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YouTube Premium and Music get student pricing discounts in 14 new regions
Source: Joe Maring / Android Central
What you need to know
- Student discounts for YouTube Premium and Music have expanded to 14 new markets.
- Most of the new regions include areas in the Middle East and Asia which were recently added to YouTube Premium and Music.
- With the discount, students can save nearly half-off on a subscription.
Discounted student pricing is a fantastic way to help out hard-working students who are often cash strapped to begin with. It's also a great way to get students hooked on your service early and keep them in your ecosystem long after they graduate.
Many streaming services offer such discounted student plans, including YouTube Premium and Music which is now expanding it to 14 new regions.
- Bahrain
- Hong Kong
- Indonesia
- Kuwait
- Lebanon
- Malaysia
- Oman
- Philippines
- Qatar
- Saudi Arabia
- Singapore
- Taiwan
- Thailand
- United Arab Emirates
Included in the list are most of the Middle Eastern and Asian markets where YouTube Premium and Music were recently introduced. One of the standouts is Indonesia, which is the fourth most populated country in the world placing it right behind the U.S. which comes in third.
After this expansion, that makes 65 regions where students can now get a discount on YouTube Premium and Music out of the 78 total markets where it is available. Who knows what the hold up is with the remaining 13, but hopefully they're next on the list.
As a quick reminder, Youtube Premium and Music give you access to ad-free videos or music, background play, and offline playback of music or YouTube videos. If you happen to be in one of the supported regions, make sure to check out the student pages for YouTube Premium and YouTube Music to sign up to half-off on your subscription.
 You can also download videos for offline playback or play videos in the background.


Claire Stolp
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GOODFELLAS [Spoilers] A film review by John Locke Copyright 1995 John Locke
The boldness--the effrontery--of GOODFELLAS' opening scene, the non sequitur of disturbing brutality and cheery music, assaults our conventional expectations of criminals and murder. More subtly, the opening lays out the design of the film; it's a paradigm of the film's method.
Three men--Henry (Ray Liotta), Tommy (Joe Pesci), and Jimmy (Robert DeNiro)--are driving along a dark highway. They hear a thumping and pull over to investigate. The noise is coming from the car's trunk.  Tommy pulls a butcher knife from inside his coat and savages the defenseless victim. Jimmy empties his pistol into the body. As Henry closes the trunk, his voice-over narration breaks in. The frame freezes on his expression, a look of troubled, yet guarded, astonishment. But the narration offers a different sentiment: "As far back as I can remember, I always wanted to be a gangster." To complete the contradiction, the music kicks up, a brassy number with Tony Bennett optimistically singing of going from "Rags to Riches." (1)
The unexpected explosion of violence is characteristic of director Martin Scorsese; the key to understanding GOODFELLAS, though, is in what follows--Henry's expression, the narration, and the music.
Techniques ==========
When the action freezes on Henry's face, the scene has been grounded in the point of view (POV) of the film's central character. The scene switches from the director's omniscience to a representation of Henry's experience. Above all, GOODFELLAS is concerned with the POV of its characters and not with any reciprocal views from the world outside of them. If the method of the film is consistent, then the film becomes the POV of its characters, and not the director's or the screenwriters' (2).
Narrative POV -------------
Scorsese employs a battery of techniques in seeking this consistency. Foremost (and most apparent) is the narration which sets the film up as a story told in the first person. Primarily, it will be Henry's story and he levels with us as if we were trusted associates. (3) He is generous with insights about himself and the mob world. Because his story is restricted to his POV, his narrative speculations become an important source for understanding events for which he is not an eyewitness, like the Lufthansa robbery and its aftermath. The design of the film does not allow Henry to be abandoned in order to reveal plots going on behind his back.
The introduction of Karen (Lorraine Bracco), Henry's future wife, to the story adds a second narrative voice, which allows us to see aspects of the gang life that are exclusively female, like the hostess party in which the wives discuss their husbands. Karen narrates those scenes on her own, narrates other scenes in which Henry is present, like their wedding, and in one case talks over a scene that features Henry but not her--a nice economy allowing the story to move forward on twin tracks. (This points to an interesting side benefit of narration. The story can move forward while the on-screen action fills in background detail. Consider the prison scene where the new convicts--Henry, Paulie (Paul Sorvino), et al.--cook up a fine Italian dinner. Overlaid on this seemingly abnormal portrait of prison life, Henry's narrative provides a general explanation of wiseguy privilege. The strength of this scene is suggested by alternative ways of handling it without narration: the narration is simply deleted and the essential lack of action bogs down the pace of the story; the wiseguys unnaturally--since they take it for granted--explain their status to each other; or pace is maintained by turning the wiseguys into wisecrackers, something they're not.)
Visual POV ----------
The narrative takes us inside the speaker's mind, but it remains for the camera to show us what they see. This entails risk for the director--if the shot selections are repetitious, or the techniques otherwise too obvious, the film's spell may be broken. (4) Scorsese avoids monotony by tailoring his techniques to the needs of each scene--the film is buoyed by the frequent introduction of fresh ideas but it rarely feels experimental or overly controlled.
Scorsese telegraphs the film's concern with vision (and, through it, POV) in the beginning. The first shot following the credits (the opening described above precedes them) is a close-up side view of the adolescent Henry's face, revealing an angular reflection on the surface of his eye. The second shot pans across a street scene. The next two shots--Henry seen from opposite sides of the window he gazes through--clarify the linkage implicit between the first two. The reflection on the eye is the window; the street scene is what Henry sees through it. The camera's aim then returns to the outside, focusing now on the cabstand across the street, a front for the neighborhood wiseguys; its significance as the object of Henry's intense interest having been demonstrated.
Usually the camera--objectively--remains outside the characters, but grounds the scene by periodically moving in to identify a single character's POV. Much of the poker party scene, early in the movie, is a single shot that picks up young Henry making a sandwich at the cold cut table and follows him through the room. With crowded poker tables between him and the camera, he becomes lost from view. The camera picks up Paulie standing elevated on one side of the room. It lingers on his face and then continues toward the door, arriving at the right moment to see Jimmy's jubilant entrance and the swarm of glad-handers it attracts. This closes the continuous shot. The camera suddenly cuts back to Henry, rapt with wonder by Jimmy's magnetism. In a few moments, the scene has managed to deliver three unique perspectives: Paulie, the gang boss, surveying his empire from on high; Jimmy, the young success, accorded respect fit a returning war hero; and especially Henry whose "before" shot shows him paying his dues to his elders, and whose "after" finds him dreaming of the rewards his work will one day earn.
In other ways the camera is more direct in identifying a POV. It may peer over a shoulder to see what the character sees, providing an unobtrusive transition from an objective stance. Or the camera may actually substitute for the eyes of the character to create an absolute identification. In those cases, the advantage of momentarily gaining the character's sight, ideally, compensates for the potential jar resulting from the literal disappearance of the character from the scene. When Karen visits Henry in prison, the camera becomes her eyes as she signs the registry. The focus skids from line to line across the open pages to zero in on the signature of Henry's mistress, a recent visitor. Now Karen's surrogate, we find our pulse quickening with hers as suspicion is aroused and then confirmed.
A more dramatic example occurs at the end of the scene in which Tommy is to be inaugurated a "made man." We sense his anticipation as he leaves home in the back of a limousine for this formal affair. We share the anticipation of Henry and Jimmy as they await the good news. We see the door that Tommy will enter. We see the doorway from the other side, ostensibly from the POV of his benefactors, as Tommy enters the room and smiles. The shot quickly switches to show what Tommy sees, an empty room, and as he utters his last words, we realize the true nature of the ceremony with the shock and dismay that he does.
On a few occasions, the camera switches back and forth between what two characters see, such as when Henry meets Karen's mother. The quick juxtaposition of the two facing off across the threshold of the front door seems to strip bare a confrontation--each threatens the other's notion of Karen's best interest, but neither can say so. Another scene opens to the sight of Karen aiming a pistol toward the audience. When the camera switches to her POV, it is Henry we see and she is straddling his torso pointing the gun in his face. When the scene opens, we are placed in Henry's position, not only in seeing what he sees but in sharing his confused awakening to a strange situation. The camera toggles between them, building tension, before being withdrawn to the edges of the room to let the scene play out. A less formal application is the scene in which Tommy kills Stacks, the lethargic truck driver. We first see the quick, businesslike murder from Tommy's POV. Tommy walks behind Stacks, who is putting on his shoes, and while casually conversing shoots him through the head. After the scene winds down the murder is replayed in slow motion from Stacks' side. Stacks does not see what's coming, of course, but the switch in angle reveals Tommy's blank expression and the full horror of his dispassionate brutality.
