>> cosmology.arcsec_per_kpc_proper(3)
0.12690162477152736
These functions will perform calculations using the “current” cosmology. This is a specific cosmology that is currently active in astropy and it’s described further in the following section. They can also be explicitly given a cosmology using the cosmo keyword argument. A full list of convenience functions is included below, in the Reference/API section.
Sometimes it’s useful for Astropy functions to assume a default cosmology so that the desired cosmology doesn’t have to be specified every time the function is called – the convenience functions described in the previous section are one example. For these cases it’s possible to specify a “current” cosmology.
You can set the current cosmology to a pre-defined value by using the “default_cosmology” option in the [cosmology.core] section of the configuration file (see Configuration system (astropy.config)). Alternatively, you can use the set_current function to set a cosmology for the current Python session.
If you haven’t set a current cosmology using one of the methods described above, then the cosmology module will use the 7-year WMAP parameters and print a warning message letting you know this. For example, if you call a convenience function without setting the current cosmology or using the cosmo= keyword you see the following message:
>>> from astropy import cosmology
>>> cosmology.lookback_time(1) # lookback time in Gyr at z=1
WARNING: No default cosmology has been specified, using 7-year WMAP.
[astropy.cosmology.core]
7.787767002228743
The 9-year WMAP cosmology is also available
>>> from astropy.cosmology import WMAP9 # WMAP 9-year
>>> WMAP9.lookback_time(2) # lookback time in Gyr at z=2
10.444367272683863
Note
In general it’s better to use an explicit cosmology (for example WMAP7.H(0) instead of cosmology.H(0)). The motivation for this is that when you go back to use the code at a later date or share your scripts with someone else, the default cosmology may have changed. Use of the convenience functions should generally be reserved for interactive work or cases where the flexibility of quickly changing between different cosmologies is for some reason useful. Alternatively, putting (for example) cosmology.set_current(WMAP7) at the top of your code will ensure that the right cosmology is always used.
If you are writing code for the astropy core or an affiliated package, it is strongly recommended that you use the current cosmology through the get_current function. It is also recommended that you provide an override option something like the following:
def myfunc(..., cosmo=None):
from astropy.cosmology import get_current
if cosmo is None:
cosmo = get_current()
... your code here ...
This ensures that all code consistently uses the current cosmology unless explicitly overridden.
In addition to the standard FlatLambdaCDM model described above, a number of additional dark energy models are provided. FlatLambdaCDM and FlatLambdaCDM assume that dark energy is a cosmological constant, and should be the most commonly used case. wCDM assumes a constant dark energy equation of state parameterized by . Two forms of a variable dark energy equation of state are provided: the simple first order linear expansion by w0wzCDM, as well as the common CPL form by w0waCDM: and its generalization to include a pivot redshift by wpwaCDM: .
Users can specify their own equation of state by sub-classing FLRW. See the provided subclasses for examples.
The cosmology classes include the contribution to the energy density from both photons and massless neutrinos. The two parameters controlling the proporties of these species are Tcmb0 (the temperature of the CMB at z=0) and Neff, the effective number of neutrino species. Both have standard default values (2.725 and 3.04, respectively; the reason that Neff is not 3 has to do with a small bump in the neutrino energy spectrum due to electron-positron annihilation).
>>> from astropy.cosmology import WMAP7 # WMAP 7-year cosmology
>>> z = [0,1.0,2.0]
>>> WMAP7.Ogamma(z), WMAP7.Onu(z)
(array([ 4.98569503e-05, 2.74574414e-04]),
array([ 3.44204408e-05, 1.89561782e-04]),
array([ 8.42773911e-05, 4.64136197e-04]))
If you want to exclude photons and neutrinos from your calculations, simply set the CMB Temperature to 0:
>>> from astropy.cosmology import FlatLambdaCDM
>>> cos = FlatLambdaCDM(70.4, 0.272, Tcmb0 = 0.0)
>>> cos.Ogamma0, cos.Onu0
(0.0, 0.0)
Neutrinos can be removed (while leaving photons) by setting Neff=0:
>>> from astropy.cosmology import FlatLambdaCDM
>>> cos = FlatLambdaCDM(70.4, 0.272, Neff=0)
>>> cos.Ogamma([0,1,2]),cos.Onu([0,1,2])
(array([ 4.98569503e-05, 2.74623219e-04, 5.00051845e-04]),
array([ 0., 0., 0.]))
While these examples used FlatLambdaCDM, the above examples also apply for all of the other cosmology classes.
The code in this sub-package is tested against several widely-used online cosmology calculators, and has been used to perform calculations in refereed papers. You can check the range of redshifts over which the code is regularly tested in the module astropy.cosmology.tests.test_cosmology. If you find any bugs, please let us know by opening an issue at the github repository!
astropy.cosmology contains classes and functions for cosmological distance measures and other cosmology-related calculations.
See the Astropy documentation for more detailed usage examples and references.
| H(z[, cosmo]) | Hubble parameter (km/s/Mpc) at redshift z. |
| angular_diameter_distance(z[, cosmo]) | Angular diameter distance in Mpc at a given redshift. |
| arcsec_per_kpc_comoving(z[, cosmo]) | Angular separation in arcsec corresponding to a comoving kpc at redshift z. |
| arcsec_per_kpc_proper(z[, cosmo]) | Angular separation in arcsec corresponding to a proper kpc at redshift z. |
| comoving_distance(z[, cosmo]) | Comoving distance in Mpc at redshift z. |
| critical_density(z[, cosmo]) | Critical density in grams per cubic cm at redshift z. |
| distmod(z[, cosmo]) | Distance modulus at redshift z. |
| get_current() | Get the current cosmology. |
| kpc_comoving_per_arcmin(z[, cosmo]) | Separation in transverse comoving kpc corresponding to an arcminute at redshift z. |
| kpc_proper_per_arcmin(z[, cosmo]) | Separation in transverse proper kpc corresponding to an arcminute at redshift z. |
| lookback_time(z[, cosmo]) | Lookback time in Gyr to redshift z. |
| luminosity_distance(z[, cosmo]) | Luminosity distance in Mpc at redshift z. |
| scale_factor(z[, cosmo]) | Scale factor at redshift z. |
| set_current(cosmo) | Set the current cosmology. |
| FLRW(H0, Om0, Ode0[, Tcmb0, Neff, name]) | A class describing an isotropic and homogeneous (Friedmann-Lemaitre-Robertson-Walker) cosmology. |
| FlatLambdaCDM(H0, Om0[, Tcmb0, Neff, name]) | FLRW cosmology with a cosmological constant and no curvature. |
| Flatw0waCDM(H0, Om0[, w0, wa, Tcmb0, Neff, name]) | FLRW cosmology with a CPL dark energy equation of state and no curvature. |
| FlatwCDM(H0, Om0[, w0, Tcmb0, Neff, name]) | FLRW cosmology with a constant dark energy equation of state and no spatial curvature. |
| LambdaCDM(H0, Om0, Ode0[, Tcmb0, Neff, name]) | FLRW cosmology with a cosmological constant and curvature. |
| w0waCDM(H0, Om0, Ode0[, w0, wa, Tcmb0, ...]) | FLRW cosmology with a CPL dark energy equation of state and curvature. |
| w0wzCDM(H0, Om0, Ode0[, w0, wz, Tcmb0, ...]) | FLRW cosmology with a variable dark energy equation of state and curvature. |
| wCDM(H0, Om0, Ode0[, w0, Tcmb0, Neff, name]) | FLRW cosmology with a constant dark energy equation of state and curvature. |
| wpwaCDM(H0, Om0, Ode0[, wp, wa, zp, Tcmb0, ...]) | FLRW cosmology with a CPL dark energy equation of state, a pivot redshift, and curvature. |


