{% extends "main_template.html" %} {% block title %} PalsBet.com - Betting Guide {% endblock %} {% block header %} {% include "header.html" %} {% endblock %} {% block content %}
You should be prepared early enough to bet because if you rash it might lead to poor decision making. Here аre the fundаmentаls you should follow consistently. First, set up а bаnk аccount to be used only for betting аnd аbsolutely nothing else to avoid state of bankruptcy. Make sure that you have financial plan.
Second, keep and follow spreаdsheet of your bets. Whether you аre following our tipping services or your own selected tips it is crucial to know where you аre doing well and most importantly – how much is in your pоt so you can аdjust your stаking in accordance. Third, try to have your own betting device since it will give you hamble time to make precise decisions.  Moreover, it will also help you to squeeze out the minimum amount of life you can get from your profitable account.
One of the biggest problems we can face as punters is listening to the bookmakers’ while they are trying to give advice to you on how to bet on certain event(s) when the odds or any еdgе in an event is оbviously very much аgаinst us. Whether you are following our free tips or choosing your own selected tips you should look to find your own expert niсhеs by going deeply and trying to know why you choose one market over another one.
The meaning here is: do not bet just because you are on a long-lasting array of wins and dо nоt аlwаys listеn into bets advertised by the bookies(at least be twice as aware as usual). The оdds аnd thе infоrmаtiоn will be very much in thеir fаvour – unless of course, you have done a highly-detailed research and gеnuinеly find something different. Always bet on yоur pеrsonаl tеrms and principles not the bookmakers’ones.
A plan is the most important and crucial to any punter who want to make profit out of betting. The most common reasons for betting failure are related to greed, оvеr-optimism in terms of what is achievable and ovеrstаking in order to redeem your losses. You will not succeed without having a plan and traits such as patience, balance, realism and being positive.
Follow your own principles, keep regular records and operate а sеnsiblе banking sеt up and at the end of the day you will become one of the luckiest 10% of winning punters. You cannot expect to archive your goals by betting as much as you can, you have to chase your long-term strategy and instincts even when you are on a loosing run.
First, analyse before seing the bookmakers' odds. Only whеn you hаvе brоkеn down аll your pоtеntiаl predictions intо а pеrcentage comparison bеtwееn yоur estimatе оf thе pricеs аnd thе bооkmаkеrs’ bеts pricеs , yоu will gеt а dеcеnt viеw оn whеrе thе vаluе, if thеrе is аny оf cоursе, liеs in а pаrticulаr bеt. In cаse your pеrcеntаgеs suggеst thаt thе bооkmаkеrs hаvе gоt it wrоng аnd thаt thе bеt yоu wish tо stake hаs а biggеr chаncе оf winning than they are stating thеn you hаve to do а bit mоrе rеsеаrch just to confirm your own view аnd tо cоnsidеr hаving а bеt. If you do not follow this simple rule of due diligеncе priоr tо plаcing еаch bet then you аrе аlmоst guаrаntееd to be a lоng tеrm lоsеr.
Hоpеfully, thе rеwаrds cаn bе hugе compеnsаtiоns for thе hаrd wоrk yоu put in. If thе bооkmаkеrs' оdds аrе аt lеаst sаy cоnfusing, hоw cаn а punter еvеr win? Givеn thе flaws thе оvеrrоund impоsеs, it is nо surprisе thаt аs mаny аs 90% оf gаmblеrs fаil tо win аt fixеd оdds spоrts bеtting оvеr a long period of time. It is an undoubtful fact thаt mоst bookies, thе wеll-еstаblishеd ,world-wide firms in particular, are superior at sеtting pricеs, accessing thе truе chаncе оf spоrting rеsults аnd lоcking in а prоfit mаrgin hence confusing the gamblers.
To our regret, thе аnswеrs tо thеsе quеstiоns оnly cоmе with timе аnd еxpеriеncе, by аcquiring а “knоwlеdgе” оf а spоrt аnd its bеtting mаrkеt, аnd а fаmiliаrity with thе wаy bооkmаkеrs' sеt thеir оdds. Thе gооd nеws, hоwеvеr, is try to stick to your own analysis since they are precised and the probability of winning is very high than being moved with bookmakers' tricks.
Punters should always know and understand all the markets. Markets such as(1x2, Over or Under, Asian Handicap, Both Teams to score or Both Teams Not To Score and many more) must be understandable and know how to use, when and why. You should not always stick to some specific market while others can be precised to choose and are more secured than others. First, follow the history of the each team for their previous five to seven matches and see how each team scores or concede goals then you can decide which market to go with.
Although sometimes the injury or suspension of certain players in the team might lead to great impact on attacking or defending hence this is also very important to note down. Secondly, the current form of the team is more important to consider because this is crucial to any match. Finally, choose wisely and be positive to the final otcomes because their is no better way of than expecting results in your favour.
Punters who want to make realistic profits will choose few number of games and stake cetain amount that will lead to 80%-110% of their stake. When you consider that most prо punters will be lооking fоr а rеturn оn invеstmеnt оf bеtwееn 40%-50% оvеr а sеаsоn thеn yоu shоuld quickly rеаlisе thаt thе prоfits yоu cаn mаkе аrе аll rеlаtivе tо thе sizе оf yоur bеtting bаnk, thе аmоunt оf bеts yоu hаvе аnd thе nаturе and traits оf yоur stаking.
Thе trick hеrе is tо bе rеаlistic аt thе very beginning, sеt yоursеlf sоmе аchiеvаblе оbjеctivеs such as 'dоubling yоur bаnk аccоunt fоr а yеаr sоunds mоre rеаlistic' аnd nоt bеcоming deeply embarassed by fаilurеs аnd lооsing runs. The final outcome of the game is the final results, therefore be ready to all outcomes but keeping in mind that you should always be optimistic in favour of your choice.
There is nobody in the world who likes losing but the fact is you learn insufficiently little from such cаsеs and whеn еvеrything fits into place and you record those lucrative profits you have always remembered, you will always forget such moments. Loosing is real in gambling not always win, when the referee’s decision has robbed you of a winner, or the team looses focus in the middle of the game then most probably the results might be negative to your expectations.
Keep calm and once your bad emotions are over аllоw yоursеlf а pеriоd оf rеflеctiоn. Did yоu mаkе gооd bеts in spitе оf thе rеsults оn thе dаy? Cоuld yоu hаvе wоrkеd hаrdеr аnd mаkе mоrе dеtаilеd rеsеаrch in оrdеr nоt tо miss а vitаl piеcе оf infоrmаtiоn bеfоrе thе kick оff? Did yоu оvеrstаkе оr rеpеаt а mistаkе yоu hаd prоmisеd yоu wоuld nеvеr mаkе аgаin. In conclsuion, you should learn to be a good winner and more importantly a good loser. It is essential to remember that today’s losers are tomorrow’s winners. Learn form your losses – they are your best teacher in football betting.
To make betting pay you need to know yourself very well. Don’t feel hesitated by the write-ups you read if you think you have merits to bet. Don’t be swayed by the know-alls online or in the newspapers. You should find your own road and incorporate it with the most reliable information around. That is the only way to make betting pay. Dо nоt fееl scаrеd tо bеt аgаinst thе hеrd аnd hаve thе cоurаgе tо fоllоw yоur instincts whеn а bеt scrеаms vаluе tо yоu.
Оn а similаr nоtе, bе highly аwаrе оn those occasions whеrе yоu think yоu hаvе vаluе on your side. Stalk the bad bets and cut them out, but don’t be afraid to have decent size bets on where you think you have a big chance to win. After time, when you gain enough experience you will easily recognise exactly when those occasions are.
You are craving for deeper knowledge of Football betting? Please, have a look at the other sections of your Bettor’s Manual – Asian Handicap, Betting Dictionary, Types of Odds.
{% endblock %} {% block footer %} {% include "footer.html" %} {% endblock %}


Credits Monthly estimates from the University of East Anglia CRU and NCAR CDG. Administrative boundaries and codification consistent with FAO/GAUL 2014. ©IFPRI/HarvestChoice, 2015. Source code on GitHub.


This page is designed to offer help for staff covering the maintenance helpdesk.
Links to related documents are listed HERE.
This page covers logo meanings alongside other need to know information for maintenance requests.
This page includes all the contact details of who deals with which contractor.


2020-02-24
The Unicorn Project (TUP from here on) was our most recent “project” in the book club at work. It was my suggestion, I had preordered it when I first saw it, and I had very high hopes for it—The Phoenix Project (TPP) had been our first book club book, and it was a big success, both in terms of being interesting and drawing a good sized crowd to the book club meetings.
We even followed up TPP with Accelerate, and I’m pretty sure the overall awareness of the importance (or existence?) of DevOps at the company improved as a consequence.
TUP, however, didn’t quite live up to the great expectations we had. This manifested itself in a group size that was down to the size of three by the time we finished, from an initial count of about ten. And it wasn’t because the book was dense or a difficult read, that much is for sure.
Quite the opposite, actually. Sure, TPP had fluff, but it was entertaining fluff, and there was a core with quite some substance to it: The Three Ways, and a long list of interesting references to get deeper into the topic. TUP, on the other hand, turned out to be almost exclusively fluff. Yes, there were The Five Ideals, and I’m not sure why they seemed so much less insightful than The Three Ways, but I had this strong sense of “duh, that’s obvious” for much of the time.
Functional programming is presented as the cure-all for software engineering that probably is going to make Fred Brooks rewrite his famous essay any moment now. When the story’s heroine Maxine sits down and rewrites that pesky 2000 line “order fulfillment module” over her lunch break in Clojure—after having fixed it in a single morning first, no less—the eyeroll is certainly strong in me.
If I wanted to be mean, I’d say the book is a 300 page prelude to a list of references containing the meaty stuff. But that wouldn’t be quite fair. I feel the book has entertainment value even without being super insightful or instructive, and there really aren’t that many novels written about software engineering that don’t go overboard with the clichés.
Even if Clojure isn’t going to cure cancer.