GOODFELLAS features a pair of set-piece tracking shots, lengthy sequences in which the camera is completely surrendered to a unique POV. The first is a serpentine glide through the Bamboo Club. The camera substitutes for a character's vision--presumably Henry's, since he narrates the scene, but at first we are not actually shown who it is. A number of the customers turn to greet the character/camera as Henry names them off, giving us the insider's tour of a gangster enclave. The shot proceeds into the kitchen where Henry emerges into the frame as the POV. Contrasted with the grounding technique used elsewhere, the disembodied portion of the shot, where no visual identification with the POV is established, is mildly unsettling. Perhaps that portion of the shot is not intended to be taken literally--it's a device for illustrating the gang's milieu rather than a scene from the story. (5)
The second great tracking shot is roughly symmetrical to the first. Rather than moving from the inside of a club outward, it reverses the direction, documenting a journey from the street, through the back door of the Copacabana, through the circuitous underworld of the kitchen, and into the club. This time, though, the camera hovers behind its subjects, Henry and Karen, looking over their shoulders, seeing what they see and at the same time allowing observation of their reactions; the shot merges their POVs as walking side by side "merges" them as a romantic pair. She and Henry have just started dating and this is Henry's way of impressing her. She gets the insider's tour--the premeditated POV--we received in the other shot. This scene is quite a bit longer, though, clocking at over three minutes. The very length of the walk is itself impressive and our excitement builds with Karen's as Henry shakes hands with the help they meet along the way, liberally hands out tips, and garners the best table in the house for Henny Youngman's floor show, his familiarity with the Copacabana staff proving him the ultimate insider. (As long as this scene lasts, the soundtrack for it is even longer, extending into the next scene. As Henny Youngman's monologue continues, the thieves are shown at work in the airport demonstrating the true foundation of Henry's success, a counterpoint to the invented explanation he has just given Karen and a reminder that we have greater access to Henry's POV than Karen does.)
Restrictions of POV -------------------
Telling the story through POVs shapes the way the story will be presented; it also delimits the story's scope. If the film is to be utterly consistent in its approach, we will see nothing that our selected few characters can't see, we will know nothing they can't know, what is a mystery to them must remain a cause for speculation to us. In some respects, this may disappoint the audience--tantalizing questions go unanswered. However, the ultimate effect of conveying POV is to bring the audience as close as possible to the experience of the character; and not to engender feelings in the audience that the character can't have, as, for example, in a suspense film where the audience is aware of dangers unbeknown to the people on the screen. (6) In GOODFELLAS, the luxury of being places our characters aren't, of possibly hearing secret plans made against them, is not permitted. Consider the scene, late in the film, in which Karen visits Jimmy's warehouse to ask for money. It comes at a point in their acquaintance when mutual trust has been eroded by too much mutual insight. At the end of the meeting Jimmy urges the reluctant Karen to take some stolen Dior dresses from his office down the street. He directs her along the sidewalk and she seems afraid, uncertain whether his insistence is something other than generosity. Looking through the store front she sees shadowy figures, then suddenly shouts excuses to Jimmy, and screeches away in her car. What would have happened inside the office? (After all, the scene builds up to that question.) Karen's panic prevents her from finding out, so we can't, either. The scene links us with her discomfort, not her surroundings. Her paranoia is the point.
Tommy's execution leaves more serious questions unanswered: Why is he whacked? Who made the decision? GOODFELLAS bears no loyalty to the murder mystery's injunction that loose ends will be tied up by the end of the tale. Henry's narrative insight into mob politics draws the line between the known and the unknowable. He speculates that Tommy was killed for the Billy Batts murder and "a lot of other things." If killing Batts had been enough, Tommy would have gotten it years earlier. If a precise accounting of the "other things" and the timing of the murder remain open questions in Henry's mind, then they must in ours. Conveying his perspective, even when it includes his ignorance, takes precedence over filling in historical details.
(At some peril, one can occasionally venture into the area of what a story omits, a question with an unbounded answer. For example, Tommy's death leaves certain issues unresolved, such as the effect his disappearance has on his mother, a person whose affection for him has been established. After Tommy is whacked she never reappears in the story. We do not learn, through her, what obligations of friendship Jimmy or Henry may have felt toward tying up the loose ends of Tommy's life. However, the absence of evidence allows us to infer--with no reliability--they felt none.)
The Apogee of Style -------------------
GOODFELLAS reaches the apogee of its style in the depiction of Henry's manic bender on the day of the fateful bust that ends his career in the Mafia. We are tipped off to the significance of the upcoming sequence when the screen goes blank, labeled with day, date and time, down to the odd minute. With the story having spanned three decades, adroitly eclipsing years at a time, the finicky precision sets the tempo for accelerated action, motivated by the acceleration in Henry's mind as he attempts to keep pace with an unceasing series of minor problems. He must deliver guns to Jimmy, hide the guns after Jimmy rejects them, retrieve the guns, pick up his brother from the hospital, score drugs, deliver drugs, appease his mistress, shop for dinner, prepare dinner, eat dinner. And on and on. All the while, he boosts himself with cocaine and cigarettes, then smooths out the jags with Valium. He drives recklessly from place to place, squealing the tires around every corner, barely avoiding an accident at one point. It's excitement on an achingly personal scale.
His narration coolly recollects the day but within the sequence his dialogue speaks a feverish anxiety over the mounting details and an obsession with the question of paranoia--who is and who isn't imagining the dangers threatened by the potentially tapped phone and a mysterious helicopter that keeps appearing above him in traffic.  Henry's brain is on overload about to blow and Scorsese enhances the scene with a variety of techniques to put us in a similar state: rapid camera movements, quick cuts, and bursts of fast music that accentuate Henry's moods and drug-peaked moments. The camera moves around every room, from person to person, to phone, to door. It overloads the screen with the details on Henry's mind, like the panning shots across the kitchen counter that show the sloppy array of dinner ingredients; it zooms in and out on the helicopter, it rushes up to Henry's face as he snorts coke; it zeros in on every action, Henry's foot on the brake, his hand with a gun, holding a pill, his nose on a mirror. The camera seldom stays still and the exhilaration of the scene is incredible--a non-toxic amphetamine rush. Putting us into Henry's head on this day generates vertiginous thrills, like a camera strapped to the nose of a roller coaster. (Henry's, and the scene's, catharsis comes when a quest for a lucky hat collides with the bust and Henry's choices are no longer his own. But as if Henry's state wasn't enough, the scene gets a second wind from Karen who runs around the house getting rid of drugs and a gun while the cops pound on the door.)
Issues ======
The decision to bind the story to specific POVs imposes an additional structure, indeed, a discipline, on GOODFELLAS beyond the chronological recounting of lives and events. The story is channeled through the experiences of its characters, bringing their thoughts and feelings to life on the screen, offering their lives to be felt as well as witnessed. This lends the film a kind of pure subjectivity, in the sense that it portrays Henry's side of the story, in its unabashed candor, and not Scorsese's spin on it. The film conveys a sense of unsanitized honesty, unfettered by editorial intrusion--and so it is for the most part. But Scorsese's detachment is not as complete as it might first appear. There are ways in which his attitude toward the subject shapes the tone of the film.
The Soundtrack --------------
An area which gives the director wide editorial latitude is the musical soundtrack and in GOODFELLAS music serves a variety of purposes. But let us begin by conceding that music is something of an institution in film. We have been conditioned to expect its presence and are likely to be aware of its absence. But music can be an alien presence, adding a dimension to the action that stands at cross-purposes to the self-conscious realism of a film like GOODFELLAS. If a movie is a window onto another world, then the musical soundtrack is on the audience's side of the window. On the other side of the window, life's true soundtrack is composed by nature or human activity (of which music forms some part). When Henry careens toward a rear-end collision in traffic and the soundtrack blasts the frenetic drumbeat of "Magic Bus," we're not hearing something that is actually part of the scene, but rather a stylized interpretation of Henry's state of mind--his inarticulated POV, perhaps. Let us also concede, finally, that we walk on thin ice in challenging such a universally entertaining aspect of film as music. Other techniques in GOODFELLAS employ artifice--freeze frames, for instance, and slow motion--though these tend to be illuminating distortions rather than additions of content. But the use of music is of particular interest here because the impetus of the film--without sacrificing drama--is toward a high degree of realism.