Girl Develop It is here to provide affordable and accessible programs to learn software through mentorship and hands-on instruction.
Some "rules"
Today, we will learn:
ssh studentN@IPAddress
docker exec -it chinook-mysql-$(whoami) /bin/bash
The CREATE statement can be used to create both databases and tables. Let's setup our own database and use it.
mysql> CREATE DATABASE mydatabase;
Query OK, 1 row affected (0.00 sec)
mysql> SHOW DATABASES;
+--------------------+
| Database |
+--------------------+
| information_schema |
| Chinook |
| mydatabase |
| mysql |
| performance_schema |
| test |
+--------------------+
6 rows in set (0.01 sec)
mysql> USE mydatabase;
Database changed
Here are a few introductory data types to get started. Keep in mind this is not an exhaustive list - so you may encounter different data types "in the wild".
| Integers | Depending on the range of values needed, can specify TINYINT, SMALLINT, MEDIUMINT, INT, or BIGINT. |
| Decimals | Can use FLOAT for small floating point (decimal) values or DOUBLE for large floating point values. There is also the DECIMAL type, which stores DOUBLE as a string allowing for fixed decimal points. |
| Text | A text string, depending on length needed can use TINYTEXT, MEDIUMTEXT, TEXT, or LONGTEXT. |
| Binary Large Objects | Depending on the size needed, can use BLOB, MEDIUMBLOB, or LONGBLOB. Note that there is neither a TINYBLOB nor SMALLBLOB type. |
| Time | Time types are somewhat self explanatory and include DATE, TIME, DATETIME, TIMESTAMP, and YEAR. |
Now we will use the CREATE statement to create a simple table:
mysql> CREATE TABLE mytable (id INT, name TEXT);
Query OK, 0 rows affected (0.01 sec)
In order to insert data we will use a couple INSERT statements:
mysql> INSERT INTO mytable (id, name) VALUES (1, 'Luna Lovegood');
Query OK, 1 row affected (0.00 sec)
mysql> INSERT INTO mytable (id, name) VALUES (2, 'Hermione Granger');
Query OK, 1 row affected (0.01 sec)
Using what we learned earlier, how would you view all the data you just inserted into your table?
The DROP statement is used to delete a table from a database:
mysql> SHOW TABLES;
+----------------------+
| Tables_in_mydatabase |
+----------------------+
| mytable |
+----------------------+
1 row in set (0.00 sec)
mysql> DROP TABLE mytable;
Query OK, 0 rows affected (0.00 sec)
mysql> SHOW TABLES;
Empty set (0.00 sec)
XKCD: Always relevant.
If you are trying to drop a table that does not exist, you will get an error. We can avoid this with the "IF EXISTS" clause. So now let's try dropping our already dropped table again:
mysql> DROP TABLE mytable;
ERROR 1051 (42S02): Unknown table 'mytable'
mysql> DROP TABLE IF EXISTS mytable;
Query OK, 0 rows affected, 1 warning (0.01 sec)
A table can be changed by:
mysql> CREATE TABLE names (id INT, name TEXT);
mysql> SHOW TABLES;
mysql> RENAME TABLE names TO contacts;
mysql> DESCRIBE contacts;
mysql> SHOW CREATE TABLE contacts;
mysql> ALTER TABLE contacts ADD email TEXT;
mysql> ALTER TABLE contacts ADD phone TEXT;
mysql> DESCRIBE contacts;
mysql> ALTER TABLE contacts CHANGE phone cell TEXT;
mysql> DESCRIBE contacts;
mysql> ALTER TABLE contacts DROP email;
mysql> DESCRIBE contacts;
Let's say that we need to create a new table using the
data from our existing table, either in part or in whole.
To showcase this, we'll start by INSERTing a couple of entries into our existing table before
creating two new tables.
mysql> INSERT INTO contacts (id, name, cell) VALUES \
(1, 'Kara Thrace', '09-03-13');
mysql> INSERT INTO contacts (id, name, cell) VALUES \
(2, 'Natalie Faust', '09-10-27');
mysql> SELECT * FROM contacts;
mysql> CREATE TABLE myfriends AS SELECT * FROM contacts;
mysql> CREATE TABLE namesonly AS SELECT name FROM contacts;
mysql> SELECT * FROM myfriends;
mysql> SELECT * FROM namesonly;
The SELECT statement the new table is created from can be as simple or complex as you like! Go ahead and try creating a couple more tables with different SELECT statements.
Keys are one or more values that, all together, are unique ways of identifying data in your table.
A quick example could be an employer database - if the given and surnames were both keys, then together they could differentiate between 'John Smith' and 'John Doe'.
Take a look at the keys for this table in the Chinook database:
mysql> DESCRIBE InvoiceLine;
+---------------+---------------+------+-----+---------+-------+
| Field | Type | Null | Key | Default | Extra |
+---------------+---------------+------+-----+---------+-------+
| InvoiceLineId | int(11) | NO | PRI | NULL | |
| InvoiceId | int(11) | NO | MUL | NULL | |
| TrackId | int(11) | NO | MUL | NULL | |
| UnitPrice | decimal(10,2) | NO | | NULL | |
| Quantity | int(11) | NO | | NULL | |
+---------------+---------------+------+-----+---------+-------+
5 rows in set (0.01 sec)
As you can see, the InvoiceLine table has two different
types of keys. Here are the different types of keys that MySQL will
indicate in the Key column:
Here are a few types of keys that you need to know:
Constraints are used to limit the data that can be inserted into columns:
A NOT NULL column cannot have NULL values.
Let's create a sample table in our database to showcase the different constraints:
mysql> USE mydatabase;
Database changed
mysql> CREATE TABLE sample (id INT NOT NULL, givenname TEXT,
surname TEXT);
Query OK, 0 rows affected (0.01 sec)
mysql> INSERT INTO sample VALUES (1, 'John', 'Doe');
Query OK, 1 row affected (0.00 sec)
mysql> INSERT INTO sample VALUES (2, 'John', 'Smith');
Query OK, 1 row affected (0.01 sec)
mysql> INSERT INTO sample VALUES (NULL, 'Jane', 'Doe');
ERROR 1048 (23000): Column 'id' cannot be null
The UNIQUE constraint ensures that all data in a column are unique.
mysql> CREATE TABLE sandwiches (id INT UNIQUE, name TEXT);
Query OK, 0 rows affected (0.04 sec)
mysql> INSERT INTO sandwiches (id, name) VALUES (1, 'smorrebrod');
Query OK, 1 row affected (0.00 sec)
mysql> INSERT INTO sandwiches (id, name) VALUES (1, 'pljeskavica');
ERROR 1062 (23000): Duplicate entry '1' for key 'id'
mysql> INSERT INTO sandwiches (id, name) VALUES (2, 'pljeskavica');
Query OK, 1 row affected (0.00 sec)
Try this: What happens if you try to make the sandwich name UNIQUE instead of the id?
What happened when you tried to make your sandwich name unique? MySQL threw an error, i.e.:
mysql> CREATE TABLE sandwiches (id INT, name TEXT UNIQUE);
ERROR 1170 (42000): BLOB/TEXT column 'name' used in key specification
without a key length
What does this mean? Simply put, since string fields like TEXT have varying lengths, you need to tell the database engine how many characters in the string it needs to guarantee uniqueness. Instead of using TEXT, try VARCHAR:
mysql> CREATE TABLE sandwiches (id INT, name VARCHAR(20) UNIQUE);
Query OK, 0 rows affected (0.01 sec)
VARCHAR(20) tells the database engine that the column is a string field that will contain at most 20 characters, so the data will need to be unqiue for those 20 characters.
mysql> CREATE TABLE sodapop (name VARCHAR(20), qty INT, \
PRIMARY KEY (name));
Query OK, 0 rows affected (0.00 sec)
mysql> DESCRIBE sodapop;
+-------+-------------+------+-----+---------+-------+
| Field | Type | Null | Key | Default | Extra |
+-------+-------------+------+-----+---------+-------+
| name | varchar(20) | NO | PRI | | |
| qty | int(11) | YES | | NULL | |
+-------+-------------+------+-----+---------+-------+
2 rows in set (0.00 sec)
A FOREIGN KEY in one table points to a PRIMARY KEY in another table. This acts as a referential constraint between the two tables.
mysql> CREATE TABLE authors (author_id INT PRIMARY KEY, name TEXT);
Query OK, 0 rows affected (0.00 sec)
mysql> CREATE TABLE books (book_id INT PRIMARY KEY, title TEXT, \
author_id INT, FOREIGN KEY(author_id) REFERENCES authors(author_id));
Query OK, 0 rows affected (0.01 sec)
A CHECK clause imposes a validation on the value that is being added or updated to a column. Unfortunately, CHECK functions a little unexpectedly with MySQL:
mysql> CREATE TABLE orders (id INT PRIMARY KEY, order_price INT, \
customer TEXT, CHECK (order_price >= 0));
Query OK, 0 rows affected (0.00 sec)
mysql> INSERT INTO Orders VALUES (1, -10, 'Doe');
Query OK, 1 row affected (0.01 sec)
Wait, what happened? Well, a quick look at the MySQL Man page tells us the CHECK clause is parsed but ignored. Note that this limitation of MySQL does not apply to all database engines.
The DEFAULT constraint inserts a default value in a column if no value is provided.
mysql> CREATE TABLE addressbook (name TEXT, address VARCHAR(100) \
DEFAULT 'not provided');
mysql> INSERT INTO addressbook VALUES ('sherlock', '221B baker st');
mysql> INSERT INTO addressbook (name) VALUES ('watson');
mysql> SELECT * FROM addressbook;
+----------+---------------+
| name | address |
+----------+---------------+
| sherlock | 221B baker st |
| watson | not provided |
+----------+---------------+
2 rows in set (0.01 sec)
Notice that when we provide values for all columns the database engine assumes the values are provided in order without being specified, but when we only provide values for some of the columns we need to state which column(s) the value(s) are for.
Create your own version of the Chinook database. Use the diagram below as a guide.
Make note of the table names.
Hint: Table creation order matters due to foreign key constraints.
As with all things, there's more than one way to approach this problem. One solution you might want to try is creating the new tables from the old using the CREATE ... SELECT method we used earlier. That's a bit overkill, though, as we're just creating the tables sans data. And it's a lot of manual work besides.
Alternatively, you can create a list of table CREATE statements by running `SHOW CREATE TABLE table_name;` for each of the tables and then manually running each one. But again, lots of manual work and every manual step leaves room for human error.
So what's the quickest way to do it? Using the `mysqldump` command:
prompt> mysqldump -u root --no-data Chinook > schema-no-data.sql
prompt> cat schema-no-data.sql
What the flags mean:
`-u root` : the user is root
`--no-data` : dump without data
If you were using a setup with a password, which you would be outside
of a classroom environment, you'd also want to include the `-p` flag
which would tell `mysqldump` to prompt you for a password. Note that `-p`
prompts for a password and is not used as `-p {{password}}`. This keeps
the password out of your command history.
Try dumping the database using these flags and look at the different output files. If you don't keep the file names used here, make sure to keep your file names unique - any reused file names will result in your file being overwritten.
prompt> mysqldump -u root Chinook Genre > schema-table-with-data.sql
prompt> mysqldump -u root --no-data --all-databases \
--single-transaction > schema-all-db.sql
| --no-data | Without specifying no data, we were able to dump the whole database including the data. |
| specifying database & table | Allows us to dump a single table in a given database rather than the complete database. |
| --all-databases | Allows us to dump all the databases |
| --single-transaction | This is helpful for production environments. `mysqldump` locks tables by default when dumping, meaning that live applications cannot access them. In InnoDB (which we are using), this flag allows you to run `mysqldump` without locking the database(s). |
To do this, we are going to create a small table, back it up with `mysqldump`, delete it, and restore it. You will be going between BASH and MySQL so be mindful of the prompts:
mysql> USE mydatabase;
mysql> CREATE TABLE sodapop (name VARCHAR(20), qty INT, \
PRIMARY KEY (name));
mysql> INSERT INTO sodapop VALUES ('Calpis', 10);
mysql> INSERT INTO sodapop VALUES ('Julmust', 2);
mysql> INSERT INTO sodapop VALUES ('Ramune', 5);
mysql> INSERT INTO sodapop VALUES ('Vadelmalimonadi', 2);
prompt> mysqldump -u root mydatabase sodapop > sodapop.sql
mysql> DROP TABLE mydatabase.sodapop;
mysql> SHOW TABLES IN mydatabase;
prompt> mysql -u root mydatabase < sodapop.sql
mysql> SHOW TABLES IN mydatabase;
mysql> SELECT * FROM mydatabase.sodapop;
In a BASH shell, `>` redirects output to a file and `<` reads in from a file. So when we used `mysqldump ... > file` we directed the output of `mysqldump` to a file (otherwise it would just print on your screen) and when we used `mysql ... < file` the `mysql` command read the file and executed the commands it contained.
You may have noticed that instead of using `USE database_name;` for this exercise that we used `database_name.table_name`. This dot notation allows you to view, create, and modify tables without needing to select the database first. You only need to select the database if it is not specified in your SQL statement. This syntax is used in other SQL database engines as well, e.g. PostgreSQL.
A quick review of insert syntax:
mysql> CREATE TABLE mydatabase.addressbook (name VARCHAR(50), \
street VARCHAR(50), city VARCHAR(50), state VARCHAR(2), \
zip VARCHAR(10), cell VARCHAR(10), PRIMARY KEY (name));
mysql> INSERT INTO mydatabase.addressbook VALUES ('Jane Smith', \
'123 Main St', 'Buffalo', 'NY', '14202', '111-222-3333');
mysql> INSERT INTO mydatabase.addressbook (name, city, state, cell) \
VALUES ('John Doe', 'Buffalo', 'NY', '444-555-6666');
Notice that we only need to include the names of the columns where we're inserting data if we aren't inserting data in all of them.
There is a 'gotcha' when inserting missing values into fields defined as being NOT NULL. (Where a 'gotcha' is not a bug, just potentially unexpected behavior.) Try this:
mysql> INSERT INTO mydatabase.addressbook (city, state) \
VALUES ('Buffalo', 'NY');
You might expect this to error since we haven't provided a name and the name field is a primary key; however the default value of a string field is an empty string and an empty string is not a NULL value.
It is important to understand what is and is not NULL. Simply put, a NULL value is a value that is completely unknown. A NULL value is not the 'zero-value' for your data type, e.g. 0 for numbers or an empty string for text/string fields.
Check this out for more information on NULL values.
What happens if:
Let's say that 'Jane Smith' is now 'Jane Deere' and that we'd like to add a street address for 'John Doe':
mysql> UPDATE mydatabase.addressbook SET \
name='Jane Deere' WHERE name='Jane Smith';
mysql> UPDATE mydatabase.addressbook SET \
street='1031 Pumpkin King Rd' WHERE street IS NULL;
Take a look at your data and notice what happened with that second statement. Always be mindful of your WHERE clauses!
Let's drop that nameless addressbook entry:
mysql> DELETE FROM mydatabase.addressbook WHERE name='';
Easy come, easy go so we cannot emphasize this enough (but we'll try):
WARNING: DROPs and DELETEs are destructive. Mind your WHERE clause!
One more statement to drive this point home: what happens if you have no WHERE clause?
mysql> DELETE FROM mydatabase.addressbook;
Spoiler: you nuked the table, that's what happened :)
Let's practice creating, modifying, and removing records. Some ideas:
Extra bonus: try to order your output either in ascending or descending order (hint: ORDER BY ASC or DESC).