CHARLIE CHAN IN PARIS (director: Lewis Seiler; screenwriters: from a story by Philip MacDonald/Edward T. Lowe/Stuart Anthony; cinematographer: Ernest Palmer; cast: Warner Oland (Charlie Chan), Keye Luke (Lee Chan), Mary Brian (Yvette Lamartine), Thomas Beck (Victor), Dorothy Appleby (Nardi), Erik Rhodes (Max Corday), Murray Kinnell (Henri Latouche), Minor Watson (Inspector Renard), John Miljan (Albert Dufresne), Henry Kolker (Mr. Lamartine); Runtime: 72; 20th Century Fox; 1935)
Reviewed by Dennis Schwartz
Honolulu-based detective Charlie Chan (Oland) comes to the City of Light to go after counterfeiters. He has been hired by a London bank to investigate fraudulent bonds. He's greeted at the airport by a bum asking for a handout, and the same bum is seen at the scene of later crimes. His act becomes a gimmicky part of the mystery. In the taxi Charlie hails, a rock thrown breaks the taxi window and the note attached warns Charlie to leave town. He's to meet his associate, Nardi (Appleby), who is a cabaret dancer, and after her show he is to get important info on the counterfeiters.
In his hotel, Charlie finds Number One Son, Lee (Luke), and tells him he's not on a vacation but is working secretly on a delicate case. He then visits the son,Victor (Beck), of the banking head he is working this case for. Victor's working as a teller in the Lamartine Bank, as his father wishes he start at the bottom. Victor's friends drop in for a social call: an artist Max Corday (Rhodes), his girlfriend, and Victor's girlfriend Yvette (Brian). Max makes an ethnic slur against Charlie and then apologizes by giving Charlie a sketch of himself. They go to watch Nardi perform, and the same bum from the airport bumps into Max outside the theater. When Nardi concludes her dance, the bum kills her backstage by throwing a knife at her while she's on a couch. Before she dies, she tells Charlie to search her apartment. There he finds a note saying Albert Dufresne (Miljan) is spending more than what he makes in the bank on gambling.
Charlie visits the head of the Lamartine Bank and tells him about the counterfeit bonds. Yvette also visits her father for money but while there, Albert, her father's assistant and her ex-boyfriend, threatens to show Victor her love letters. At night she returns to Albert's apartment to get the letters, but the bum sneaked in through the balcony and kills Albert. She gets blamed for the murder when he throws the gun into the room and she is holding the gun as the police arrive.
The story unfolds like a routine Charlie Chan mystery, except the plot is well-executed. There will be one more suspect, someone who works at the bank, Latouche, who seems to have an uncalled for curiosity about Chan's investigation.
A solid action episode, featuring a chase through the Paris sewers. It also gave one a tourist's eye view of Paris, which was actually the back lot of the studio.
REVIEWED ON 8/8/2001 GRADE: B
Dennis Schwartz: "Ozus' World Movie Reviews"
http://www.sover.net/~ozus
<EMAIL_ADDRESS>© ALL RIGHTS RESERVED DENNIS SCHWARTZ
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In 1976, when Jobs was just 21, he and Wozniak started Apple Computer in the Jobs’ family garage. They funded their entrepreneurial venture by Jobs selling his Volkswagen bus and Wozniak selling his beloved scientific calculator. Jobs and Wozniak are credited with revolutionizing the computer industry with Apple by democratizing the technology and making machines smaller, cheaper, intuitive and accessible to everyday consumers.
Wozniak conceived of a series of user-friendly personal computers, and — with Jobs in charge of marketing — Apple initially marketed the computers for $666.66 each. The Apple I earned the corporation around $774,000. Three years after the release of Apple's second model, the Apple II, the company's sales increased by 700 percent to $139 million.
In 1980, Apple Computer became a publicly-traded company, with a market value of $1.2 billion by the end of its very first day of trading. Jobs looked to marketing expert John Sculley of Pepsi-Cola to take over the role of CEO for Apple.


hormel-foods
Businessmodel of Hormel Foods
Customer Segments
Hormel Foods has a segmented market business model, with customers that have slightly different needs. The company targets its offerings at retailers, wholesalers, foodservice distributors and operators, and other outlets.
Value Proposition
Hormel Foods offers three primary value propositions: accessibility, cost reduction, and brand/status.
The company creates accessibility by providing a broad range of options and making its products widely available. It distributes its products in all 50 U.S. states and throughout the world, with its larger markets including Australia, China, Canada, Japan, England, Mexico, and Micronesia. It also has acquired many companies since its founding, enabling it to greatly diversify its portfolio.
The company reduces costs by providing discounts and deals. It offers free printable coupons on its website for its products.
The company has established a powerful brand due to its success. It markets its products in 75 countries worldwide and generated $9 billion in revenues in 2015. It produces over 30 brands, including prominent ones such as Skippy, Applegate, Spam, Justin’s, and Wholly Guacamole. Lastly, it has won many honors, including:
- Placement on the S&P 500 Index, Fortune 500 List, and Barron’s 500 List
- Recogniton as one of the Most Trustworthy Companies by Trust Across America
- Recognition as one of the 100 Best Corporate Citizens by Corporate Responsibility Magazine
- Recognition as one of the Best Companies for Leaders by Chief Executive Magazine
- Ranking as #1 on the Best Companies to Sell For list by Selling Power Magazine
- M&A Mid-Market Award for Deal of the Year, Mergers and Acquisitions Magazine ### Channels
Hormel Foods’ main channel is its direct sales team. It also sells its products through independent brokers and distributors. The company promotes its offering through its website, social media pages, print/online/TV advertising, and promotions such as contests and sweepstakes.
Customer Relationships
Hormel Foods’ customer relationship is primarily of a self-service nature. Customers utilize its products while having limited interaction with employees. That said, there is a personal assistance component in the form of phone and e-mail support.
Key Activities
Hormel Foods’ business model entails the processing, marketing, and sale of its products to its customers.
Key Partners
Hormel Foods’ key partners are the suppliers that provide the goods and services it needs to process its products. The goods and services fall into the following categories:
- Ingredients – Beans, Edible Oils, Flavors, Food Grade Chemicals, Peanuts, Salt, Sweeteners – Corn, Sweeteners – Sugar, and Tomatoes
- Packaging – Adhesives, Barrier Film & Bags, Closures - Plastic & Metal, Corner Boards, Corrugated Folding Cartons, Glass Jars, Labels, Netting, PET Containers, Plastic Jars, and Tape
- Indirect Supplies – Pallets, Personal Protection Equipment, Poly Bags, R&D Supplies, Safety Supplies, Sanitation Chemicals, and Towels & Tissue
- Services – Laundry and Pest Control ### Key Resources
Hormel Foods’ main resources are its physical resources, which include three plants that harvest hogs for processing; seven turkey harvest and processing operations; and 35 facilities that produce and distribute other manufactured items. It places a high priority on its intellectual property, with 46 issued patents in the U.S. and 17 foreign issued patents.
Cost Structure
Hormel Foods has a cost-driven structure, aiming to minimize expenses through significant automation and low-price value propositions. Its biggest cost driver is cost of products sold, a variable expense. Other major drivers are in the areas of sales/marketing and administration, both fixed costs.
Revenue Streams
Hormel Foods has one revenue stream: revenues it generates from the sales of its products to its customers.


!DOCTYPE
Data Engineering and Science for Omnidian
Making Solar Energy More Accessable by Classifying
Common Field Maintenance Issues
Check out some code in Python, SQL, Javascript, HTML, and CSS at my
GitHub Repository
Making Solar Energy More Accessable by Classifying
Common Field Maintenance Issues
Clean energy is very important to me. That’s why I built a machine learning model to predict the root causes of field maintenance issues for a real company. Keeping overhead costs as low as possible is helpful for any business.
Omnidian is a Seattle startup that ensures "solar without fear" to homeowners and businesses across the country. New solar owners can subscribe to a 95% performance guarantee plan. If Omnidian can’t resolve it, they’ll actually pay subscribers for their loss of solar energy.
Their software models expected output for each asset (solar panel generation site) and compares it with the actual output. If an asset underperforms, they take steps to fix it, often sending one of their service partners to address the issue.
Omnidian gave me a wonderful opportunity to make alternative energy accessible to normal people. They generously gave me free access to their databases, their domain knowledge, and the autonomy to teach myself the skills necessary to build the models. It’s been a wonderful experience working with great people working to make the future better for all of us.


--- categories: [] date: 2013-04-09T11:30:03Z status: publish tags: [] title: This time with the photo layout: post url: /2013/04/09/this-time-with-the-photo/ ---


Hi! I am Graduated now.
I am currently working as a Product Manager/Software Developer at Ensa.com
Get in touch with me at<EMAIL_ADDRESS>New York University, GPA: 3.33
Birla Institute Of Technology,India GPA: 8.02/10
C, C#, C++, Java, Php, Ruby, JavaScript
MongoDB, Parse, Oracle, MySQL
HTML, Dot Net, Silverlight, CSS
Axure, Illustrator, Prototyping