Obviously, music helps in setting the mood for a scene, or reinforcing a mood otherwise indicated. When Jimmy sits at a bar and contemplates whacking Morrie, his face slowly contorts, he anxiously moves a cigarette in and out of his mouth, and the urgent rock of "Sunshine of Your Love" amplify what Henry describes as Jimmy's mind "going in eight directions at once."
This effect is in marked contrast to the upbeat music that ends the opening scene (Batts in the trunk refusing to die quietly) which, rather than reinforcing the grim mood of the scene, completely contradicts it. In the opening, we are rudely thrown off-balance and alerted to the film's disturbing revelation that in the gang world crime, violence, and even murder, is not necessarily tragic to its participants; it is usually banal and, to the wiseguy, potentially amusing. Other disconcerting moods are set in the scene in which Batts is battered to the tune of Donovan's "Atlantis," and in the sequence wherein the corpses of the Lufthansa accomplices are discovered to the piano section of "Layla." In both instances, the violent debasement of the human body is counterpointed with fairly calm melodies. These scenes make a memorable impression by voiding film violence cliches and creating novel sensations.
As widely noted, GOODFELLAS offers a flip side to the "Godfather" saga. "The Godfather" revolves around the power struggles among the mob's ruling elites--political warfare. Most of the crimes in the series are assassinations and high-level conspiracies. GOODFELLAS explores the plebeian turf, portraying the life of the street hood, the stick-up artist, the guy that hustles the wealth the mob's influence depends upon. The differences are indicative of the caste system separating the officers from the foot soldiers, and the soundtracks for the two movies reinforce the social disparities. The Godfather features a gentle, even proper, score; Nino Rota's lovely Sicilian pastorales honoring the royal blood lineage of the "dapper dons." GOODFELLAS employs the street sound of rock `n' roll: angry young man music, jukebox music, top-forty dating music--American music, at its roots, because with the exception of Tommy our characters lack a full Sicilian birthright. These wiseguys spend no time dreaming of a higher social status that is automatically closed off to them; their status is derived from an association with the elite that manifests itself as first class service and front row seats. They affirm their worth in bars and nightclubs, the music that plays there forms the self-chosen soundtrack of their lives. (7)
Cracks in the Edifice ---------------------
As thus far discussed, the soundtrack supports the development of the story--Henry's story--and its themes. Scorsese places the choices of music, as he does other details, in the service of the film's grand plan. But not exclusively. There are moments in the film, a number of them musical, when Scorsese drops reminders of his presence. Except for the most observant, they are subtle enough to escape notice on an initial screening of the film. In that respect, they form mere hairline cracks in the edifice.
The first examples are jokes that require connecting a few lyrics of the accompanying song with the on-screen action, something we're not apt to do automatically, especially when the music submissively bops along in the background. For instance, when complications arise from Billy Batts' disappearance, we hear, "Whatever happened to/that boy that I once knew?" As the wiseguys dig him up in the dark, the song continues, "Walking in the sand/the night was so exciting...," while Henry retches from the smell. Over the prison cooking scene, Bobby Darin sings, "Somewhere, across the sea...," to underscore that incarceration, for wiseguys, may be more of a forced vacation than a punishment. In another instance, the humor is neatly integrated into the film's method. We see a baby lowered onto a blanket from the POV of whomever is holding it. The opening lyrics of the Rolling Stones' "Monkey Man" start up: "I'm a flea-bit peanut monkey/all my friends are junkies." Then the camera switches to the baby's POV. We see the smiling faces of Henry and Karen, who have become cocaine dealers and users, and Lois, the family baby-sitter/drug courier. (8)
Scorsese steps in for another, albeit non-musical, jest during the Batts exhumation. Henry explains the dilemma in greater detail: Batts was a made man for the Gambino organization and therefore "untouchable" by wiseguys from other mobs. We then take a short flashback to the fateful night in Henry's bar. The camera takes Batts' POV on the floor to show Jimmy's knee rising for another stomp to the midsection, and Henry trying to restrain Tommy from doing likewise. Untouchable, indeed.
The Comedy of GOODFELLAS --------------------------
These subtle jokes impinge on a basic question: In what sense is GOODFELLAS a comedy? Tommy, in his classic scene, asks the same when he demands of Henry, "How am I funny? In what way am I funny?" The question is profoundly deeper than Tommy realizes, for his tale of hostility and violence invokes unbridled laughter from the wiseguy audience. But his sudden inexplicable aggravation instantly alters the mood of the gathering from love of violence to fear of violence.
The scene heats the film's volatile brew of violence and humor to a boil. (9) With violence always a possibility, tension mounts--in the film's audience as well as in Tommy's--from not knowing which way the action will break. At Henry's expense, Tommy exploits the ambiguity for a laugh. In the process he unwittingly exposes the fragility of trust between even close friends in the mob. Henry can't tell whether Tommy is about to harm him! It's a social consequence of consorting outside the law. What qualifies one for deceit disqualifies one for trust. At the end of his career, Henry carries the logic through: "Your murderers come with smiles."
Thus are the lives of the wiseguys absurd, backward, dark mirrors of the norm. Rules are inverted, outrages accommodated. A breech of manners tempts death. Loyalty turns on a dime. And on this unstable platform comedy makes its stand. Their lives are so eccentric that comic complications arise naturally. Paulie fears wiretaps, so overfed stooges trot through the rain to conduct his business from phone booths. Henry pinches his nose while hosing the stench of a rotting corpse from his trunk. After warning the participants in the Lufthansa theft not to spend their cuts ostentatiously, Jimmy is dismayed when Johnny Roastbeef shows up in a new Cadillac with a new wife wearing a new fur. As Johnny dumbfoundedly pleads his innocence--"but it's a wedding gift"--we recognize the utter impossibility of preserving the secrecy. When the newlyweds are found sitting in the front seat of their new pink Caddy, shot to death, the fur coat now a shroud, mob justice is revealed. In GOODFELLAS the anecdotes may be amusing, but the punch lines are frequently grim.
But it isn't enough to say that GOODFELLAS is a comedy because many of the situations are comical. Only to each other are Henry and associates acceptable as amusing "good fellas"; seen from distances outside the film's purview, they are punching, knifing, choking, shooting thugs, organically feeding on weakness like bacteria on an open sore. Seeing the story from the POV of the participants tempers the ugliness. The wiseguys are the best candidates to find humor in their own cruelty or misfortunes. When they laugh--no questions asked--at Tommy's endless tales of confrontation with cops or anyone else unlucky enough to have crossed his path, it's gangland shoptalk: belligerence as a working condition, a cost of doing business, violence as an agreeable duty. But Tommy tells tales within a tale. It's the more polished Henry who shines brightest as a storyteller. He's an insider who can talk outward. He carries the story as none of his circle, lacking his charm and perception, could. His enthusiasm, his shameless confession that times were great, even at their worst, makes GOODFELLAS work, at least part-time, as a comedy. Henry's glee is infectious.
In short, what drives the film's humor are the conditions and consequences of gang life as only a gang insider could possibly know them. It follows then that Scorsese's teasing observations--musical and otherwise--add a different brand of comedy to the film, a detached, ironical view whereby the director steps outside the subject and looks back in, grinning. The technique tampers with the natural balance of comedy and violence by tilting the story more toward the comical. The intrusion is too minimal to change the overall effect of the film but it is indicative of the director's relationship to the subject. He dissociates from Henry and crew by registering views that don't belong to them. The detachment inhibits us from confusing Scorsese's immersion in Henry's story as identification. Instead, we are reminded that when Henry speaks, it is really Henry we hear. Henry has earned Scorsese's honesty, but sympathy remains an open question.
The Soul of the Wiseguy -----------------------
Another interesting exception to the film's method occurs in the last, brief scene. The former Henry Hill, his character rewritten by the FBI, has been teleported from the murky underworld to banishment in a primary-colored suburbia. Siberia? As the scene opens, he steps out of his tract home, in bare feet and a bathrobe, to retrieve the newspaper. While he meditates on what an ordinary shnook he's become, a frontal shot of Tommy blasting away at us with a pistol is interposed.