|
GPGPU-Sim
|
#include <gpu-cache.h>
Public Member Functions | |
| cache_sub_stats () | |
| void | clear () |
| cache_sub_stats & | operator+= (const cache_sub_stats &css) |
| cache_sub_stats | operator+ (const cache_sub_stats &cs) |
| void | print_port_stats (FILE *fout, const char *cache_name) const |
Public Attributes | |
| unsigned | accesses |
| unsigned | misses |
| unsigned | pending_hits |
| unsigned | res_fails |
| unsigned long long | port_available_cycles |
| unsigned long long | data_port_busy_cycles |
| unsigned long long | fill_port_busy_cycles |
Simple struct to maintain cache accesses, misses, pending hits, and reservation fails.
Definition at line 448 of file gpu-cache.h.
|
inline |
Definition at line 458 of file gpu-cache.h.
|
inline |
Definition at line 461 of file gpu-cache.h.
|
inline |
Overloading + operator to easily accumulate stats
Definition at line 484 of file gpu-cache.h.
|
inline |
Overloading += operator to easily accumulate stats
Definition at line 470 of file gpu-cache.h.
| void cache_sub_stats::print_port_stats | ( | FILE * | fout, |
| const char * | cache_name | ||
| ) | const |
Definition at line 534 of file gpu-cache.cc.
| unsigned cache_sub_stats::accesses |
Definition at line 449 of file gpu-cache.h.
| unsigned long long cache_sub_stats::data_port_busy_cycles |
Definition at line 455 of file gpu-cache.h.
| unsigned long long cache_sub_stats::fill_port_busy_cycles |
Definition at line 456 of file gpu-cache.h.
| unsigned cache_sub_stats::misses |
Definition at line 450 of file gpu-cache.h.
| unsigned cache_sub_stats::pending_hits |
Definition at line 451 of file gpu-cache.h.
| unsigned long long cache_sub_stats::port_available_cycles |
Definition at line 454 of file gpu-cache.h.
| unsigned cache_sub_stats::res_fails |
Definition at line 452 of file gpu-cache.h.