In the second week we were asked to explore the different software packages presented for 2D and 3D modeling, in order to render a possible final project.
I prefer doing an handmade sketch of my idea before drawing and model it using a computer.
I started to use Inkscape. It's an intuitive and easy program and I learned the basic commands quickly, but I needed more and I decided to prove Illustrator. The commands are more complicated, but there are many good tutorials in internet. I also used Rhinoceros to do the 2d technical drawings.
Programs: Inkscape, Illustrator, Rhinoceros.
I used to model Fusion 360 and Rhinoceros.
I started studying tutorial of Fusion 360 and then I tried to model my project. I chose this program because it's a good tool that combines industrial and mechanical design. I thought it was perfect to model my project: the tools Assemble, like Joint, were precious. I had problems to change my modelling routine, becouse usually I do 2D vectorial separate draws and then I use tools like extrude or revolt to transform the drawings in 3D objects, so i can use basic boolean operations to combine them. In Fusion 360 is possible to draw directly on the canvas object and use those draws to do boolean operation. I also used Rhinoceros to control and to compare the 3D models.
Programs: Rhinoceros, Fusion 360.
I preferred to use an external rendering software because Fusion 360 have only a basic render system.
I started studying tutorial of KeyShot. I saved the 3d model in .3ds format and I imported it. It was very easy to change the scene and the object: I applied the materials at each level to facilitate comprehension of the project and I modified the lights to give more authenticity to the scene. KeyShot allows to have a realtime preview of your job where you can control the final image. The problem to use an external rendering software like KeyShot was the impossibility to change the 3d model.
Programs: KeyShot.
I wanted to experiment the Parametric 3D modeling using Grasshopper, a plugin for Rhino .
This was the second time I used Grasshopper, the first time was a disaster. I restarted studying basic tutorial to understand the mechanisms of primitives and editing tools. I designed parametrically the macro components of my project and I controlled and modified size and positions at each object. It was a good way to start using it. The potential of this software are (almost) endless.
Programs: Grasshopper
I used the animation tool of Fusion 360 to create a short video.
This is a simple and intuitive tool that allows to animate, analyze and control 3d models in no time. I studied tutorials of Fusion 360 to understand better this function. The video is built on a time line: if you select a point of this line and then change the position of the object or of the camera, the software calculate the route from the start point to end point and it will create an animation. The video is in .avi format. I used VLC to control and change the file size and format.
Programs: Fusion 360, VLC Media Player.
3d Rhino files:
- robot.3dm -mesh- (robot.rar -surface/polysurface-)
Fusion 360 file:
Key Shot file:
Grasshopper and Rhino files:
Illustrator file:


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mapDispatchToProps
As the second argument passed in to connect
,
mapDispatchToProps
is used for dispatching actions to the
store.
dispatch
is a function of the Redux store. You call
store.dispatch
to dispatch an action. This is the only way to
trigger a state change.
With React Redux, your components never access the store directly -
connect
does it for you. React Redux gives you two ways to
let components dispatch actions:
props.dispatch
and can dispatch actions itself.
connect
can accept an argument called
mapDispatchToProps
, which lets you create functions that
dispatch when called, and pass those functions as props to your
component.
The mapDispatchToProps
functions are normally referred to as
mapDispatch
for short, but the actual variable name used can
be whatever you want.
dispatch
as a Prop
If you don’t specify the second argument to connect()
, your
component will receive dispatch
by default. For example:
connect()(MyComponent)
// which is equivalent with
connect(null, null)(MyComponent)
// or
connect(mapStateToProps /** no second argument */)(MyComponent)
Once you have connected your component in this way, your component
receives props.dispatch
. You may use it to dispatch actions
to the store.
function Counter({ count, dispatch }) {
return (

<button onClick={() => dispatch({ type: 'DECREMENT' })}>-</button>
{count}
<button onClick={() => dispatch({ type: 'INCREMENT' })}>+</button>
<button onClick={() => dispatch({ type: 'RESET' })}>reset</button>

)
}
mapDispatchToProps
Parameter
Providing a mapDispatchToProps
allows you to specify which
actions your component might need to dispatch. It lets you provide action
dispatching functions as props. Therefore, instead of calling
props.dispatch(() => increment())
, you may call
props.increment()
directly. There are a few reasons why you
might want to do that.
First, encapsulating the dispatch logic into function makes the implementation more declarative. Dispatching an action and letting the Redux store handle the data flow is how to implement the behavior, rather than what it does.
A good example would be dispatching an action when a button is clicked.
Connecting the button directly probably doesn’t make sense conceptually,
and neither does having the button reference dispatch
.
// button needs to be aware of "dispatch"
<button onClick={() => dispatch({ type: "SOMETHING" })} />
// button unaware of "dispatch",
<button onClick={doSomething} />
Once you’ve wrapped all our action creators with functions that dispatch
the actions, the component is free of the need of dispatch
.
Therefore,
if you define your own mapDispatchToProps
, the connected
component will no longer receive dispatch
.
In addition, you also gain the ability to pass down the action dispatching functions to child ( likely unconnected ) components. This allows more components to dispatch actions, while keeping them “unaware” of Redux.
// pass down toggleTodo to child component
// making Todo able to dispatch the toggleTodo action
const TodoList = ({ todos, toggleTodo }) => (

{todos.map((todo) => (
<Todo todo={todo} onClick={toggleTodo} />
))}

)
This is what React Redux’s connect
does — it encapsulates the
logic of talking to the Redux store and lets you not worry about it. And
this is what you should totally make full use of in your implementation.
mapDispatchToProps
The mapDispatchToProps
parameter can be of two forms. While
the function form allows more customization, the object form is easy to
use.
dispatch
and optionally ownProps
⭐ Note: We recommend using the object form of
mapDispatchToProps
unless you specifically need to customize dispatching behavior in some way.
mapDispatchToProps
As A Function
Defining mapDispatchToProps
as a function gives you the most
flexibility in customizing the functions your component receives, and how
they dispatch actions. You gain access to dispatch
and
ownProps
. You may use this chance to write customized
functions to be called by your connected components.
dispatch
ownProps
(optional)
dispatch
The mapDispatchToProps
function will be called with
dispatch
as the first argument. You will normally make use of
this by returning new functions that call dispatch()
inside
themselves, and either pass in a plain action object directly or pass in
the result of an action creator.
const mapDispatchToProps = (dispatch) => {
return {
// dispatching plain actions
increment: () => dispatch({ type: 'INCREMENT' }),
decrement: () => dispatch({ type: 'DECREMENT' }),
reset: () => dispatch({ type: 'RESET' }),
}
}
You will also likely want to forward arguments to your action creators:
const mapDispatchToProps = (dispatch) => {
return {
// explicitly forwarding arguments
onClick: (event) => dispatch(trackClick(event)),
// implicitly forwarding arguments
onReceiveImpressions: (...impressions) =>
dispatch(trackImpressions(impressions)),
}
}
ownProps
( optional )
If your mapDispatchToProps
function is declared as taking two
parameters, it will be called with dispatch
as the first
parameter and the props
passed to the connected component as
the second parameter, and will be re-invoked whenever the connected
component receives new props.
This means, instead of re-binding new props
to action
dispatchers upon component re-rendering, you may do so when your
component’s props
change.
Binds on component mount
render() {
return <button onClick={() => this.props.toggleTodo(this.props.todoId)} />
}
const mapDispatchToProps = dispatch => {
return {
toggleTodo: todoId => dispatch(toggleTodo(todoId))
}
}
Binds on props
change
render() {
return <button onClick={() => this.props.toggleTodo()} />
}
const mapDispatchToProps = (dispatch, ownProps) => {
return {
toggleTodo: () => dispatch(toggleTodo(ownProps.todoId))
}
}
Your mapDispatchToProps
function should return a plain
object:
dispatch
, it is a convention to simply name the field key
the same name as the action creator:
const increment = () => ({ type: 'INCREMENT' })
const decrement = () => ({ type: 'DECREMENT' })
const reset = () => ({ type: 'RESET' })
const mapDispatchToProps = (dispatch) => {
return {
// dispatching actions returned by action creators
increment: () => dispatch(increment()),
decrement: () => dispatch(decrement()),
reset: () => dispatch(reset()),
}
}
The return of the mapDispatchToProps
function will be merged
to your connected component as props. You may call them directly to
dispatch its action.
function Counter({ count, increment, decrement, reset }) {
return (

<button onClick={decrement}>-</button>
{count}
<button onClick={increment}>+</button>
<button onClick={reset}>reset</button>

)
}
(Full code of the Counter example is in this CodeSandbox)
mapDispatchToProps
Function with
bindActionCreators
Wrapping these functions by hand is tedious, so Redux provides a function to simplify that.
bindActionCreators
turns an object whose values are action creators, into an object with the same keys, but with every action creator wrapped into adispatch
call so they may be invoked directly. See Redux Docs onbindActionCreators
bindActionCreators
accepts two parameters:
function
(an action creator) or an
object
(each field an action creator)
dispatch
The wrapper functions generated by bindActionCreators
will
automatically forward all of their arguments, so you don’t need to do that
by hand.
import { bindActionCreators } from 'redux'
const increment = () => ({ type: 'INCREMENT' })
const decrement = () => ({ type: 'DECREMENT' })
const reset = () => ({ type: 'RESET' })
// binding an action creator
// returns (...args) => dispatch(increment(...args))
const boundIncrement = bindActionCreators(increment, dispatch)
// binding an object full of action creators
const boundActionCreators = bindActionCreators(
{ increment, decrement, reset },
dispatch
)
// returns
// {
// increment: (...args) => dispatch(increment(...args)),
// decrement: (...args) => dispatch(decrement(...args)),
// reset: (...args) => dispatch(reset(...args)),
// }
To use bindActionCreators
in our
mapDispatchToProps
function:
import { bindActionCreators } from 'redux'
// ...
function mapDispatchToProps(dispatch) {
return bindActionCreators({ increment, decrement, reset }, dispatch)
}
// component receives props.increment, props.decrement, props.reset
connect(null, mapDispatchToProps)(Counter)
dispatch
If the mapDispatchToProps
argument is supplied, the component
will no longer receive the default dispatch
. You may bring it
back by adding it manually to the return of your
mapDispatchToProps
, although most of the time you shouldn’t
need to do this:
import { bindActionCreators } from 'redux'
// ...
function mapDispatchToProps(dispatch) {
return {
dispatch,
...bindActionCreators({ increment, decrement, reset }, dispatch),
}
}
mapDispatchToProps
As An Object
You’ve seen that the setup for dispatching Redux actions in a React
component follows a very similar process: define an action creator, wrap
it in another function that looks like
(…args) => dispatch(actionCreator(…args))
, and pass that
wrapper function as a prop to your component.
Because this is so common, connect
supports an “object
shorthand” form for the mapDispatchToProps
argument: if you
pass an object full of action creators instead of a function,
connect
will automatically call
bindActionCreators
for you internally.
We recommend always using the “object shorthand” form of
mapDispatchToProps
, unless you have a specific reason to
customize the dispatching behavior.
Note that:
mapDispatchToProps
object is assumed to
be an action creator
dispatch
as a prop
// React Redux does this for you automatically:
;(dispatch) => bindActionCreators(mapDispatchToProps, dispatch)
Therefore, our mapDispatchToProps
can simply be:
Since the actual name of the variable is up to you, you might want to give
it a name like actionCreators
, or even define the object
inline in the call to connect
:
import { increment, decrement, reset } from './counterActions'
const actionCreators = {
increment,
decrement,
reset,
}
export default connect(mapState, actionCreators)(Counter)
// or
export default connect(mapState, { increment, decrement, reset })(Counter)
dispatch
?
Also known as
This is a common error that happens when you try to call
this.props.dispatch
, but dispatch
is not
injected to your component.
dispatch
is injected to your component only when:
1. You do not provide mapDispatchToProps
The default mapDispatchToProps
is simply
dispatch => ({ dispatch })
. If you do not provide
mapDispatchToProps
, dispatch
will be provided as
mentioned above.
In another words, if you do:
2. Your customized mapDispatchToProps
function return
specifically contains dispatch
You may bring back dispatch
by providing your customized
mapDispatchToProps
function:
const mapDispatchToProps = (dispatch) => {
return {
increment: () => dispatch(increment()),
decrement: () => dispatch(decrement()),
reset: () => dispatch(reset()),
dispatch,
}
}
Or alternatively, with bindActionCreators
:
import { bindActionCreators } from 'redux'
function mapDispatchToProps(dispatch) {
return {
dispatch,
...bindActionCreators({ increment, decrement, reset }, dispatch),
}
}
See this error in action in Redux’s GitHub issue #255.
There are discussions regarding whether to provide
dispatch
to your components when you specify
mapDispatchToProps
(
Dan Abramov’s response to #255
). You may read them for further understanding of the current
implementation intention.
mapDispatchToProps
without
mapStateToProps
in Redux?
Yes. You can skip the first parameter by passing undefined
or
null
. Your component will not subscribe to the store, and
will still receive the dispatch props defined by
mapDispatchToProps
.
store.dispatch
?
It’s an anti-pattern to interact with the store directly in a React
component, whether it’s an explicit import of the store or accessing it
via context (see the
Redux FAQ entry on store setup
for more details). Let React Redux’s connect
handle the
access to the store, and use the dispatch
it passes to the
props to dispatch actions.
Tutorials
Related Docs
Q&A