It's a striking image, but an odd passage, sacrificing plot for theme like no other shot in the film. It cannot be clearly identified as a flashback to a specific event, or as a reminiscence of Henry's. At a minimum, it symbolizes the criminal life Henry has left behind; but does it mean more than that? To outward appearances, Henry now looks every bit the law-abiding shnook. Is the interposed image Scorsese's revelation of the lawless heart within? If so, why show Tommy and not Henry himself engaged in some memorably blissful illegality?
Perhaps the choice suggests some scepticism at who most truthfully represents the soul of the wiseguy. Tommy is a litter of crude emotions, free of the sociability that may restrain or conceal Henry's viciousness. Tommy measures his self-respect by the fears of those he intimidates. Like a human Geiger counter, he constantly monitors his environment for the slightest whiff of disrespect. Self-conscious of his height, he seeks out physical imperfection in whomever he suspects, particularly speech impediments which he has learned to induce through verbal intimidation, e.g., Spider, the bar boy, is reduced to a "stuttering prick" as a prelude to attack. Tommy's the essential hoodlum, loyal to his basest instincts, always seeking weakness to prey upon, never reluctant to err on the side of too much force. Though Paulie describes Tommy as a "bad seed," Henry reveals no particular animosity or affinity toward Tommy; apathy might better describe his feelings, an apathy that expresses itself in unedited and unflattering descriptions of Tommy's behavior, as Henry's story reveals it. Henry expresses more nostalgia about the life-style he has left behind than any of the people in it. The image of Tommy, gun blazing, may represent an idealized life that has been lost to Henry. Or is Scorsese tipping us off to the wolf in shnook's clothing?
Critically speaking, do Scorsese's musical and other ironic intrusions into the film's grand design constitute flaws, or do they merely elaborate the design? They appear to serve multiple purposes. They increase the comedy quotient. They also autograph the work, in effect, in a way the director's credit cannot. But most indicative is the irony; it detaches Scorsese from the characters whose story he tells; it bespeaks an underlying fear, perhaps, of close association, of being too sympathetic to the characters and, like one of the "beneficiaries" of their protection, working too much for their interests and not enough for his own. Perhaps the overriding irony is that Scorsese's artistry imposes a stern "law and order" on a work whose themes are crime and disorder, yet he violates his own rules in order to distance himself from the subject.
Henry -----
Recall the opening scene. The frame freezes on Henry's expression after he watches his pals finish the murder of Billy Batts: the camera records an epiphany. (The technique occurs elsewhere when, for example, Henry and Jimmy are walking along the sidewalk discussing Morrie's indiscretion. The action halts as Henry describes his sudden realization that Jimmy intended to whack Morrie.) The look the opening freezes on is one we see numerous times throughout the film. Always following some violent event, his face registers astonishment. But at the same time he controls his reaction; he will not, he cannot, express it and he is unwilling to oppose what he has seen. This is his act of belonging; it's the core of his criminality. Only by fully accepting the violent and often unjust world of organized crime is his role within it assured.
It seems a straightforward trade-off, and one he willingly reveals, but could there be more wrinkles to his character? Of necessity, we tend to trust Henry's version of things; he is our spy inside the secret world of gangsters. His candor elicits our sympathies. As for anyone, stating one's case is inherently persuasive; manipulating opinion in one's favor is normal, expected, but still seductive. Henry realizes his actions are questionable, so when possible he tugs favor back in his direction. For us he rationalizes a useful role for organized crime in society, explaining that it provides "protection for people who can't go to the cops." Another time he reassures Karen with a self-help gangster maxim: "nobody goes to jail unless they want to." In these statements is Henry consciously inflating his advantages or is he betraying a capacity for self-deception? Either way, it behooves us to weigh his evaluations against his motives for shading the truth.
Despite his larcenous activities, Henry possesses a friendly, likable persona. He smiles a lot, laughs a lot. Compared to Tommy, he seems roughly normal. (By the end of the film, it's easy to remember Henry as a witness to violence but never a participant, though this is not the case.) His charm inspires confidence, but it's striking to note how many of his important relationships are built on a foundation of deceit. It's practically the first thing we learn about him: he conceals his truancy from his parents so that he can spend his days with the local wiseguys. Later, he courts Karen with money and influence while hoodwinking her about its origin.  He lies to his benefactor, Paulie, about a serious matter, the Batts' disappearance, and places Paulie at genuine risk by dealing drugs against his express orders.
At the same time, as he takes pain to point out, he does "the right thing." He pays Paulie a large tribute after the Air France robbery; he brings home "the most expensive" tree at Christmas. He's a parody of good citizenship. He satisfies the appearance of loyalty, yet falls short of the substance. He puts himself at odds with so many, so seriously, for so long--his wife, the law, the mob--that, in retrospect, his downfall was inevitable. (Only providence--and the FBI--gives him a second life.) His precariousness makes him an interesting character: he risks a pratfall at every step.
Given Henry's penchant for dishonesty, is it reasonable to take him at face value? Perhaps to bolster his credibility, he reveals much that shows him in a bad light, at least by conventional standards--the hijacks, the arsons, the record-breaking thefts. He knows he's a crook, that his life is well outside lawful norms, that his adventures are capital to a raconteur. However, he is not dispassionate about what he looks back on as the achievements of a lifetime: "We had it all just for the asking.... We ran everything." He exhibits too much pride to buy complete credibility from us; he boasts of acts that others might find shameful. It's fair then to wonder what he might not be proud of and how much of his life didn't make it into the story. Might he have motives to conceal parts of his life? Might he have edited his story to save embarrassment, or worse?
As a still-married man, he may have reasons to protect himself from his family. He admits to having mistresses, but in relation to his other extravagances the count seems low. Perhaps coincidentally, the two mistresses that figure in the story are both women that Karen found out about--the first a suspicion confirmed, the second a fellow arrestee from the crucial drug bust. Were there no others in the years of nightclubbing and business trips? Defying our reasonable scepticism, Henry leaves the impression that his extramarital sex life belonged to the domestic side of his life rather than the wild lawless side.
Henry's relationship to his fellow wiseguys may be more complicated, imposing further restraints. When Henry tells of paying tribute to Paulie, he wants us to know of his loyalty. He's a company man. He follows the rules. He's a law-abiding citizen--of the underworld. He asks for respect on the terms of his environment. When he goes against the rules, he purports to have a strong reason. Dealing drugs against Paulie's wishes is not primarily disloyal, it's the self-preservation of his family, a justification which can't be reasonably denied. If there's action in that middle area--where he works for his own greed and cuts out the mob leadership simply because he can get away with it--we don't hear about it. It's hard to imagine him as too virtuous to engage in double-dealing, yet this is the impression he leaves.
Henry may also have been circumspect with the authorities who have swapped him freedom for information on his friends. Perversely, an opportunity for virtue? The fates of many of his colleagues essentially rested on Henry's testimony. Did he condemn some because he had to, and spare others because he could get away with it? We can't know because his confessional can't go beyond his official biography, as the authorities know it.
Any or all of these factors would affect his desire to tell the truth. There are numerous ways in which honesty might betray his self-interest. Where does that leave us, the seekers of truth? To return to the opening scene one last time, of the three wiseguys, it is Tommy and Jimmy who brutally consummate the murder of Batts. Of the three, it is Tommy and Jimmy who beat up Batts in the first place. But, of the three, it is Henry who tells the story.
It boils down to a single problem: if he is shading the truth, and his admitted dishonesty and motives for further dishonesty make it likely that he is, how would a full reckoning of his story change our view of him? (10) How would it alter our impression of the inner realm of the mob, an impression the film seeks to convey? The heart of the film contains this enigma. We approach a set of truths through Henry's thoughts, his senses, his recollection of dark and unknown corners, yet he remains a mystery and the truth, elusive.
Getting at the Truth --------------------
Despite the exceptions noted, Scorsese adheres closely, in content and style, to the thoughtful design laid out for GOODFELLAS. The film allows a character (who in fact represents a real person) to present his side of his life in crime. The film includes no attempt to assess the truthfulness of the story or the morality of the storyteller. The resulting shameless enthusiasm of the character shapes the film's risky mix of violence and humor. Though an affront to conventional morality, GOODFELLAS depicts a life where threats and violence are a routine cost of doing business--the cold inverse of entertaining a client--and comic or tragic overtones result whenever events waver from their expected course. When the wiseguys laugh in reaction to some violent event, they take, in effect, an unconscious moral position on the acceptability of violence. In addition they illustrate how naturally violence plays a part in their lives. The crux of the film is that this authenticity is achieved by denying convention its voice.