|
scp-bot
0.9
Application to synchronize files and folders across computer systems using SCP.
|
#include <StringQueue.h>
Public Member Functions | |
| std::string | pop () |
| void | push (std::string *item) |
| int | getElements () |
| StringQueue () | |
| StringQueue (const StringQueue &)=delete | |
| StringQueue & | operator= (const StringQueue &)=delete |
Public Attributes | |
| int | elements |
|
inline |
|
delete |
| int StringQueue::getElements | ( | ) |
|
delete |
| std::string StringQueue::pop | ( | ) |
| void StringQueue::push | ( | std::string * | item | ) |
| int StringQueue::elements |


Flat top headstone with shaped shoulders set on plinth with flower holder in base.
IN MEMORY OF JAMES THOMAS SMITH DIED 20TH JUNE 1970, AGED 71 AND ADA MAY SMITH DIED 8TH JAN, 1977 AGED 76, AND THEIR DAUGHTER ALMA JOYCE CALCUTT DIED 23RD FEB, 1997. AGED 75, ALSO IN MEMORY OF HER HUSBAND SIDNEY HARRY CALCUTT DIED 7TH AUG, 1982, AGED 66 SAFE IN GOD'S KEEPING.
Burial Register: C188, C225, C383
The Parish Church of St. Mary, Cogges, Oxfordshire.