Person
A person (alive, dead, undead, or fictional).
Usage: Over 1,000,000 domains
[more...]
| Property | Expected Type | Description |
|---|---|---|
| Properties from Person | ||
additionalName
|
Text | An additional name for a Person, can be used for a middle name. |
address
|
PostalAddress | Physical address of the item. |
affiliation
|
Organization | An organization that this person is affiliated with. For example, a school/university, a club, or a team. |
alumniOf
|
EducationalOrganization | An educational organizations that the person is an alumni of. Inverse property: alumni. |
award
|
Text | An award won by or for this item. Supersedes awards. |
birthDate
|
Date | Date of birth. |
birthPlace
|
Place | The place where the person was born. |
brand
|
Organization or Brand | The brand(s) associated with a product or service, or the brand(s) maintained by an organization or business person. |
children
|
Person | A child of the person. |
colleague
|
Person | A colleague of the person. Supersedes colleagues. |
contactPoint
|
ContactPoint | A contact point for a person or organization. Supersedes contactPoints. |
deathDate
|
Date | Date of death. |
deathPlace
|
Place | The place where the person died. |
duns
|
Text | The Dun & Bradstreet DUNS number for identifying an organization or business person. |
email
|
Text | Email address. |
familyName
|
Text | Family name. In the U.S., the last name of an Person. This can be used along with givenName instead of the name property. |
faxNumber
|
Text | The fax number. |
follows
|
Person | The most generic uni-directional social relation. |
gender
|
Text | Gender of the person. |
givenName
|
Text | Given name. In the U.S., the first name of a Person. This can be used along with familyName instead of the name property. |
globalLocationNumber
|
Text | The Global Location Number (GLN, sometimes also referred to as International Location Number or ILN) of the respective organization, person, or place. The GLN is a 13-digit number used to identify parties and physical locations. |
hasPOS
|
Place | Points-of-Sales operated by the organization or person. |
height
|
Distance or QuantitativeValue | The height of the item. |
homeLocation
|
ContactPoint or Place | A contact location for a person's residence. |
honorificPrefix
|
Text | An honorific prefix preceding a Person's name such as Dr/Mrs/Mr. |
honorificSuffix
|
Text | An honorific suffix preceding a Person's name such as M.D. /PhD/MSCSW. |
isicV4
|
Text | The International Standard of Industrial Classification of All Economic Activities (ISIC), Revision 4 code for a particular organization, business person, or place. |
jobTitle
|
Text | The job title of the person (for example, Financial Manager). |
knows
|
Person | The most generic bi-directional social/work relation. |
makesOffer
|
Offer | A pointer to products or services offered by the organization or person. |
memberOf
|
Organization or ProgramMembership | An Organization (or ProgramMembership) to which this Person or Organization belongs. Inverse property: member. |
naics
|
Text | The North American Industry Classification System (NAICS) code for a particular organization or business person. |
nationality
|
Country | Nationality of the person. |
netWorth
|
PriceSpecification | The total financial value of the person as calculated by subtracting assets from liabilities. |
owns
|
Product or OwnershipInfo | Products owned by the organization or person. |
parent
|
Person | A parent of this person. Supersedes parents. |
performerIn
|
Event | Event that this person is a performer or participant in. |
relatedTo
|
Person | The most generic familial relation. |
seeks
|
Demand | A pointer to products or services sought by the organization or person (demand). |
sibling
|
Person | A sibling of the person. Supersedes siblings. |
spouse
|
Person | The person's spouse. |
taxID
|
Text | The Tax / Fiscal ID of the organization or person, e.g. the TIN in the US or the CIF/NIF in Spain. |
telephone
|
Text | The telephone number. |
vatID
|
Text | The Value-added Tax ID of the organization or person. |
weight
|
QuantitativeValue | The weight of the product or person. |
workLocation
|
ContactPoint or Place | A contact location for a person's place of work. |
worksFor
|
Organization | Organizations that the person works for. |
| Properties from Thing | ||
additionalType
|
URL | An additional type for the item, typically used for adding more specific types from external vocabularies in microdata syntax. This is a relationship between something and a class that the thing is in. In RDFa syntax, it is better to use the native RDFa syntax - the 'typeof' attribute - for multiple types. Schema.org tools may have only weaker understanding of extra types, in particular those defined externally. |
alternateName
|
Text | An alias for the item. |
description
|
Text | A short description of the item. |
image
|
ImageObject or URL | An image of the item. This can be a URL or a fully described ImageObject. |
mainEntityOfPage
|
URL or CreativeWork | Indicates a page (or other CreativeWork) for which this thing is the main entity being described.
See background notes for details. Inverse property: mainEntity. |
name
|
Text | The name of the item. |
potentialAction
|
Action | Indicates a potential Action, which describes an idealized action in which this thing would play an 'object' role. |
sameAs
|
URL | URL of a reference Web page that unambiguously indicates the item's identity. E.g. the URL of the item's Wikipedia page, Freebase page, or official website. |
url
|
URL | URL of the item. |
Instances of Person may appear as values for the following properties
| Property | On Types | Description |
|---|---|---|
accountablePerson
|
CreativeWork | Specifies the Person that is legally accountable for the CreativeWork. |
acquiredFrom
|
OwnershipInfo | The organization or person from which the product was acquired. |
actor
|
TVSeries or VideoGame or Movie or VideoGameSeries or RadioSeries or VideoObject or CreativeWorkSeason or Clip or Episode or MovieSeries | An actor, e.g. in tv, radio, movie, video games etc. Actors can be associated with individual items or with a series, episode, clip. Supersedes actors. |
agent
|
Action | The direct performer or driver of the action (animate or inanimate). e.g. *John* wrote a book. |
alumni
|
EducationalOrganization | Alumni of educational organization. inverse property: alumniOf. |
athlete
|
SportsTeam | A person that acts as performing member of a sports team; a player as opposed to a coach. |
attendee
|
Event | A person or organization attending the event. Supersedes attendees. |
author
|
CreativeWork | The author of this content. Please note that author is special in that HTML 5 provides a special mechanism for indicating authorship via the rel tag. That is equivalent to this and may be used interchangeably. |
awayTeam
|
SportsEvent | The away team in a sports event. |
borrower
|
LendAction | A sub property of participant. The person that borrows the object being lent. |
broker
|
Invoice or Reservation or Order | An entity that arranges for an exchange between a buyer and a seller. In most cases a broker never acquires or releases ownership of a product or service involved in an exchange. If it is not clear whether an entity is a broker, seller, or buyer, the latter two terms are preferred. Supersedes bookingAgent. |
buyer
|
SellAction | A sub property of participant. The participant/person/organization that bought the object. |
candidate
|
VoteAction | A sub property of object. The candidate subject of this action. |
character
|
CreativeWork | Fictional person connected with a creative work. |
children
|
Person | A child of the person. |
coach
|
SportsTeam | A person that acts in a coaching role for a sports team. |
colleague
|
Person | A colleague of the person. Supersedes colleagues. |
competitor
|
SportsEvent | A competitor in a sports event. |
composer
|
MusicComposition | The person or organization who wrote the composition. |
contributor
|
CreativeWork | A secondary contributor to the CreativeWork. |
copyrightHolder
|
CreativeWork | The party holding the legal copyright to the CreativeWork. |
creator
|
CreativeWork or UserComments | The creator/author of this CreativeWork. This is the same as the Author property for CreativeWork. |
creditedTo
|
MusicRelease | The group the release is credited to if different than the byArtist. For example, Red and Blue is credited to "Stefani Germanotta Band", but by Lady Gaga. |
customer
|
Invoice or Order | Party placing the order or paying the invoice. |
director
|
TVSeries or VideoGame or Movie or VideoGameSeries or RadioSeries or VideoObject or CreativeWorkSeason or Clip or Episode or MovieSeries | A director of e.g. tv, radio, movie, video games etc. content. Directors can be associated with individual items or with a series, episode, clip. Supersedes directors. |
editor
|
CreativeWork | Specifies the Person who edited the CreativeWork. |
employee
|
Organization | Someone working for this organization. Supersedes employees. |
endorsee
|
EndorseAction | A sub property of participant. The person/organization being supported. |
endorsers
|
Diet | People or organizations that endorse the plan. |
followee
|
FollowAction | A sub property of object. The person or organization being followed. |
follows
|
Person | The most generic uni-directional social relation. |
founder
|
Organization | A person who founded this organization. Supersedes founders. |
homeTeam
|
SportsEvent | The home team in a sports event. |
illustrator
|
Book | The illustrator of the book. |
knows
|
Person | The most generic bi-directional social/work relation. |
landlord
|
RentAction | A sub property of participant. The owner of the real estate property. |
lender
|
BorrowAction | A sub property of participant. The person that lends the object being borrowed. |
loser
|
WinAction | A sub property of participant. The loser of the action. |
lyricist
|
MusicComposition | The person who wrote the words. |
member
|
Organization or ProgramMembership | A member of an Organization or a ProgramMembership. Organizations can be members of organizations; ProgramMembership is typically for individuals. Supersedes members. inverse property: memberOf. |
musicBy
|
Clip or VideoGame or Movie or VideoGameSeries or RadioSeries or VideoObject or TVSeries or Episode or MovieSeries | The composer of the soundtrack. |
opponent
|
ExerciseAction | A sub property of participant. The opponent on this action. |
organizer
|
Event | An organizer of an Event. |
parent
|
Person | A parent of this person. Supersedes parents. |
participant
|
Action | Other co-agents that participated in the action indirectly. e.g. John wrote a book with *Steve*. |
performer
|
Event | A performer at the event—for example, a presenter, musician, musical group or actor. Supersedes performers. |
producer
|
CreativeWork | The person or organization who produced the work (e.g. music album, movie, tv/radio series etc.). |
provider
|
Invoice or ParcelDelivery or Flight or BusTrip or Reservation or CreativeWork or TrainTrip or Service | The service provider, service operator, or service performer; the goods producer. Another party (a seller) may offer those services or goods on behalf of the provider. A provider may also serve as the seller. Supersedes carrier. |
publisher
|
CreativeWork | The publisher of the creative work. |
recipient
|
PayAction or AuthorizeAction or ReturnAction or GiveAction or DonateAction or SendAction or TipAction or CommunicateAction | A sub property of participant. The participant who is at the receiving end of the action. |
relatedTo
|
Person | The most generic familial relation. |
reviewedBy
|
WebPage | People or organizations that have reviewed the content on this web page for accuracy and/or completeness. |
seller
|
BuyAction or Offer or Demand or Order or Flight | An entity which offers (sells / leases / lends / loans) the services / goods. A seller may also be a provider. Supersedes merchant. |
sender
|
ReceiveAction | A sub property of participant. The participant who is at the sending end of the action. |
sibling
|
Person | A sibling of the person. Supersedes siblings. |
spouse
|
Person | The person's spouse. |
translator
|
CreativeWork | Organization or person who adapts a creative work to different languages, regional differences and technical requirements of a target market. |
underName
|
Reservation or Ticket | The person or organization the reservation or ticket is for. |
winner
|
LoseAction | A sub property of participant. The winner of the action. |
Acknowledgements
This class contains derivatives of IPTC rNews properties. rNews is a data model of publishing metadata with serializations currently available for RDFa as well as HTML5 Microdata. More information about the IPTC and rNews can be found at rnews.org.Examples
Jane Doe  Professor 20341 Whitworth Institute 405 Whitworth Seattle WA 98052<PHONE_NUMBER> <a href="mailto:jane-doe<EMAIL_ADDRESS>Jane's home page: janedoe.com Graduate students: Alice Jones Bob Smith