The gangsters live in a rigidly insulated world. They are isolated from the lawful mainstream of society by an obvious need for secrecy. Within the mob, social stratifications divide them further. The wiseguys, the street hoods, the earners, are isolated from an upper echelon of made men who, in addition to possessing greater influence and rights of protection, also meet unbending standards of ethnic purity. Even among peers, secrecy follows from reluctance to ask uncomfortable questions, desire not to know incriminating information, or outright fear of betrayal. The family, too, must be kept in the dark: the wives about the girlfriends, the girlfriends about the other girlfriends, other relatives about the criminal life. The genius of GOODFELLAS is in how it recreates this insulation. It confines us to the narrow world of the wiseguys, knowing only them, and keeps the "safe" world we're familiar with on the outside.
We end up with an insider's view of the mob, which is necessarily deeper than the observer's and, for the sake of understanding mob life, the next best thing to actually being a member. By the end of GOODFELLAS, we are likely to understand crime and career criminals in a new and realistic way.
Still, we must acknowledge, as outsiders, our disadvantages for getting at the truth. We can never be assured that what the insider supplies is honest and, more than honest, accurate. The insider can be sincere and mistaken, suffering the same disadvantage when looking outward as the outsider does when looking in, and perhaps to a greater degree. The insider understands the benefits of being a criminal; he overlooks the ordinary pleasures that aren't achieved through crime. (Thus Henry's dismay at becoming a shnook.) He is trapped in the fortress of privacy. The battlements of secrecy the gang erects around itself keeps criminal activities private; just as significant, it also tends to keep the influence of conventional moral sensibilities at bay.
For Henry, the process of retreating into the secret world of the mob began at an early age; it's really the beginning of the story. His association with the neighborhood wiseguys earn him the satisfaction of being "part of something," the perquisites of membership, and the deferential respect of other boys his age; all of which overpower his parent's countervailing rectitude. After his parents quickly recede from the narrative, no further moral reference points are seen to intrude upon his complacency: no crusading cops, no Pat O'Brien-boyhood-pal priests, no sermonizing judges. In neither of the courtroom scenes do the judges take moral positions on his behavior. In Henry's story, the judges are silent (or at least unnoteworthy). Even the FBI, whose representative appears to take his responsibilities seriously, calmly deals away society's retribution against Henry as part of a plea bargain that nets them Jimmy and Paulie.
A more disturbing problem occurs when those we expect to uphold conventional morality not only remain silent, but actually accommodate gang activities. In GOODFELLAS, not only are the cops not crusaders, they're not necessarily committed to law enforcement at all. In one scene, police drive up while cigarettes are being unloaded from a stolen truck. We expect, much as a traditional crime movie would have delivered, a confrontation between natural enemies: the thieves run for cover or shoot it out in desperation, providing a dramatic demonstration of how society follows the blueprint laid down by the law. Instead the wiseguys don't even flinch. The cops are paid off in grins and booty, and any naive sentiments we may hold about the law are up-ended by the evidence of crime co-opting the enforcers to subvert order.
Mob Rules ---------
In such a setting, what then is the cost of immorality if neither individual conscience nor societal opposition exacts much of a toll from the immoral? The answer may lie in the rules the gangsters establish for themselves.
Among their rules, certain formal principles are recognized such as the hierarchy determining how authority passes down through the organization and its corollary, the rule for moving profits up the other direction. They recognize a formal dimension to loyalty, the idea that the gangster, when in trouble with the law, sacrifices himself for the greater good of the organization. As Jimmy puts it, "never rat on your friends," which has its obvious meaning and the broader implication that the existence of the organization must remain secret at all costs. (11) Failing to observe the rules, or even raising suspicion, exacts harsh punishment from the mob.
Though members of the organization, the wiseguys appear to operate autonomously from the leadership in much of their actions. To maintain peace within the ranks, they follow a number of informal guidelines: steering clear of each other's crimes or small neighborly gestures like not taking their wives out on Friday's girlfriends night. With their autonomy comes a wide discretion on the acceptable use of force. But force too has its limits. The mob distinguishes violence that is controlled and in the interest of business (or defending honor) from the savagery which follows when emotion runs amuck. Paulie disdains Tommy as a "cowboy" suggesting that Tommy does not and cannot keep close enough control of the distinction.
Murder, in the mob as elsewhere, is the king of violent crimes--an expedient end to a trouble, as one would have it. Mobsters tend to have more of the kind of troubles that murder suggests a fix for, and their code is broad enough to include it on the list of thinkable options. There are prohibitions against murdering made men and, presumably, cops, judges, lawyers, or other people of service to the cause. Their furtive instincts dictate a rule of thumb that indiscreet killing draws unwanted attention.  Here lurks the cost of the privilege: with killing allowed at individual discretion, life is devalued. The cost of devaluing someone else's life is to devalue your own.
When Tommy senselessly kills Spider, there will be no commensurate justice to vindicate his stolen life. He has no status, therefore no rights. (Unlike Billy Batts who, as a made man, warrants reprisal for his death through the grimly poetic murder of Tommy.) Spider's death, if anything, makes plain that gang association carries with it an implicit surrender of the protective rights that society promises its citizens through the justice system. In society, one has no right to murder and, as a complementary rule, the right not to be murdered. Within the gang's proletarian ranks, however, the order is reversed: one has a right to kill and, consequently, little right not to be killed. When Spider is killed the issue for the other wiseguys must be Tommy's judgement, not his morality; moral outrage at the deed has no basis within the self-government of a group that allows murder. The implications are played out in grand and cold-blooded style when Jimmy murders his Lufthansa heist co-conspirators one-by-one to avoid sharing the loot. Henry accepts it. He understands all along that his life is no more sacred than his fellow wiseguys' who are whacked when they least expect it.
Crime-think -----------
GOODFELLAS creates an insulated environment, the paranoid subterranean society of organized crime, and traps the audience within it. While moving within its circles, we catch glimpses of a wider world we no longer belong to, that place where the sun shines too much and nothing ever happens. The immersion is total and too exciting to be claustrophobic. But having been drawn so completely in, can we then completely escape?
GOODFELLAS' seamless portrayal of POV lures us into an unconscious identification with the characters--to become one of the gang. We walk in their footsteps, see what they see. We live in their minds and lives. They influence us by carrying the debate while opposing views are kept silent. The tight focus on the wiseguy POV amounts to a de facto indoctrination into crime-think.
Morals swim in a relative sea. Without familiar reference points, we are tempted to forget who we are--who we have been--as we become intoxicated with the life that intoxicates Henry, a rags to riches American dream, brought to life by secret abilities. GOODFELLAS tempts our acceptance of crime by posing reasons for embracing it. Although our consciences tell us the wiseguys violate even the most liberal standards of decency and fairness, they still conjure a romanticism in their rebellion against the methodical system of obedience and routine that weights the ordinary life with tedium. We cannot deny the fraudulent underpinnings of a success built on theft; but the trappings--big cars, extravagant jewelry, silk suits, front row seats, the servility of waiters and doormen--are an advertizer's prophecy of making it in America. If our wiseguys are in rebellion, it's surely not against materialism. With the soiled corners tucked under, their lives could sell refrigerators. If upholding our common images of success was the only rule, they would be model citizens. Perhaps the real danger of GOODFELLAS is in discovering not that there are people so brutally different from most of us, but that these people are not different enough.
In the end, Henry has argued a case for organized crime by dwelling on the good life it brought him and by not repenting. Scorsese refrains from all but subtle commentary on the moral implications of Henry's argument, thereby shifting the burden of judgement to the audience where it uncomfortably belongs. GOODFELLAS presents an unfamiliar world and dares us to feel at home in it. Scorsese frames it as a moral wilderness and dares us to remain unaware.
--- Footnotes:
(1) The same scene, edited differently, reappears in the middle of the movie, in its correct chronological sequence. The second time around its disturbing power is diminished, though. By then we have grown up with the characters enough that the violence is not surprising. The scene assumes a new role as a dramatic watershed in the story, marking the end of a lengthy introduction to the characters, their world, and the rules they live by, and beginning the sequence of events that ultimately leads to their respective downfalls.