I see trees of green,
Red roses too
I see them bloom
For me and you
And I think to myself,
What a wonderful world
I see skies of blue
And clouds of
The bright blessed day,
The dark sacred night
And I think to myself,
What a wondefurl world
The colors of the rainbowI
So pretty in the sky
Are also on the faces
Of people going by
I see friends shakings hands,
Saying:"How do you do?"
They're really saying
"I love you"
I hear babies cryng,
I watch them grow


HSGOM: High school graduate or more
BDOM: Bachelor's degree or more
ADOM: Advanced degree or more
Generate three bar charts corresponding to education attainment to compare the educational attainment in 2009 across the different states in U.S.
Important Label Heading
100%


"American Pie"
With "Ten Things I Hate About You", "She's All That", "Idle Hands", "Cruel Intentions", "Carrie 2", and "Never Been Kissed", I'm very tired of teenage movies with bad teenage actors trying to make disastrous teenage performances with lame teenage dialog and bad thirty year old directors.  "American Pie" isn't ground breaking material. In fact, out of all the examples above, this film is the best reason to fully examine why exactly this material is so beloved by the 17-21 year old film audience.
Screenwriter Adam Herz and director Paul Weitz fashion "American Pie" as this year's "Porky's". A movie about four high school seniors who vow to lose their virginity before prom. Each one will woo a fellow student to varying results, each will engage in completely unfunny comedic shenanigans that left my screening audience with tears in their eyes. I had a lump of coal in my stomach.
It's rare to come across a comedy that on the outside has really nothing wrong with it. It tries to be funny. It's gross-out gags are appropriately gross (but damn them for outright stealing the laxative gag, so soon at least, from "Dumb And Dumber"). It also features the grotesquely gratuitous nudity that I adore from a sex comedy. After "Pie" was served, I was left with the feeling that the audience was had too easily. If this move would have been half as clever as it could have been, we would be witness to the biggest teenage comic gem since Ferris took the day off.
The script is a loose concoction of distressingly elementary teenage drama intermixed with bawdy gags involving bodily secretions in beer, foreign exchange students (actress Shannon Elizabeth will be forgiven when she badmouths this performance in the future), self "love", and the typical set-pieces that come around whenever a "movie" keg is tapped. The entire film reeks of disrespect to females, but I will surely be creamed by everybody for bringing that up. I'll just leave my criticisms to the simple "It's just isn't funny". None of it. When Austin Powers drinks a cup of liquefied stool or the South Park kids swear without remorse, both films have plenty of ingenuity up their sleeves (in South Park's case, brilliant musical numbers). We can count on hysterical visual gags or rip-roaring lines to back up the questionable material. "American Pie" can't do this. It isn't written with care or respect to the audience. Director Paul Weitz doesn't help the proceedings by making "Pie" the most aesthetically bland film of the year. That's surprising considering "Blair Witch Project" is shot with a camcorder and "South Park" is a creation of construction paper and glue. It's a long shot, but some style might have made the bad medicine go down easier.
The cast if "American Pie" isn't anything to write home about. Chris Kline was memorable in April's "Election" as the dimwitted jock with the heart of gold. Here he plays... the dimwitted jock with the heart of gold. Those scoring at home, scratch him off the list of ones to watch. Personal faves Natasha Lyonne and Tara Reid are asked to do nothing more that be the "girls" of the film. If they needed the money badly, that would explain their presence. Both actresses have done better previously. Here's to the hope that they make rent this month and get back to films that exploit their respective talents more precision. Again I blame Paul Weitz's blasted direction. All that is expected of this cast is reaction and shock, not acting. Even comedy needs talented actors. That's why Eugene Levy ("SCTV") makes the only favorable impression here. He's a comedy legend and he doesn' t have to break a sweat to make a joke click. The rest of the cast could learn a thing or two.
"American Pie" is like catnip for teens. It's outrageous, it's naughty, and the boys are cute. There's always that feeling when I don't like a certain comedy that I didn't quite get it. I don't feel that here. "Pie" is a bad film. A comedy that forgot the jokes and remembered the nonsense.---------------- 2
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Let's go on a vacation.
Answer some questions below for a destination recommendation.
What kind of activities do you enjoy?
Choose one
Relax on the beach
Explore the outdoors
Go shopping
What kind of accommodations do you have in mind?
Choose one
Cabin in the snow
Beachfront bungalow
Downtown condo
What kind of food?
Choose one
Fruit of the land
Meat and cheese
Diners and delis
What's your vacation pace?
Choose one
Take it easy
Go, go, go!
Somewhere in between
What mode of transportation do you prefer?
Choose one
Subway
Motorbike
Alpine skis
Generate result
You should head to:


Start the learning journey with a FREE English and Maths Online Assessment and a Comprehensive Parent Feedback Report.
April 3, 2020
Millions of children across the country are currently completing their learning at home. At Explore Learning, we know the importance of engagement...
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Your Parent COVID-19 Education Guide with br all the tips and information you need from doctors, qualified teachers and home educators.
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| < Day Day Up > |
A (discrete) random variable X is a function from a finite or countably infinite sample space S to the real numbers. It associates a real number with each possible outcome of an experiment, which allows us to work with the probability distribution induced on the resulting set of numbers. Random variables can also be defined for uncountably infinite sample spaces, but they raise technical issues that are unnecessary to address for our purposes. Henceforth, we shall assume that random variables are discrete.
For a random variable X and a real number x, we define the event X = x to be {s ∈ S : X(s) = x}; thus,
The function
f (x) = Pr{X = x}
is the probability density function of the random variable X. From the probability axioms, Pr{X = x} ≥ 0 andΣx Pr{X = x} = 1.
As an example, consider the experiment of rolling a pair of ordinary, 6-sideddice. There are 36 possible elementary events in the sample space. We assume that the probability distribution is uniform, so that each elementary event s ∈ S is equally likely: Pr{s} = 1/36. Define the random variable X to be the maximum of the two values showing on the dice. We have Pr{X = 3} = 5/36, since X assigns a value of 3 to 5 of the 36 possible elementary events, namely, (1, 3), (2, 3), (3, 3), (3, 2), and (3, 1).
It is common for several random variables to be defined on the same sample space. If X and Y are random variables, the function
f (x, y) = Pr{X = x and Y = y}
is the joint probability density function of X and Y. For a fixed value y,
and similarly, for a fixed value x,
Using the definition (C.14) of conditional probability, we have
We define two random variables X and Y to be independent if for all x and y, the events X = x and Y = y are independent or, equivalently, if for all x and y, we have Pr{X = x and Y = y} = Pr{X = x} Pr{Y = y}.
Given a set of random variables defined over the same sample space, one can define new random variables as sums, products, or other functions of the original variables.
The simplest and most useful summary of the distribution of a random variable is the "average" of the values it takes on. The expected value (or, synonymously, expectation or mean) of a discrete random variable X is
which is well defined if the sum is finite or converges absolutely. Sometimes the expectation of X is denoted by μX or, when the random variable is apparent from context, simply by μ.
Consider a game in which you flip two fair coins. You earn $3 for each head but lose $2 for each tail. The expected value of the random variable X representing your earnings is
|
E[X] |
= |
6 · Pr{2 H's} + 1 · Pr{1 H, 1 T} - 4 · Pr{2 T's} |
|
= |
6(1/4) + 1(1/2) - 4(1/4) |
|
|
= |
1. |
The expectation of the sum of two random variables is the sum of their expectations, that is,
whenever E[X] and E[Y] are defined. We call this property linearity of expectation, and it holds even if X and Y are not independent. It also extends to finite and absolutely convergent summations of expectations. Linearity of expectation is the key property that enables us to perform probabilistic analyses by using indicator random variables (see Section 5.2).
If X is any random variable, any function g(x) defines a new random variable g(X). If the expectation of g(X) is defined, then
Letting g(x) = ax, we have for any constant a,
Consequently, expectations are linear: for any two random variables X and Y and any constant a,
| (C.22) |
When two random variables X and Y are independent and each has a defined expectation,
In general, when n random variables X1, X2,..., Xn are mutually independent,
When a random variable X takes on values from the set of natural numbers N = {0, 1, 2,...}, there is a nice formula for its expectation:
since each term Pr{X ≥ i} is added in i times and subtracted out i -1 times (except Pr{X ≥ 0}, which is added in 0 times and not subtracted out at all).
When we apply a convex function f(x) to a random variable X, Jensen's inequality gives us
provided that the expectations exist and are finite. (A function f(x) is convex if for all x and y and for all 0 ≤ λ ≤ 1, we have f(λx+(1-λ)y) ≤ λf(x)+(1-λ)f(y).)
The expected value of a random variable does not tell us how "spread out" the variable's values are. For example, if we have random variables X and Y for which Pr{X = 1/4} = Pr{X = 3/4} = 1/2 and Pr{Y = 0} = Pr{Y = 1} = 1/2, then both E[X] and E[Y ] are 1/2, yet the actual values taken on by Y are farther from the mean than the actual values taken on by X.
The notion of variance mathematically expresses how far from the mean a random variable's values are likely to be. The variance of a random variable X with mean E[X] is
The justification for the equalities E[E2[X]] = E2[X] and E[XE[X]] = E2[X] is that E[X] is not a random variable but simply a real number, which means that equation (C.21) applies (with a = E[X]). Equation (C.26) can be rewritten to obtain an expression for the expectation of the square of a random variable:
| (C.27) |
The variance of a random variable X and the variance of a X are related (see Exercise C.3-10):
Var [a X] = a2Var[X].
When X and Y are independent random variables,
Var[X + Y ] = Var [X] + Var [Y].
In general, if n random variables X1, X2,..., Xn are pairwise independent, then
The standard deviation of a random variable X is the positive square root of the variance of X. The standard deviation of a random variable X is sometimes denoted σX or simply σ when the random variable X is understood from context. With this notation, the variance of X is denoted σ2.
Two ordinary, 6-sided dice are rolled. What is the expectation of the sum of the two values showing? What is the expectation of the maximum of the two values showing?
An array A[1 ‥ n] contains n distinct numbers that are randomly ordered, with each permutation of the n numbers being equally likely. What is the expectation of the index of the maximum element in the array? What is the expectation of the index of the minimum element in the array?
A carnival game consists of three dice in a cage. A player can bet a dollar on any of the numbers 1 through 6. The cage is shaken, and the payoff is as follows. If the player's number doesn't appear on any of the dice, he loses his dollar. Otherwise, if his number appears on exactly k of the three dice, for k = 1, 2, 3, he keeps his dollar and wins k more dollars. What is his expected gain from playing the carnival game once?
Argue that if X and Y are nonnegative random variables, then
E [max(X, Y)] ≤ E [X] + E [Y ].
Let X and Y be independent random variables. Prove that f(X) and g(Y) are independent for any choice of functions f and g.
Let S be a sample space, and let X and X' be random variables such that X(s) ≥ X'(s) for all s ∈ S. Prove that for any real constant t,
Pr {X ≥ t} ≥ Pr {X' ≥ t}.
Which is larger: the expectation of the square of a random variable, or the square of its expectation?
| < Day Day Up > |


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I bet you’re still using Bootstrap too…


{% extends "base.html" %} {% load i18n %} {% block title %}{% translate "Social Network Connections" %} | {% endblock %} {% block body %}
{% translate 'The following e-mail addresses are associated with your account:' %}
{% else %}{% translate "You currently have no social networks connected to this account." %}
{% endif %}


BirdNET
File
Open audio file
Save analysis results
Exit application
Analysis
Analyze entire file
Analyze selected interval
Load an audio file for analysis by clickingon
File > Open audio file
in the top menu.
play_arrow
pause
zoom_in
zoom_out
#
Timestamp
Common name
Scientific name
Confidence
BirdNET | Center for Conservation Bioacoustics - Cornell Lab of Ornithology | Chair Mediainformatics - Chemnitz University of Technology |


view the original article at BrandSpankingNew
Autosuggest / Autocomplete with Ajax v. 2.1.3
Here's Version 2.1.3 of my Ajax-powered auto-suggestion, or auto-complete textfield.
Examples & description
Example (JSON)
Description
The AutoSuggest class adds a pulldown menu of suggested values to a text field. The user can either click directly on a suggestion to enter it into the field, or navigate the list using the up and down arrow keys, selecting a value using the enter key. The values for the suggestion list are to provided as XML, or as JSON (by a PHP script, or similar).
The results of the first request are cached on the client machine and are filtered as the user continues to type, to reduce the number of requests hitting the server.
In the JSON example above a callback function is passed to the autoSuggest instance. It is called when the user selects an entry, and inserts the entry id into a hidden field (visible for this example).
In the XML example below supplementary information is being displayed along with the names, in this case an english county.
Example (XML)
Release Notes
What's new in 2.1.3? 2007-07-19
- Identitfied and fixed bug that caused "No results!" to appear every other character with longer lists
- Added the required
maxresults
option
What's new in 2.1.2? 2007-07-07
- Smaller file size (under 9k)
- Uses
encodeURIComponent
instead ofencodeURI
bsn
namespace is set as default - usesnew bsn.Autosuggest(...
instead ofnew Autosuggest(...
. This avoids conflicts with other libraries (e.g. prototype) out of the box.
What's new in 2.1?
- Smaller file size (under 10k)
script
variable can now be a function- 'shownoresults' bug fix
What's new in 2.0?
- Optional JSON Support
- Callback function support (set ID when user selects list item, or anything else...)
- Display extra information (see XML example below)
- Am optional message can be displayed when no results are returned
- Completes field when enter key is pressed
- Slick new look (2.0 ready!) inspired by Inquisitor
- Matching input is highlighted in the list
- Fade effect!
- Available as a single, bundled JS file
- More feature, less bug
- CSS provided in an external folder, for easy tinkering
Usage
The script requires a single javascript file to be included in the HEAD:
bsn.AutoSuggest_2.1.3_comp.js
A normal text field is transformed into an AutoSuggest text field by adding the following javascript to your code, either in a body.onload
function or just before the
tag.
var options = {
script: "pathToScript.php?",
varname: "variableName",
json: true,
maxresults: 35
};
var as = new bsn.AutoSuggest('idOfTextfield', options);
The options
object contains the (surprise, surprise) the options for the AutoSuggest instance. Note that the script variable includes the question mark (?
) at the end. This is to allow other variables to be passed to the script via GET
, for example script: "http://www.yourserver.com/backend.php?list=countries&"
. The varname
option is the name of the variable that should contain the current value of the text field, and is simpy added on to the end of the script variable when the script is called, along with the current value of the text field, giving:
http://www.yourserver.com/backend.php?list=countries&variableName=currentValue
The script variable can also be a function:
script: function (input) { return "test.php?input="+input+"&testid="+document.getElementById('testid').value; }
This allows you to build the script URL dynamically, passing variable data from somewhere else in your document (eg. from another field, as in the example above). If the script returns false
, no AJAX request will be made.
The XML output from the script should have the following structure:
<results>
<rs id="1" info="">Foobar</rs>
<rs id="2" info="">Foobarfly</rs>
<rs id="3" info="">Foobarnacle</rs>
</results>
A JSON object should have the following structure:
{ results: [
{ id: "1", value: "Foobar", info: "Cheshire" },
{ id: "2", value: "Foobarfly", info: "Shropshire" },
{ id: "3", value: "Foobarnacle", info: "Essex" }
] }
The AutoSuggest object creates the following XHTML code, inserting as the last element in the body
:

Waldron, Ashley
Leicestershire

Wheeler, Bysshe
Lincolnshire

The list can then be styled using normal CSS. Check out the CSS file.
NOTE: Safari seems to require that the position
attribute of the body
element be set to relative
.
Options
The options object can contain the following properties:
| Property | Type | Default | Description |
|---|---|---|---|
| script | String / Function | - |
REQUIRED!
Either: A string containing the path to the script that returns the results in XML format. (eg, "myscript.php?") Or: A function that accepts on attribute, the autosuggest field input as a string, and returns the path to the result script. |
| varname | String | "input" | Name of variable passed to script holding current input. |
| minchars | Integer | 1 | Length of input required before AutoSuggest is triggered. |
| className | String | "autosuggest" | Value of the class name attribute added to the generated ul . |
| delay | Integer | 500 | Number of milliseconds before an AutoSuggest AJAX request is fired. |
| timeout | Integer | 2500 | Number of milliseconds before an AutoSuggest list closes itself. |
| cache | Boolean | true | Whether or not a results list should be cached during typing. |
| offsety | Integer | -5 | Vertical pixel offset from the text field. |
| shownoresults | Boolean | true | Whether to display a message when no results are returned. |
| noresults | String | No results! | No results message. |
| callback | Function |
A function taking one argument: an object
|
|
| json | Boolean | false | Whether or not a results are returned in JSON format. If not, script assumes results are in XML. |
| maxentries | Integer | 25 | The maximum number of entries being returned by the script. (Should correspond to the LIMIT clause in the SQL query.) |
Timeouts
The default timeout is set at 2500 milliseconds. After two and a half seconds of inactivity the list closes itself. However, this timeout is reset each time the user types another character. Furthermore, if the user moves the mouse pointer over the AutoSuggest list, the timeout is cancelled altogether, until the mouse pointer is moved off the list.
AJAX Errors
At the moment, AJAX errors simply trigger a javascript alert()
containing the error code.


gensym/2
gensym/2 – generates families of unique symbolsr
FORMS
gensym(Prefix, Symbol)
DESCRIPTION
If Prefix is a symbol (either an interned or uninterned atom), then Symbol is
a new UIA which has not previously existed in the system and which involves
Prefix as a subsymbol. . The string also involves the system time that the
current ALS Prolog image was started, together with the value of a counter for these
generated symbols. Consequently, the symbols are almost guaranteed to be
unique across invokations of the system, execpt for the possibility of the system
clock wrapping around.
EXAMPLES
?- gensym(‘<Prefix>’, Symbol).
Symbol = ‘\376<Prefix>_839678026_0’
?- gensym(airplane, X).
X = ‘\376airplane_839678026_1’


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The Real Bitcoin Community
Our community is the largest of all crypto communities. The inventors of Bitcoin and all the early adopters who invested into Bitoin switched from BTC to BCH, because Bitcoin Cash continues the original vision of the inventor of Bitcoin, Satoshi Nakamoto.


There are some operations with git remote
, like
git remote -v
, that you may use occasionally.
But, the concept of a remote within Git is important and powers many of the other operations.
git remote
manages the set of remotes that you are tracking
with your local repository.
git remote
commands
git remote -v
: List the current remotes associated with the
local repository
git remote add [name] [URL]
: Add a remotegit remote remove [name]
: Remove a remoteorigin
?
If you try running git remote -v
in your repositories, you’ll
probably see something called origin
. You may notice
origin
in many messages from Git. origin
is the
human-friendly name for the URL that the remote repository is stored at.
It’s like a key-value pair, and origin
is the default.
upstream
?You may need or want to work with multiple remotes for one local repository. This can be common in open source when a contributor needs to create a fork of a repository to have permission to push changes to the remote.
In this case, it’s common to create and clone a fork. Then, the default
remote would be origin
, in reference to the fork. To make it
easier to pull any changes to update the local copy of the fork from the
original repository, many people add the original repository as a remote
also. It’s typical to name this remote upstream
.
There are four commands within Git that prompt communication with the remote. Unless you are using one of these four commands, all of your work is only happening locally.
git push
git clone
git pull
git fetch
The concept of branches can be confusing once it is combined with the concept of remotes. Git keeps track of the branches that you work on locally, as well as each of the branches in every remote associated with your local repo.
If you run git branch --all
in your repository, you will
notice a long list of branches. The branches that (by default) appear in
red are the remote tracking branches. These branches are
read-only copies of the branches on the remote. These update every time
you run git fetch
or git pull
.
These don’t take up much room, so it’s okay that Git does this by default. But, these will stack up over time - they are not deleted automatically.
To delete the remote tracking branches that are deleted on the remote, run
git fetch --prune
. This is safe to do if you are using
GitHub, because branches merged via pull requests can be restored.
When you run git branch --all
, you will also see the local
working branches. These can be linked with branches on the remote, or they
could exist with no remote counterpart.
git clone [url]
: Clone (download) a repository that already
exists on GitHub, including all of the files, branches, and commits.
git status
: Always a good idea, this command shows you what
branch you’re on, what files are in the working or staging directory,
and any other important information.
git push
: Uploads all local branch commits to the remote.
git pull
: Updates your current local working branch with
all new commits from the corresponding remote branch on GitHub.
git pull
is a combination of git fetch
and
git merge
.