 Jane Doe  Professor
  20341 Whitworth Institute 405 N. Whitworth  Seattle, WA 98052
 (425) 123-4567 <a<EMAIL_ADDRESS>itemprop="email"><EMAIL_ADDRESS>Jane's home page: janedoe.com Graduate students:  Alice Jones  Bob Smith

 Jane Doe  Professor
  20341 Whitworth Institute 405 N. Whitworth  Seattle, WA 98052
 (425) 123-4567 <a<EMAIL_ADDRESS>property="email"><EMAIL_ADDRESS>Jane's home page: janedoe.com Graduate students:  Alice Jones  Bob Smith

Shostakovich Leningrad

May23

8:00 PM

 Britten, Shostakovich

Jaap van Zweden conducts two World War II-era pieces showcasing the glorious sound of the CSO.

Program

 <link href="http://en.wikipedia.org/wiki/Peter_Grimes" /> Britten Four Sea Interludes and Passacaglia from Peter Grimes

 <link href="http://en.wikipedia.org/wiki/Symphony_No._7_(Shostakovich)" /> Shostakovich Symphony No. 7 (Leningrad)

Performers

  <link href="http://cso.org/" /> <link href="http://en.wikipedia.org/wiki/Chicago_Symphony_Orchestra" />
 Chicago Symphony Orchestra

 <link href="http://www.jaapvanzweden.com/" />
 Jaap van Zweden

conductor

 <meta itemprop="name" content="Chicago Symphony Center"/> <link itemprop="sameAs" href="http://en.wikipedia.org/wiki/Symphony_Center"/> <meta itemprop="address" content="220 S. Michigan Ave, Chicago, Illinois, USA"/>

 <link itemprop="url" href="/examples/ticket/12341234" /> <meta itemprop="price" content="40"/> <meta itemprop="priceCurrency" content="USD" /> <meta itemprop="availability" href="http://schema.org/InStock"/>

Shostakovich Leningrad

May23

8:00 PM

 Britten, Shostakovich

Jaap van Zweden conducts two World War II-era pieces showcasing the glorious sound of the CSO.

Program

 <link itemprop="sameAs" href="http://en.wikipedia.org/wiki/Peter_Grimes" /> Britten Four Sea Interludes and Passacaglia from Peter Grimes

 <link itemprop="sameAs" href="http://en.wikipedia.org/wiki/Symphony_No._7_(Shostakovich)" /> Shostakovich Symphony No. 7 (Leningrad)

Performers

  <link itemprop="sameAs" href="http://cso.org/" /> <link itemprop="sameAs" href="http://en.wikipedia.org/wiki/Chicago_Symphony_Orchestra" />
 Chicago Symphony Orchestra

 <link itemprop="sameAs" href="http://www.jaapvanzweden.com/" />
 Jaap van Zweden

conductor

 <meta property="name" content="Chicago Symphony Center"/> <link property="sameAs" href="http://en.wikipedia.org/wiki/Symphony_Center"/> <meta property="address" content="220 S. Michigan Ave, Chicago, Illinois, USA"/>

 <link property="url" href="/examples/ticket/12341234"/> <meta property="price" content="40"/> <meta property="priceCurrency" content="USD" /> <meta property="availability" href="http://schema.org/InStock"/>

Shostakovich Leningrad

May23

8:00 PM

 Britten, Shostakovich

Jaap van Zweden conducts two World War II-era pieces showcasing the glorious sound of the CSO.

Program

 <link href="http://en.wikipedia.org/wiki/Peter_Grimes" property="sameAs"/> Britten Four Sea Interludes and Passacaglia from Peter Grimes

 <link href="http://en.wikipedia.org/wiki/Symphony_No._7_(Shostakovich)" property="sameAs"/> Shostakovich Symphony No. 7 (Leningrad)

Performers

  <link href="http://cso.org/" property="sameAs"/> <link href="http://en.wikipedia.org/wiki/Chicago_Symphony_Orchestra" property="sameAs"/> Chicago Symphony Orchestra

 <link href="http://www.jaapvanzweden.com/" property="sameAs"/>  Jaap van Zweden
conductor

A JSON example of an OrganizationRole, showing information about a 'member' of a 'SportsTeam', including time qualfiers (when he began and ended that role).

 San Francisco 49ers

 Joe Montana
 1979 1992 Quarterback

 San Francisco 49ers

 Joe Montana
 1979 1992 Quarterback

A MusicComposition Example. The following JSON-LD models the composition A Day in the Life by Lennon and McCartney, regardless of who performs or records the song.
Not available yet.
Not available yet.

An example of a credit card bill (invoice). ACME Bank Bill for: January 2015 Visa invoice link: http://www.acmebank.com/invoice.pdf Customer: Jane Doe account ID: xxxx-xxxx-xxxx-1234 payment due: 2015-01-30 minimum payment: $15.00 total due: $200.00 billing period: 2014-12-21 to 2015-01-20 payment due

January 2015 Visa
 <link itemprop="url" href="http://acmebank.com/invoice.pdf" />Invoice PDF
 ACME Bank
 xxxx-xxxx-xxxx-1234
 Jane Doe
 2015-01-30
 15.00 USD

 200.00 USD
 <meta itemprop="billingPeriod" content="2014-12-21/P30D" />starts:2014-12-21 30 days <meta itemprop="paymentStatus" content="http://schema.org/PaymentDue" />

January 2015 Visa
 <link property="url" href="http://acmebank.com/invoice.pdf" />Invoice PDF
 ACME Bank
 xxxx-xxxx-xxxx-1234
 Jane Doe
 2015-01-30
 15.00 USD

 200.00 USD
 <meta property="billingPeriod" content="2014-12-21/P30D" />starts:2014-12-21 30 days <meta property="paymentStatus" content="http://schema.org/PaymentDue" />

An example of a invoice for a purchase and installation.  ACME Supplies Customer: Jane Doe Order: Item abc123: 1 Widget: delivered 2015-03-10 Item def456: 3 Widget accessories: shipped 2015-03-12

 ACME Supplies

 Jane Doe

 Item number: abc123 1
 Widget
 Delivered
 2015-03-10

 Item number: def456 4
 Widget accessories
 Shipped
 2015-03-15 2015-03-18

 ACME Supplies

 Jane Doe

 Item number: abc123 1
 Widget
 Delivered
 2015-03-10

 Item number: def456 4
 Widget accessories
 Shipped
 2015-03-15 2015-03-18

Fairly straightforward painting markup.