(2) The script was written by Scorsese and Nicholas Pileggi, based on Pileggi's biography of Henry Hill, WISEGUY: LIFE IN A MAFIA FAMILY (Simon and Schuster, New York, 1985).
(3) Henry and Karen are closest to their book versions of any of the characters. Tommy DeVito is a composite of the book's character of that name and Paulie's sons, whom Henry grows up with. Jimmy and most of the other characters are more or less based on characters from the book.
(4) In DARK PASSAGE (1947), for example, technique becomes overbearing. For a substantial portion of the film, we hear the protagonist's voice but see the world exclusively through his eyes--the camera. The other characters speak straight to the camera and the camera moves with the protagonist's head. The technique achieves the effect of concealing the protagonist's face before plastic surgery. But its side effect is visual claustrophobia--the film becomes a novelty.
(5) We tend to think of novels as a purely textual form of story telling; and of film as predominately visual. This scene illustrates one method of bridging the gap. The narration is a textual component, a background description of a group of minor characters. The tracking shot provides the visual component, a shot that would not stand on its own without the narrative embellishment.
(6) According to Alfred Hitchcock: "To get real suspense, you must let the audience have information." (Quoted from THE MEN WHO MADE THE MOVIES, Schickel.) Hitchcock describes two people talking casually at a table. A bomb is under the table. If unaware of the bomb, the audience gets a brief shock when it explodes. If made aware, they experience continuing anxiety in the wait. But making the audience aware divorces them from the experience of the characters. GOODFELLAS avoids this technique.
(7) The music forms the calendar, too, particularly in the first half of the film. Subtitled dates are used sparingly, so the songs, chosen to typify pop eras, date the rapidly moving story.
(8) Additionally, an odd surprise occurs at the end of GOODFELLAS as Sid Vicious' punk parody of "My Way" plays over the closing credits, appearing to take an oblique swipe at THE GODFATHER.
(9) Older crime movies tended to slant toward either a serious or comic extreme. Gangster movies--WHITE HEAT, THE ROARING TWENTIES, etc.--dramatized society's official prognosis for the criminal: crime never pays, a violent death is sure and shameful, and laughter, a symptom of sadism or madness.
(10) It could be that while soft-peddling his own exploits, he is uncharitably frank about Jimmy and Tommy, and it is in their actions, perhaps, that we see the most truth.
(11) Confirming the success of that policy, the existence of organized crime was widely considered a myth in the late 1950's when Jimmy gives that advice. ---
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rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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IHolidays
Holidays.
Fields
from: Date - when holidays start
to: Date - when holidays end
name: string - holidays name (explanation)
id: number - holidays id


EPAM DevOps online Winter 2020/2021,
My name is Snieosikov Oleh
Below links of completed labs:
Launch a Linux Virtual Machine
Launch and configure a WordPress instance
Store and Retrieve a File with Amazon S3
Batch upload files to the cloud to Amazon S3 using the AWS CLI
Register a Domain Name with Amazon Route 53
Deploy Docker Containers on Amazon Elastic Container Service (Amazon ECS)


foldingathome__reconnect_delay
add
foldingathome__host
foldingathome__port
foldingathome__password
foldingathome__alias


Minister: suspicious interest for Latvia’s military objects considered medium-high
by LETAThe level of suspicious interest of foreign people for Latvia’s military objects using different research methods, including drones, is considered medium-high, says Latvia’s Defence Minister Artis Pabriks.
Pabriks says reconnaissance activities from Russia’s side continue increasing. Other countries also perform reconnaissance activities. The minister did not mention any specific countries. This reconnaissance is performed in technological field.
The minister revealed that movement of suspicious drones is observed near military installations. Several drone operators have been detained so far. Investigations continue.
Read also: Latvian army’s next year’s budget focused on maintaining defensive capabilities and development
«I will not mention in more detail, but there were cases when activities of drone operators raised suspicions about their possible ties with military reconnaissance. When it comes to drones, not all of them can be associated with reconnaissance. One is able to catch all drones and their operators with 100% efficiency. Our objective is not shooting down drones in all situations. It is far more important to catch the operator and find out what information they wanted to gather,» said the minister.
Suspicious interest of foreigners and third parties has been observed near Ādaži base and other military installations.
No one climbs over gates of bases, adds the minister. «We are not toothless. However, this is about finding evidence,» adds the minister.
The minister explains that catching foreign intelligence service officers in the act does not mean they will be successfully tried in court. There are other methods, such as expulsion cases not publicly reported. Expulsion is one of the methods that allows Latvia to control the presence of foreign intelligence officers in the country, claims the politician.
Pabriks believes Latvia should perform legislative changes in order to perform drone identification. This is not just a topic for Latvia but Europe, too. «There was a drone noticed above my home, and it did not belong to neighbours,» added the minister.


....
definitions:
SomeResponse:
type: "object"
required: "data"
properties:
...
data:
description: The binary data of the response object.
type: "string"
format: "byte"
...
24 February 2020
Implementing JAX/RS REST APIs with Swagger/OpenAPI following a Design-First approach starts with the formal specification of the REST API. Then OpenAPI generators are used to create server as well as client stubs. Nowadays, the REST APIs often exchange JSON response and request objects. If binary fields are part of such JSON structures, the generated code encodes/decodes such binary fields. For some combinations of generators the produced client and server do not fit together.
Let’s say an API defines a response model object as follows:
....
definitions:
SomeResponse:
type: "object"
required: "data"
properties:
...
data:
description: The binary data of the response object.
type: "string"
format: "byte"
...
The code produced by generator jaxrs-spec
encodes the data
field as an
array of bytes (numbers). The ASCII string "Java" for example results in an
encoded JSON field "data": [ 112, 141, 166, 141 ]
.
On the other side, the generator java
creates client code that encodes
such byte strings of the API spec as base 64 strings. The sample string
"Java" results in "data": "SmF2YQ=="
.
Eventually, this leads to a situation, the generated client and server are not compatible and cannot exchange binary data.
The simplest approach to fix this issue is by configuring the binary data strategy on the server-side:
import javax.json.bind.*;
import javax.ws.rs.ext.*;
/**
* The JsonbConfigurator configures the binary data strategy of JSON Binding.
* Instead of the default strategy "byte array" the "base 64" encoding is
* activated.
*/
@Provider
public class JsonbConfigurator implements ContextResolver<Jsonb> {
@Override
public Jsonb getContext(Class<?> type) {
JsonbConfig config = getJsonbConfig();
return JsonbBuilder.newBuilder().withConfig(config).build();
}
private JsonbConfig getJsonbConfig() {
return new JsonbConfig().withBinaryDataStrategy(BinaryDataStrategy.BASE_64);
}
}
If you add this class to your JAX/RS server project, client and server both encode and decode binary data as base 64 strings and start to work well together. Such a Jakarta EE based solution should definitely preferred over the customization of generator’s templates, in particular if you take long-term maintainability into account.


<EMAIL_ADDRESS>born on May 13th, 1982 CV en Français
Employment History
2017-...