Please put a file named index.html into the directory you have provided to act as the template for your webapp
This file should include all the scripts and stylesheets that you need for your app using usual markup


Contact
We thank you for being part of our special day; however, we know that you may have questions leading up to the big day... such as:
- "How do I choose an entre?",
- "Where in the world is Northern VA",
- "What color are the ladies wearing so I don't accidentally match..."
In the event that you have a question such as the above and/or if you have any other questions, please do not hesitate to reach out to us!
Brigit:<PHONE_NUMBER>
Matthew:<PHONE_NUMBER>
matthewjaymesphillips@gmail.com


OSA API Demo
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Before Change
// by removing all features that are already at their maximum values (if
// increasing input features---otherwise, at their minimum value).
if increase:
search_domain = set([(row, col) for row in xrange(FLAGS.img_rows)
for col in xrange(FLAGS.img_cols) if
adv_x[0, 0, row, col] < clip_max])
else:
search_domain = set([(row, col) for row in xrange(FLAGS.img_rows)
After Change
i, j, adv_x, increase, theta, clip_min, clip_max)
// Update our current prediction by querying the model
current = utils_tf.model_argmax(sess, x, predictions, np.reshape(adv_x, original_shape))
// Update loop variables
iteration = iteration + 1


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Charlotte County Sheriffs ask the public's help identifying three men accused of theft
by WFTX Digital TeamCHARLOTTE COUNTY, Fla. — Charlotte County Police are searching for three suspects seen taking merchandise from an AT&T store.
The theft occurred on October 25th, and the three men stole display merchandise.
If you know something about this crime, your tip could be eligible for a cash reward through Southwest Florida Crime Stoppers if your information leads to an arrest. Call 1-800-780-TIPS (8477) to submit your tip.


Virtual Whiteboard where ideas ignite.
Use it for online video conferences, share your ideas, teach and make learning easy.
We make sure the website is available to you from any part of the world.
Change the layout, template and customize it the way you want it to look.
It uses basic features with a modern touch of using a digital platform.
Quickly get your work done in an environment that is easy to handle and organize.
Save it as an image or a pdf so that the ideas you showcase could be captured with an ease of a touch.


Users Cords
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Cords you added :
Here you can delate your own cashe


{% extends "brew/base.html" %} {% import "macros/forms.html" as forms %} {% block headpagetitle %}{{ gettext("confirm removal of tasting note for brew %(name)s", name=brew.name) }}{% endblock %} {% block widecontent %}
{{ gettext("You are about to delete tasting note for brew %(name)s by %(author)s added %(date)s. As this process is irreversible we're asking you again, is this really what you want do do?", name=brew.name, author=note.author.name, date=format_date(note.date, "short")) }}
{{ forms.render_form(delete_form, url_for('tastingnote.delete', note_id=note.id)) }} {% endblock %}


Ferrari’s Cryptic Photo Could Be Teasing The Portofino Coupe
We could see it tomorrow.
by Anthony AlanizLast month, a spy video showed what appeared to be a camouflaged Ferrari Portofino coupe test mule. Black cladding hid most of the car’s distinctive features. Then, last week, a Motor1.com reader captured the mysterious car in a series of photos. It still wore the same disguise, but rumors started to circulate. Now, Ferrari is teasing “La Nuova Dolce Vita” – “The New Sweet Life” – which could be the reveal event for the suspected Portofino coupe.
Check Out The Spy Shots:
In the teaser, posted to Instagram, there’s a pair of sunglasses and a cappuccino on a small table. In the sunglasses’ reflection, there’s a blurred silver car, which looks like a coupe. Could it be the Portofino coupe? Possibly. Ferrari also shared a teaser video yesterday, this time splashing “La Nuova Dolce Vita” over a short, stylized nine-second clip. The video also showed a date: November 13.
There’s a good chance the camouflage-cladded test mules spied over the last month will be revealed tomorrow. Several Ferrari Chat members reported they were seeing the car this week, either November 13 or 14, at an event in Rome, Italy, and the teaser video did show famous Rome locations. The splashy teasers hint that this could be a public unveiling, too.
It’s still unclear if the Portofino coupe is a regular Portofino with a fixed roof or something more. Rumors suggest it could feature a shorter wheelbase and have a different model name. The shorter wheelbase could eliminate the Portofino’s rear seats, too.
Gallery: Ferrari Portofino Coupe Spy Photos
It’ll likely use the same powertrain as the Portofino – Ferrari’s twin-turbocharged 3.9-liter V8. It produces 600 horsepower (441 kilowatts) and 560 pound-feet (760 Newton-meters) of torque, pairing with the seven-speed dual-clutch transmission. Ferrari’s new V6 hybrid could find its way under the hood eventually, too.
Thankfully, we shouldn’t have to wait long. We’ll report back anything exciting Ferrari reveals tomorrow. Stay tuned.


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It looks like this was the result of either:


Finding Your Authentic Swing The Legend of Bagger Vance
By Ross Anthony
Jack Lemon walks out onto the fairway and has a heart attack. During this surprisingly un-traumatic experience he relives (that is, narrates to us) a story about a mysteriously wise (perhaps mythical) caddy that comes to the aid of a broken man back during the great depression. The story is told in the style of mid-80's films (like "The Natural"): warm, big, movie-like. Nothing is all that real, but really swell nonetheless.
No artificial enemy torments our protagonists for tension (I found that refreshing). Well, there is a play at it early on, but most of the story's conflict rests squarely on Rannulph Junuh's struggle with himself. He's a first rate golfer, struck down in his prime (note the similarity to "The Natural") by war memories. The whole town of Savannah needs him to step up and play a big match against the two best golfers of the era.
Damon (as Junuh) plays fine enough, but you might think that Robert Redford would be a "Natural" for the part, in which case you wouldn't be surprised to learn Redford directs. Actually, the actor I think of as a young Redford came to my mind - Brad Pitt. And though Will Smith does a better job than anticipated of playing the wise old (er... young) caddy Bagger Vance, Morgan Freemon would have been the more obvious choice. Yeah, Pitt and Freemon - I'm sure of it. Aside from that, the other casting choices were excellent. J. Michael Moncrief stroking a better than par swing as the 10-year-old Jack lemon.
Schmaltzy, sure... "God is happiest when his children are at play." "Harmony of the ball and field." "Let the swing choose you."
But hearty and hopeful too, and although it is structurally formulaic, the film goes several hundred yards in search of unformulaic details.
Rolling off the green on a few strokes, the picture lays the ball right in the hole a couple of times as well. Improvements could have been made by striking Junuh with a few more (and detailed) flashbacks of wartime misery. Also, I'd have woven that last dance into a thing of beauty rather than a loose end in need of tying. That said, in a gentle and warm kind of way, I enjoyed the film. Not over the top great, but decidedly above average.
The Legend of Bagger Vance. Copyright © 2000. Rated PG-13. * Starring Matt Damon, J. Michael Moncrief, Will Smith, Charlize Theron, Bruce McGill, Joel Gretsch, Peter Gerety, Lane Smith, Michael O'Neill. * Directed by Robert Redford. * Screenplay by jeremy Leven based on the book by Steven Pressfield. * Produced by Chris Brigham & Joseph Reidy at Dreamworks/20th Ctry Fox/Wildwood/Allied.
Grade..........................B+
-- Copyright © 2000. Ross Anthony, currently based in Los Angeles, has scripted and shot documentaries, music videos, and shorts in 35 countries across North America, Europe, Africa and Asia.
For more reviews visit: http://www.RossAnthony.com
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