La trahison des images

 A painting also known as The Treason of Images or The Treachery of Images.

 The painting shows a pipe. Below it, Magritte painted, <q lang="fr">Ceci n'est pas une pipe.</q>, French for "This is not a pipe."

 His statement is taken to mean that the painting itself is not a pipe. The painting is merely an image of a pipe. Hence, the description, "this is not a pipe."

 Similarly, the image shown above is neither a pipe nor even a painting, but rather a digital photograph.

 The painting is sometimes given as an example of meta message conveyed by paralanguage. Compare with Korzybski's <q>The word is not the thing</q> and <q>The map is not the territory</q>.

Artist: René Magritte

Dimensions: 940 mm × 635 mm

Materials: oil on canvas

 <link itemprop="sameAs" href="http://rdf.freebase.com/rdf/m.0439_q" />
La trahison des images

 A painting also known as The Treason of Images or The Treachery of Images.

 The painting shows a pipe. Below it, Magritte painted, <q lang="fr">Ceci n'est pas une pipe.</q>, French for "This is not a pipe."

 His statement is taken to mean that the painting itself is not a pipe. The painting is merely an image of a pipe. Hence, the description, "this is not a pipe."

 Similarly, the image shown above is neither a pipe nor even a painting, but rather a digital photograph.

 The painting is sometimes given as an example of meta message conveyed by paralanguage. Compare with Korzybski's <q>The word is not the thing</q> and <q>The map is not the territory</q>.

Artist:   René Magritte

Dimensions: 940 mm × 635 mm

Materials: oil on canvas

 <link property="sameAs" href="http://rdf.freebase.com/rdf/m.0439_q" />
La trahison des images

 A painting also known as The Treason of Images or The Treachery of Images.

 The painting shows a pipe. Below it, Magritte painted, <q lang="fr">Ceci n'est pas une pipe.</q>, French for "This is not a pipe."

 His statement is taken to mean that the painting itself is not a pipe. The painting is merely an image of a pipe. Hence, the description, "this is not a pipe."

 Similarly, the image shown above is neither a pipe nor even a painting, but rather a digital photograph.

 The painting is sometimes given as an example of meta message conveyed by paralanguage. Compare with Korzybski's <q>The word is not the thing</q> and <q>The map is not the territory</q>.

Artist:   René Magritte

Dimensions: 940 mm × 635 mm

Materials: oil on canvas

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THE EEL (1997)
"You talk to the eel because you don't like dealing with people, right?"
3.5 out of ****
Starring Koji Yakusho, Misa Shimizu, Fujio Tokita, Mitsuko Baisho, Akira Emoto; Directed by Shohei Imamura; Written by Imamura, Daisuke Tengan, and Motofumi Tomikawa, from a novel by Akira Yoshimura; Cinematography by Shigeru Komatsubara
A roll call of Shohei Imamura's protagonists reads like a summary of society's cast-offs. A prostitute. A pornographer. A serial killer. A pimp. A radiation poisoning victim. And, in THE EEL, a man who murders his wife and, eight years later, tries to start a new life. Imamura always empathizes with the people in his movies, although they are not always sympathetic: while some are victims, others deserve no pity. Certainly, it is difficult to feel sympathy for Yamashita, the wife-killer, when the pre-credits sequence shows us the murder, which is sudden, brutal, unforgivable, graphic, and not easy to sit through.
This is what happens: Yamashita (Koji Yakusho of SHALL WE DANCE? and TAMPOPO) suspects that his wife is cheating on him. He comes home early one night from fishing, to find a strange car in his driveway and the sound of heated lovemaking coming from his bedroom. He looks in.  He wounds the man in flagrante delicto, then methodically stabs his wife to death. The camera does not turn away; blood spatters the lens. Yamashita then cycles to the nearest police station and, in a splendidly deadpan moment, matter-of-factly confesses to the murder and hands over the murder weapon to the astonished desk sergeant. He does not dissemble. He cannot: there are no excuses.
We have gone from the everyday to the extreme to the absurd. Time for the opening credits. Most directors would be unable to muster such a sequence as a finale; for Imamura, it is merely the preamble to a movie that is never dull and often superb. Yamashita's action cannot, of course, be justified, and he knows that. But, his sentence over, he has a lot of life remaining to him. And this is where the movie really begins.
THE EEL is about how a man rebuilds his life after committing a crime he cannot rationalize or even explain. There is a scene in which he does try to explain--he killed his wife because he loved her too much to forgive her, or something--but it is not much of an explanation. He is not a man capable of murder, but he murdered someone. Go figure. As with the serial killer in Imamura's earlier VENGEANCE IS MINE, his motives are not to be understood. But there the similarity ends: the serial killer was amoral and subtly insane, while Yamashita is soft-spoken, polite, solicitous.
He relocates to a small town, under the eye of his parole officer, who is also a priest, and, having learned the trade of a barber during his prison term, Yamashita opens a barbershop, and soon establishes a small but loyal clientele--none of whom know about his past. The locals see him as rather eccentric, because he talks to his pet eel, and seems to care more for it than anyone else. In fact, Yamashita is rather dull, as killers go. The same cannot be said for the townsfolk around him, who include a young man who spends all his time trying to contact UFOs and a man obsessed with eel fishing. There is also a vivacious young woman, Keiko (Misa Shimizu), who comes to work in Yamashita's shop--against his wishes--after he finds her comatose in a field, an empty bubble-pack of pills by her outflung hand, and has her rushed to hospital, saving her life.
The would-be suicide has, like Yamashita, a troubled past, a past which is revealed, piecemeal, in flashbacks. Their cool professional relationship inevitably warms, to become a guarded rapport, and then heats up, becoming something more, although Yamashita holds something back: he remains emotionally detached from the world, partly as self-imposed punishment for what he did, partly from fear that he might do it again. Having structured the film with the murder first, Imamura makes it difficult to care for this man, but we do come to empathize with him: everything about him elicits our understanding, except for that inexplicable crime.
He can no more forget it than we can. The eel fisher takes him out to teach him how to spear eels, but when he tries to stab one, he cannot: thrusting the spear recalls the movement of his hand when he stabbed his wife. Images of an eel writhing on the end of a spear flash on the screen, pulsing with guilt and sexual symbolism. The symbolic associations of the eel, developed mostly in night-time conversations with the eel fisher, are actually one of the film's shortcomings, as Imamura overworks the metaphor, tending to explain in the dialogue what is already obvious from the context.
The working out of the love relationship is also rather flawed, sometimes predictable, sometimes sentimental, although the little things are constantly refreshing, like the character of Keiko's mother, an overbearing and mentally unbalanced flamenco dancer. But sentimentality, from this most unsentimental of directors, is perhaps not unwelcome. Imamura tends to see human relationships as primarily pragmatic, as matters of convenience. He regards the finer emotions with skepticism--perhaps too much skepticism. In THE EEL (and his previous film, BLACK RAIN) there is a touch of tenderness, new to his oeuvre, which makes his work seem broader, more complex, and therefore more complete.
Whatever the reason, Imamura's vision finds perhaps its quintessential expression in the climactic sequence of THE EEL, when all the major players in the film are brought together in the barbershop, as Keiko's past catches up with her. A melee erupts. It is a madcap orchestration of slapstick and sudden violence, funny and grotesque, and in the midst of the chaos are a few people trying to do the right thing. Imamura brings sense to the anarchy, and out of human failing creates hope. It is the work of a master at the height of his craft, and it bustles with life. It contains, perhaps, a summary of all Imamura has to tell us, and he has much to tell.
A Review by David Dalgleish (April 3rd, 1999<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
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In 2012, I first started selling my homemade chocolate chip cookies and cupcakes to my friends and family. After receiving wonderful feedback, I made a Facebook page and started selling to other people. As my success grew, I started selling more baked goods and soon I started my company, Baketopia.
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Without the support of our amazing customers, we would not be where we are now. For now, we only take orders online. We hope to soon open our own bakery in Dhaka.
Thank you!