Application Integration Engineer
SIRHEN: integrating the data retrieval application for the Human Ressources Information System of the French Ministry of Education, performance & security testing of SIRHEN program
2016
QA Engineer
kapaza.be: setting up Cucumber tests framework (Webdriver, Node.js), developing Cucumber tests & React.js unit tests, training the newly hired QA lead in English - remote working via Ventoris
2014-2015
Documentation Manager
leboncoin.fr: organizing internal functional & technical documentation, training 80 team members on documenting & Confluence best practices, developing RSpec tests - remote working via Ventoris
yapo.cl: automating log analysis, reporting bugs, training the newly hired QA lead in Spanish - remote working via Ventoris
mudah.my + chotot.vn + ayosdito.ph + berniaga.com: normalizing unit tests, automating log analysis, reporting bugs & developing RSpec tests, training the teams in English - remote working via Ventoris
segundamano.com.mx: developing code, Selenium tests, analyzing logs, reporting bugs, training the newly hired development team in Spanish - from Barcelona Schibsted Hub, Spain
2010-2012
QA Engineer
leboncoin.fr: developing Selenium tests for continuous integration, manual testing of iOS app, analyzing logs, reporting bugs, refining specifications for website, mobile site & iOS app, documenting the process development cycle, training the product development team on specification writing - Leboncoin office, France
2007-2010
Web Developer
leboncoin.fr: developing new features, bug fixes & unit tests for the website, building & releasing packages on CentOS, reporting bugs, training the new technical team members - Leboncoin office, France
2006-2007
Teacher - teaching in Computer and Network Engineering for Professional Baccalaureate students (LP H. Becquerel, Tours, France), in Petri nets and C2i courses at the University of Tours


|
SensESP
0.4.3
Universal Signal K sensor framework for ESP8266 and ESP32
|
#include <signalk_output.h>
Public Member Functions | |
| SKOutput () | |
| SKOutput (String sk_path, String config_path="") | |
| virtual void | set_input (T newValue, uint8_t inputChannel=0) override |
| virtual String | as_signalK () override |
| virtual JsonObject & | get_configuration (JsonBuffer &buf) override |
| String | get_config_schema () override |
| virtual bool | set_configuration (const JsonObject &config) override |
| template<> | |
| String | as_signalK () |
| template<> | |
| String | as_signalK () |
| Public Member Functions inherited from SKEmitter | |
| SKEmitter (String sk_path) | |
| String & | get_sk_path () |
| void | set_sk_path (const String &path) |
| Public Member Functions inherited from Observable | |
| void | notify () |
| void | attach (std::function< void()> observer) |
| Public Member Functions inherited from SymmetricTransform< T > | |
| SymmetricTransform (String config_path="") | |
| Public Member Functions inherited from Transform< T, T > | |
| Transform (String config_path="") | |
| Transform< T, T > * | connectFrom (ValueProducer< T > *pProducer0, ValueProducer< T > *pProducer1=NULL, ValueProducer< T > *pProducer2=NULL, ValueProducer< T > *pProducer3=NULL, ValueProducer< T > *pProducer4=NULL) |
| Public Member Functions inherited from TransformBase | |
| TransformBase (String config_path="") | |
| Public Member Functions inherited from Configurable | |
| Configurable (String config_path) | |
| virtual void | save_configuration () |
| Public Member Functions inherited from Enable | |
| Enable (uint8_t priority=0) | |
| virtual void | enable () |
| void | setClassName (const char *newClassName) |
| virtual const char * | getClassName () |
| const uint8_t | getEnablePriority () |
| void | setPriority (uint8_t priority) |
| Public Member Functions inherited from ValueConsumer< T > | |
| void | connectFrom (ValueProducer< T > *pProducer, uint8_t inputChannel=0) |
| Public Member Functions inherited from ValueProducer< T > | |
| ValueProducer () | |
| virtual const T & | get () |
| void | connectTo (ValueConsumer< T > *pConsumer, uint8_t inputChannel=0) |
| template<typename T2 > | |
| Transform< T, T2 > * | connectTo (Transform< T, T2 > *pConsumerProducer, uint8_t inputChannel=0) |
Additional Inherited Members | |
| Static Public Member Functions inherited from SKEmitter | |
| static const std::vector< SKEmitter * > & | get_sources () |
| Static Public Member Functions inherited from TransformBase | |
| static const std::set< TransformBase * > & | get_transforms () |
| Static Public Member Functions inherited from Enable | |
| static void | enableAll () |
| Public Attributes inherited from Configurable | |
| const String | config_path |
| Protected Member Functions inherited from Configurable | |
| virtual void | load_configuration () |
| Protected Attributes inherited from SKEmitter | |
| String | sk_path |
| Protected Attributes inherited from Enable | |
| const char * | className = "Enable" |
| Protected Attributes inherited from ValueProducer< T > | |
| T | output |
Definition at line 17 of file signalk_output.h.
Definition at line 20 of file signalk_output.h.
Returns the data to be reported to the server as a SignalK json string.
Reimplemented from SKEmitter.
Definition at line 5 of file signalk_position.cpp.
Returns the data to be reported to the server as a SignalK json string.
Reimplemented from SKEmitter.
|
inlineoverridevirtual |
Returns the data to be reported to the server as a SignalK json string.
Reimplemented from SKEmitter.
Definition at line 35 of file signalk_output.h.
|
inlineoverridevirtual |
Returns a configuration schema that specifies the key/value pairs that can be expected when calling get_configuration(), or are expected by set_configuration(). The schema will be in JSON Schema format
Reimplemented from Configurable.
Definition at line 51 of file signalk_output.h.
|
inlineoverridevirtual |
Returns the current configuration data as a JsonObject. In general, the current state of local member variables are saved to a new object created with JsonBuffer::createObject() and returned.
Reimplemented from Configurable.
Definition at line 45 of file signalk_output.h.
|
inlineoverridevirtual |
Sets the current state of local member variables using the data stored in config.
Reimplemented from Configurable.
Definition at line 55 of file signalk_output.h.
|
inlineoverridevirtual |
Used to set an input of this consumer. It is usually called automatically by a ValueProducer.
| newValue | the value of the input |
| inputChannel | Consumers can have one or more inputs feeding them. This parameter allows you to specify which input number the producer is connecting to. For single input consumers, leave the index at zero. |
Reimplemented from ValueConsumer< T >.
Definition at line 29 of file signalk_output.h.


--- layout: page title: "It's moved..." date: 2015-05-19 permalink: /2012/05/odata-v3-demo-services/ ---


What is Sustain?
A one-day event, where we’ll talk about how to sustain open source software. It’s not a large conference with talks and keynotes, and it’s not an unconference; it’s a gather of open source contributors, maintainers, and sustainers; industry leaders and people interested in open source; and friends. The goal is to understand the long term viability of open source as a model for producing software.
How is it written? (Sustain OSS, $ustainoss, $ustainOSS, $ustain OSS)
Sustain is the name of the event. The organization is SustainOSS but @SustainOSS
will do.
How many people will be there?
We expect to have somewhere around 50 people. We’d like to have more. Why don’t you sign up?
What is the price?
The regular price is $50. This goes towards day care, travel assistance, food, and unforeseen costs. We’d appreciate if you paid $100 and allowed someone else to come; if you can’t pay $50, there is also a free tier. Finally, if you’re a sponsor, a $1,000 ticket is available, and we’d feature your logo on the website and mention you at the conference as a sponsor. Everybody wins. Also note that all profits (if any) go back to the Open Source community via Open Collective or Gratipay. Projects TBD.
Will you have discounts for students?
If you are a student you can grab a free ticket while supply lasts. If you can afford a ticket, please consider purchasing one incase a student who can’t afford it can come.
What will you be serving for lunch?
Yes. More TBA.
Will there be talks?
No talks. Instead, we hired a facilitator, Gunner, from Aspiration Tech to come and help us have a roundtable discussion, where everyone can feel included.
How many days is it?
1 day.
Will there be hotel accommodations?
Not at this time. We aren’t a huge event so getting something like this is highly unlikely. If you are looking to save on stay, we recommend Airbnb.
Will there be other events in different countries?
This is the first! We’d love to have other events elsewhere - perhaps you’d like to host one?
Do you accept in-kind sponsorships?
Get in touch - these will be thought over on a case-by-case basis.
When will I receive a ticket?
You should receive a receipt immediately on donating. This can be used at the door.
What other events can you compare Sustain to?
This event is very similar to the Wontfix Cabal organized at GitHub in February 15. It’s also similar to a few other recent events - OSFeels, for instance.


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[gecode-users] GECODE: Crosswords with two constraints, set letters and black cells
Christian Schulte
cschulte at kth.se
Mon Sep 24 09:05:08 CEST 2018
Well, one can see that the problems are quite constrained (some of the benchmark instances do not have solutions even without additional constraints). Hence your idea might not be feasible.
The instance you show means that propagation alone can derive that there is no solution. No bug as far as I can see.
There is a different idea to try: the word you want to appear is spread over non-black fields left-to-right and top-down (quite a common feat with crossword puzzles with a solution word). Then you could add a regular constraint that the letters of the word must appear in the right directions. Not that hard…
Cheers
Christian
--
Christian Schulte, https://chschulte.github.io/
Professor of Computer Science
Software and Computer Systems
School of Electrical Engineering and Computer Science
KTH Royal Institute of Technology, Sweden
From: Andrea Sacconi <andreasacconi at hotmail.co.uk>
Sent: Sunday, September 23, 2018 9:49 PM
To: Christian Schulte <cschulte at kth.se>; users at gecode.org
Subject: Re: [gecode-users] GECODE: Crosswords with two constraints, set letters and black cells
I think I am making the definition of the space flawed somehow, because it seems strange that setting three letters only out of 105 would cause a failure after 158 milliseconds, without retrying .....