PRIMAL FEAR A film review by Edwin Jahiel Copyright 1996 Edwin Jahiel
PRIMAL FEAR (1996) ** 1/4 . Directed by Gregory Hoblit. Written by Steve Shagan and Ann Biderman, from the novel by William Diehl. Photography, Michael Chapman. Editing, David Rosenbloom. Production design, Jeannine Oppewall. Producer, GaryLucchesi. Music, James Newton Howard. Cast : Richard Gere (Martin Vail), Laura Linney (Janet Venable), Andre Braugher (Tommy Goodman), John Mahoney (John Shaughnessy), Alfre Woodard (Judge Miriam Shoat), Frances McDormand (Dr. Molly Arrington), Steven Bauer (Joey Pinero), Stanley Anderson (Archbishop Rushman), Edward Norton (Aaron Stampler), et al. A Paramount release. 131 minutes. Rated R (graphic violence, sex,language).
Alas poor Archbishop Rushman! Chicago knew him, Horatio: a fellow of infinite resources, of most excellent connections. But the Primate never had a chance to become a Prince of the Church. Someone gorily slashed him to death.
Into the fray steps Martin Vail (Gere), a prosecutor turned opportunistic super-lawyer. Clever, cool, calculating, chic Vail--currently the cover boy of a glossy magazine--has attained fame and fortune. To get more media attention, he takes on "pro bono" (free services for the public good) the defense of Rushman's suspected murderer.
Blood-covered Aaron Stampler (Norton), fleeing the scene of the crime, is caught after a chase on foot. Everything points to him, everything that is, except motive. Aaron, from rural Kentucky, may or may not be innocent but he certainly looks like an innocent, a simple-minded young man. He was devoted to the Archbishop who had rescued him from the big city's mean streets and made him an altar boy. Aaron tells Vail that he didn't do it, that he was at the prelate's place, that a third party did it. But he, Aaron, did not get a look at the murderer because he "lost time," which is how he describes his frequent blackouts, some of which Vail witnesses.
The script, co-written by Oscar-winner ("Save the Tiger") Steve Shagan, is convoluted. It involves Chicago politics, financial schemes, the Rushman Fund, Church-owned land, prosecuting attorney Janet Venable (Linney) who had been Vail's lover, her boss the State's Attorney, influential figures, an honest Alderman, an underworld figure, and more...
Everyone wants to direct movies these days, even the clergy. "Primal Fear" is the first feature by TV's nine-Emmy winner Gregory Hoblit who some years ago was taken off the film "Sea of Love." Growing up in Berkeley, Hoblit did the usual Sixties thing, an irony as his father was an FBI man. He made his name mostly with series like "Hill Street Blues," "LA Law," "NYPD Blue."
The influence of the jazzy, fast-cut, elliptical, multi-imaged TV style of such programs is evident in "Primal Fear." This does not hurt. What does is the murky tangle resulting from the subplots, allusions and implications. It is common for television series to place in certain episodes additional characters who may get developed in future segments. But in a single big-screen, detection-and-courtroom movie this clutter can distract and make the picture less interesting than Inspector Morse or Hercule Poirot whodunits.
There are also contradictions, loose ends that dangle yet cannot be revealed without giving away too much. It doesn't help either that Vail and Venable are now conveniently on opposite sides; that the resumption of their affair is telegraphed with semaphores; that we get no information about, or a sense of those two, their earlier relationship, their private lives. The duo may be adequate to the task of their current legalisms, but they remain unidimensional.
What you get is only what you see, and that is pretty interesting: Vail's and his staff's procedures, the strangeness of Aaron, the lawyer-client relationship. Best of all is the acting by Norton and Gere.  His phone must be ringing with offers. Already we can expect to see him in Woody Allen and Milos Forman movies.
Norton steals the show, but Richard Gere is quite good doing his specialty, the man you cannot warm up to. His career is a puzzle. He's had some triumphs, like "Days of Heaven," "An Officer and a Gentleman," and many duds, like "Breathless" and "King David." Later two good films went unnoticed: "Miles from Home" by Richard Pearce (("A Family Thing"),and the flawed, nasty but effective "Internal Affairs" by Mike Figgis ("Leaving La Vegas").
The hit "Pretty Woman" was Gere's box-office comeback. Yet after it, Akira Kurosawa's excellent "Rhapsody in August" played only briefly in art houses and was under-appreciated. So was Gere's against-type sensitive performance as a Japanese-American. Five failures or mediocrities followed, the last one being "First Knight."
Now "Primal Fear" (an irrelevant, forgettable title), does a repair job on the Gere image. It also boosts the talented Andre Braugher of TV's "Homicide" fame.(He was still an unknown when Hoblit directed him in the Spielberg-produced 1993 pilot "Class of '61"). As the investigator who works for Vail, he has some good moments and one wonderful short scene testifying on the stand with ironic answers.
The movie is essentially old wine in new bottles, even though the product placement is not for wine but for Bud Light beer. Still, it is helped by surprises and revelations, a peculiar Jekyll and Hyde reprise, Oscar-winning ("Raging Bull") cinematographer Chapman, designer Oppewall, and an unobtrusive score. As courtroom drama, it breaks no new ground, but as momentary entertainment it is OK.
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


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100 Peoplein the World: Continents
The population of the world is one of the most interesting data that can be used for analysis. The varied demographics, along with a plethora of metrics and indicators available to analyze every aspect of the numbers present, the dataset opens several avenues to explore and investigate.
With the visualizations that are presented underneath, I am trying to understand if all the statistics used for the study were scaled down to 100. The World, as we know, has 7.56 billion people now, spread over 6 continents (since Antarctica is not permanently resided as a domicile). My attempt here, is to think that the 7.56 billion is scaled down to 100 and the visualization is done on this set of 100 people. It is no surprise that Asia is the major contributor to the world population, being home to two of the largest populous countries, China and India. China has a recorded population of 1.388 billion, while India documented 1.34 billion during its last census. Owing to a variety of landscapes, ranging from the cold deserts of Russia, the snowy Himalayas, the fertile lands along the coastline of the Ganges in India and Yarlung Tsangpo in China to the deserts of Mongolia and the Middle East, Asia houses a massive 59% of the world population at the moment. Africa takes the second place with a contribution of 16 out of 100. The reasons for the vast disproportion between the size of the continent and the population could be many, but namely it is migration and lack of immunity in the people of the continent due to lack of availability of medical resources. Having remained undiscovered for a major portion of the global history, the Garden of Eden is often an epicenter for deadly epidemics, leading it to remain underdeveloped and in general, having a low life expectancy among its inhabitants. Europe and South America have similar numbers, with 10 and 9 people out of 100, while North America, consisting majorly of United States of America, Mexico, Canada and the Latin American nations, contributes with 5 people out of 100. The Australian continent is the least populous continent on the globe with just 1 out of 100 people coming out of the continent. As compared to the 1950s and the 1960s, Australia has seen a significant growth from 0.54 to 1, a rise of almost 100% over 5 decades.
Global Indicators of Population
The indicators that often define a country are its key demographics. Here, I have considered the entire globe as one and if 100 people were present in the world, what their age groups would be, along with their nutrition levels, the religion they follow, and the language they speak.
The working age population of the world, i.e., the ages with 15 and 64 form the lion’s share in the age hierarchy of the globe, with as many as 66 people falling under this category. There are about 9 people who are aged 65 and above and there will be approximately 25 children in a world filled with 100 people. It is a good sign that the ages 15-64 form most of the world population at the moment, indicating that there has been a substantial growth in the longevity of life over the past century where the children formed the majority. As many as 31% of the World’s population follows Christianity as their primary religion. Islam takes the second spot with 23 people practicing the religion in a group of 100 people. 16 out of 100 people either do not follow any religion or do not believe in God while 15 people practice Hinduism. There are 7 Buddhists in the world and about 8 people follow religions apart from the ones mentioned here. Nutrition, the basic need for survival, has seen a growth over the past decades and currently 63 people in a world of 100 people get adequate nutrition. 21 out of the 100 seemed to overweight while 15 of them undernourished. It is a good indicator that just 1 out of every 100 is starving as compared to the 2.5 in the 1980s, it is certainly a matter of concern owing to the numbers when the numbers are scaled to their original values. Thanks to being the most populous country in the world, Chinese (Mandarin) is the widely spoken individual language with 12 speakers as their first language out of 100. Spanish, having its influence, not only in Spain but also a majority of the Latin, Central and Southern American nations, has 6 native speakers in every 100. English stands third with 5 people. Hindi and Arabic have 3 native speakers while there are hundreds of languages spread over a vast population of 60% of the world.
Urban Population in each country with 100 people
The following Treemap depicts the number of people out of 100 in each country, residing in their urban regions.
It is observed that Europe has the highest number of countries where more than 50 out of 100 people in the country reside in the urban region. The compelling reason for this could be the smaller sizes of the countries, where is some cases such as the Vatican City, Luxemburg, and Monaco, the entire city is defined as one country. The industrial revolution has helped the European countries to have incorporate an urban lifestyle and the development that followed has been an excellent catalyst.
Birth Rate Per Country with 100 people
The following global maps depict the two indicators that have been under check for a very long time are birth rates and death rates. These maps show the number of births and deaths that happen in a year for 100 people of the country in the year 2019. While the global average stands at 1.8 per 100, some countries have as high as 4 and as low as 0.6.
Death Rate per Country with 100 people
Similarly, the global death rate is 0.77 per 100 but there are countries varying from 0.2 to 1.6. There are a multitude of reasons for such discrepancies and the governments across the world have been working on providing efficient solutions on either side of the scale.


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Query and statement processing goes through a number of stages. When a statement is first created it is effectively a builder object which you use to configure what you want it to do. You can add customizers, result mappers, define properties on its statement context, bind arguments, and so on. It stays pretty much the same, modulo what you set, until the statement is executed. When the statement is executed the fun starts.
The first thing the statement does is lookup the actual SQL to use from the StatementLocator
. This
class receives the string used to create the statement and returns another String, possibly the same. The
default implementation returns the same string if it lokos like SQL, otherwise looks for it on the classpath,
you can see the javadocs for
ClasspathStatementLocator
for the exact details. You can plug your own in on the DBI if you want different lookup rules. The
StringTemplateStatementLocator
is another bundled statement locator which supports some dynamic sql generation, for example.
After the bas SQL string has been located it is passed to a StatementRewriter
. The rewriter
is used to do final manipulation. The default one, for instance, converts :foo
tokens into
?
to support named parameters. See
ColonPrefixNamedParamStatementRewriter
for more information.
Next, the rewritten SQL is passed to a StatementBuilder
which converts the sql to a JDBC
PreparedStatement
. The default implementation creates a new prepared statement every time, but
there is also an incuded implementation which will cache prepared statements on a given handle.
The last step before execution is to invoke any statement customizers which have been applied to the statement.
This includes things like the OracleReturning
functionality, as well as custom ones.
Post execution, query customizers are run again (post-execution callback).
After customizers run, a query has its result set passed through the specified mapper, either eagerly in the case of
list()
or lazily in the case of iterate()
, whereas a DML statement just returns the
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Granit Xhaka facing January sale as Unai Emery snubs his hopes of Arsenal recall
Arsenal could look to sell Granit Xhaka in the January transfer window after his outburst at fans saw him stripped of the captaincy
by Rich Jones, https://www.mirror.co.uk/authors/rich-jones/Arsenal could look to offload Granit Xhaka in January after manager Unai Emery refused to say if he will ever play for the club again.
Xhaka has been stripped of the captaincy by Emery and replaced by Pierre-Emerick Aubameyang after his outburst at fans following his substitution against Crystal Palace .
The Swiss international has not featured since that incident on October 27 and has not travelled to Portugal for their clash with Vitoria in the Europa League on Wednesday.
It is understood Xhaka had hoped for a recall but Emery has snubbed the midfielder and opted to draw a line under the issue.
His response has led to serious questions over his future at the club - fuelled further when Emery refused to confirm if he will play for the club again as they consider offloading him in January.
Asked if Xhaka will play for Arsenal again, Emery said: "The future is Arsenal’s future. We have a very important match on Saturday.
“We need to take some decisions... My focus is for tomorrow.
“He is our player, we want to respect him."
Pressed further on whether the decision is permanent, he was tight-lipped on Xhaka's future at the club, stating: "We’re speaking a lot about that. It’s clear. There’s no more words about that.
“I told him and told the other captains. Then the time is giving us the next weeks and months, how we can continue with every player.”
Aubameyang, already part of the leadership group established by a dressing room vote which initially handed Xhaka the armband, has taken over the captaincy.
But the Gabonese striker is not part of the squad in Guimaraes, with Hector Bellerin expected to lead the side in his absence.


| Package | Description |
|---|---|
| org.powertac.common |
Power TAC domain types, shared between simulation server and brokers.
|
| org.powertac.common.repo |
Repositories that need to exist in both the Power TAC simulation server
and in brokers.
|
| Modifier and Type | Method and Description |
|---|---|
Tariff |
Tariff.getIsSupersededBy() |
| Modifier and Type | Method and Description |
|---|---|
double |
TariffEvaluationHelper.estimateCost(Tariff tariff,
double[] usage)
Returns aggregate estimated cost, including periodic charges,
starting in the next timeslot.
|
double |
TariffEvaluationHelper.estimateCost(Tariff tariff,
double[] usage,
boolean includePeriodicCharge)
Estimate cost for a profile starting in the next timeslot
|
double |
TariffEvaluationHelper.estimateCost(Tariff tariff,
double[] usage,
org.joda.time.Instant start)
Returns aggregate estimated cost, including periodic charges
|
double |
TariffEvaluationHelper.estimateCost(Tariff tariff,
double[] usage,
org.joda.time.Instant start,
boolean includePeriodicCharge)
Estimate the total cost of buying the given amounts of power
from the given tariff, starting in the timeslot identified by startIndex.
|
double[] |
TariffEvaluationHelper.estimateCostArray(Tariff tariff,
double[] usage)
Returns a cost estimate in array form, including periodic charges.
|
double[] |
TariffEvaluationHelper.estimateCostArray(Tariff tariff,
double[] usage,
boolean includePeriodicCharge)
Returns the cost estimate in the form of an array of the same shape
as the usage vector.
|
| Modifier and Type | Method and Description |
|---|---|
Tariff |
TariffRepo.findTariffById(long id) |
Tariff |
TariffRepo.getDefaultTariff(PowerType type) |
| Modifier and Type | Method and Description |
|---|---|
List<Tariff> |
TariffRepo.findActiveTariffs(PowerType type)
Returns the list of active tariffs that exactly match the given
PowerType.
|
List<Tariff> |
TariffRepo.findAllActiveTariffs(PowerType type)
Returns the list of active tariffs that can be used by a customer
of the given PowerType, including those that are more generic than
the specific type.
|
List<Tariff> |
TariffRepo.findAllTariffs() |
List<Tariff> |
TariffRepo.findRecentActiveTariffs(int n,
PowerType type)
Returns the n most "recent" active tariffs from each broker
that can be used by a customer with the given powerType.
|
List<Tariff> |
TariffRepo.findTariffsByBroker(Broker broker) |
List<Tariff> |
TariffRepo.findTariffsByState(Tariff.State state) |
| Modifier and Type | Method and Description |
|---|---|
void |
TariffRepo.addTariff(Tariff tariff) |
void |
TariffRepo.deleteTariff(Tariff tariff)
Deletes a tariff and its specification from the repo, without tracking.
|
void |
TariffRepo.removeTariff(Tariff tariff)
Removes a tariff and its specification from the repo.
|
Copyright © 2019 Power TAC. All rights reserved.


--- layout: default --- {% assign location_happenings = site.promos | where: "target_audience", page.name | sort: "published_at" | reverse %} {% if page.featured_section.size > 0 %}
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Trade aimless scrolling for meaningful content, exercises designed to help you de-stress, and challenges that guarantee growth.
We’re Here For You
We have someone waiting to talk to you. His name is DaManuel, and he’s super nice. Ask him a question, hit him up for prayer, or tell him what’s weighing you down. He may not have all the answers, but he has a direct line to our whole support team and can connect you with someone who can help.
About
Following Jesus is not a list of dos and don’ts. It’s an invitation to a spiritual adventure that’s way bigger than Sunday mornings.
We just keep asking: what if the people who followed Jesus actually looked like Him?
What if we were the most loving people on earth? What if we moved in His power? What if we had fun and were inclusive like He was? What if we brought justice like He did? That’s what we’re after, and we’d love for you to join us—whoever you are, wherever you are.
New Here?
We want the kind of church that goes way beyond the walls of a building and shows up IRL. We meet in-person and online, in homes, coffee shops, breweries, in our app—anywhere that people are connecting to follow Jesus together.
We’re not a content channel or Christian influencers. We’re regular humans with our own problems who found real freedom in Jesus. And we will do anything short of sin to help others do the same.
No matter where you live, you can join us. No matter what you believe, you’re welcome.
Take the Wayfinder
Not sure where you are with God or how to get started? Take the Wayfinder—a quiz to identify where you are spiritually and how to get moving again.
Grow with us
We believe there’s a path to the full life Jesus promises. Practices He modeled that we’re all trying to follow together. Join us in time-tested, data-proven practices to grow your faith and actually get some breakthrough.
Community pastor
DaManuel Montgomery
D-Man is our Connections Manager. If you have a question about Crossroads, want to meet people, or are just trying to find your way around, he can help! Or even bigger things like finding your purpose and seeing where you can change the world. He just graduated with a degree in Human Development and Community Engagement, and he’s one of the kindest guys you’ll ever meet. (He’s also single, ladies. Just sayin.’)
Abby Rasmussen
Abby leads Anywhere Kids + Families. She’s a licensed counselor, working mom of two, and guaranteed to not only diligently solve your question but make you laugh and feel more capable while she does. Talk to her about kid questions, God questions, parenting, trying to parent your kids through God questions, and getting resources to lead a family you freaking love.
Sam Hill
Sam leads Connections and Care. She’s building a team all over the country to make sure you have amazing Crossroads Anywhere reps near you—or at least in your time zone, to start. She’s the perfect person to call when you have a crisis or just feel stuck. Reach out to her to find people near you, become a regional leader, or for help in whatever you’re going through.
Sean Boyce
Sean leads mentoring and communities. Who couldn’t use a good mentor in your life or some better people around? He has the gift of friendship and is passionate about relationships that matter. Reach out to him for help finding a mentor, building community near you, dealing with FOMO, and discussing all things NBA-related.
Kristen Zoeckler
Kristen is the glue that holds us all together. She’s an expert community leader, mentor, experience creator, intentional parent, and more. Reach out to her if you want someone to pray with you or have a question about Crossroads.
Nick Snider
Nick runs cohorts, co-leads the Better Answer podcast with Kyle, and is always working on new stuff for 20-somethings. Reach out to him to get connected to other 20-somethings, navigate community and God in real life, and how to find good coffee.
Kelley Maher
Kelley leads prayer and healing. She creates spaces where we can experience Jesus’ power—no matter what we’re going through. Find freedom and hope by reaching out for zero judgment—just a friend who’s probably been there too and is now on the other side. We have groups for addiction, abortion, abuse, crisis, and more.
Brad Fahrenkamp
Brad leads our prophetic prayer ministry and supernatural skills training. (Crazy, right? If by crazy, you mean really cool and intriguing.) He left his financial business to teach others to hear from God. Reach out to him about learning to hear God, spiritual warfare, activating the power of prayer in your life, and prophecy (the skill of hearing God for others.)
Rachel Reider
Rachel leads community and spiritual growth. She’s over the idea that church is about making us nicer people, and she’s (appropriately) obsessed with helping people fully become who God made them to be. Reach out to her if you’re burnt out on church, deconstructing, want to activate your gifts, feel stuck spiritually, or want to know more about becoming an apprentice of Jesus (that not only changes your life but the lives of everyone around you.)
Eugene McDade
If you’re curious about Crossroads but not ready to dive in, or your schedule is tight, talk to Eugene. He runs all sorts of short, easy, one-time experiences that help you test the waters and jumpstart your spiritual growth like Camps, Rooted, Alpha, trips, serving, and more. You can also drop into his ongoing group to get connected anytime. If you really want to get to know him (and enter a lively debate), ask him about Waffle House.
 If that sounds interesting to you, then you’re in the right place. Create a profile to access spiritual training, life-changing experiences, and connections with others on this journey.


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Core components: Model, View, Collection, Router. Enforces its own flavor of MV*
Good documentation, with more improvements on the way
Used by large companies such as SoundCloud and Foursquare to build non-trivial applications
Event-driven communication between views and models. As we’ll see, it’s relatively straight-forward to add event listeners to any attribute in a model, giving developers fine-grained control over what changes in the view
Supports data bindings through manual events or a separate Key-value observing (KVO) library
Great support for RESTful interfaces out of the box, so models can be easily tied to a backend
Extensive eventing system. It’s trivial to add support for pub/sub in Backbone
Prototypes are instantiated with the new
keyword, which some developers prefer
Agnostic about templating frameworks, however Underscore’s micro-templating is available by default. Backbone works well with libraries like Handlebars
Doesn’t support deeply nested models, though there are Backbone plugins such as this which can help
Clear and flexible conventions for structuring applications. Backbone doesn’t force usage of all of its components and can work with only those needed.


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