________________________________
From: users-bounces at gecode.org<mailto:users-bounces at gecode.org> <users-bounces at gecode.org<mailto:users-bounces at gecode.org>> on behalf of Andrea Sacconi <andreasacconi at hotmail.co.uk<mailto:andreasacconi at hotmail.co.uk>>
Sent: 23 September 2018 20:02
To: Christian Schulte; users at gecode.org<mailto:users at gecode.org>
Subject: Re: [gecode-users] GECODE: Crosswords with two constraints, set letters and black cells
I just tried again with the command you mentioned, unfortunately with already three constrained letters everything fails. Why failures 1?! This is not trying many times though ... I am perplexed.
[cid:image001.png at 01D453E5.B00D60F0]
Seems strange to me, because I have reduced the size of the grid to be 12x7, so smaller for testing purposes. I would expect with such a huge dictionary to be able to find a solution!
Cheers,
Andrea
________________________________
From: Christian Schulte <cschulte at kth.se<mailto:cschulte at kth.se>>
Sent: 23 September 2018 19:55
To: Andrea Sacconi; users at gecode.org<mailto:users at gecode.org>
Subject: RE: [gecode-users] GECODE: Crosswords with two constraints, set letters and black cells
I wouldn’t know. Cheers Christian
--
Christian Schulte, https://chschulte.github.io/
Professor of Computer Science
Software and Computer Systems
School of Electrical Engineering and Computer Science
KTH Royal Institute of Technology, Sweden
From: Andrea Sacconi <andreasacconi at hotmail.co.uk<mailto:andreasacconi at hotmail.co.uk>>
Sent: Sunday, September 23, 2018 8:53 PM
To: Christian Schulte <cschulte at kth.se<mailto:cschulte at kth.se>>; users at gecode.org<mailto:users at gecode.org>
Subject: Re: [gecode-users] GECODE: Crosswords with two constraints, set letters and black cells
Hi,
I am using the example in the documentation, where the list of words is explicitly provided:
const int n_words[] = {
1, 26, 66, 633, 2443, 4763, 7585, 10380, 10974
};
so hopefully a dictionary big enough.
I will try to use the command suggested. Do you think that imposing 20 or 30 letter constraints like that is a problem?
Cheers,
Andrea
________________________________
From: Christian Schulte <cschulte at kth.se<mailto:cschulte at kth.se>>
Sent: 23 September 2018 19:37
To: Andrea Sacconi; users at gecode.org<mailto:users at gecode.org>
Subject: RE: [gecode-users] GECODE: Crosswords with two constraints, set letters and black cells
This might depend on the dictionary you are using. Check whether it contains words with the corresponding letters. Note that you can give your own dictionary as a file, check examples/crossword.cpp that comes with Gecode.
Anyway, I would not overwrite the variables but constraint them such as in
rel(*this, ml(10,5) == ‘f’);
and so on.
Cheers
Christian
--
Christian Schulte, https://chschulte.github.io/
Professor of Computer Science
Software and Computer Systems
School of Electrical Engineering and Computer Science
KTH Royal Institute of Technology, Sweden
From: users-bounces at gecode.org<mailto:users-bounces at gecode.org> <users-bounces at gecode.org<mailto:users-bounces at gecode.org>> On Behalf Of Andrea Sacconi
Sent: Sunday, September 23, 2018 8:31 PM
To: users at gecode.org<mailto:users at gecode.org>
Subject: [gecode-users] GECODE: Crosswords with two constraints, set letters and black cells
Hi all,
I am having a look at the examples of crosswords in Gecode. I am doing this for a gift. So the satisfaction of getting it done would be even greater!
I would like to add another set of constraints, not just black cells but also specific letters on the grid (which I would like to use to arrange a secret message that the receiver will read after having solved the crossword).
I tried this (just an example):
IntVar letter1(*this, 'f', 'f');
ml(10, 5) = letter1;
IntVar letter2(*this, 'i', 'i');
ml(9, 4) = letter2;
Running the example of Figure 22.2 of the documentation (Chapter 22) works fine if I impose only two constraints like the above, but everything already collapses if I try to set three letters.
Do you think what I am thinking of is feasible? I mean, I would like to fix 20 or 30 letters on a 22x15 grid, but it seems that I am not even close to getting a solution.
I am trying to read through the documentation but by scarcity of time I am not sure if I am trying the impossible or simply I have to tweak other parameters.
Could you please help me?
Cheers,
Andrea
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About Me
Human Resources professional wanting to learn more about the backend of the websites that we use on a daily basis, I decided to start taking a Full stack web Developer with enphasis in: Computer Science applied to JavaScript, Browser Based Technologies (HTML, CSS,JavaScript, jQuery), Deployment, Java, Server Side Development (Node.js).
My Goal is to be able to help business and individuals grow with modern Technologies by helping them navigate todays complex internet competition.


When you first start HivelyTracker, you should be presented with an interface like this:
REMEMBER: Almost every input area in the GUI works with the mousewheel. Often this is the fastest and easiest method!
Along the top row next to the logo is the button panel. The following table lists the button functions:| Button | Left click | Right click |
| New Tab | Opens a new tab. Right click to create a clone of the current tab. | |
| Load Mod | Loads an AHX or HVL song into the current tab | |
| Save AHX | Saves the current song as AHX format | |
| Save HVL | Saves the current song as HVL format | |
| Load Ins | Loads an AHX or HVL instrument | |
| Save Ins | Saves an AHX or HVL instrument | |
| Prefs | Opens the preferences window | |
| Autogain | Calculates optimal mix gain for the current song (see mixing notes) | |
| Undo | Undoes the last thing you changed. Right click to redo changes. | |
| About | Opens the about window | |
| Play Song | Plays the song from the top of the current position | Continues the song from the current position |
| Play Pos | Plays the current position from the top | Continues the current position |
| Stop | Stops the song and any audio | Stops the song and any audio |
To the right of the button panel are the stereo scopes.
Underneath that first row are the tabs. You can have multiple songs loaded into HivelyTracker, and each one will have a tab here. You simple click on the relevant tab to select the desired song.
Beneath the tabs is the tracker panel. Here is where you edit the songs. The fundamental building blocks of AHX and HVL tunes are "tracks". A track is a list of notes and commands that are parsed from top to bottom. Several of these tracks are parsed in parallel (4 for AHX songs, up to 16 for HVL songs). A song can contain up to 256 of these tracks, and they can be played in any order.
The "position editor" defines the order in which the tracks are played. A song can have up to 1000 positions, and each position records which track should be played, and a transpose value for each channel. The position editor shows the track number and transpose value for each channel as a 3 digit decimal number and 2 digit hexadecimal number respectively. The track number is simply 0 - 255 for the track number. The transpose value is 00 - 7F to transpose up "n" semitones, and 80-FF to transpose down "n" semitones (where FF is -1, FE is -2 etc. etc.)
To the left of the position editor are two columns of numberboxes. They are:
| Name | Function |
| Position | This is the current position in the song. Changing this numberbox will update the position editor and the track editor |
| Length | This is the length of the song in positions. Once the end of position "Length - 1" is reached, the song jumps to the position in the restart box |
| Restart | This is the position number to jump to once the end of the song is reached |
| Track Len | This is the length of the tracks from 1 to 64 |
| Subsongs | This is the number of "subsongs". An AHX or HVL song file can contain a number of extra songs after the main one. This is the number of extra subsongs to include, not including the main one |
| S.S. Num | This is the number of the subsong that you are currently editing. When you change this numberbox, the position editor is set to the starting position of this subsong |
| S.S. Pos | This is the starting position of the current subsong. For example, the main song might be 24 positions long (0 to 23), and subsong 1 could start at 24 |
| Channels | This is the number of channels in the song. AHX songs can only have 4 channels |
| Mix Gain | This sets the mix gain (see mixing notes) |
Below the position editor is the track editor. Unlike AHX, the track editor is ALWAYS synced to the current position in the song. So, if a 4 channel song had tracks "1", "20", "0" and "0" at the current position, the track editor will show tracks 1, 20, 0 and 0 in the four columns. You can change the track number at a given position by going to the position editor (press ENTER if the track editor is active, or click in it), using the cursor keys to get to the track number you wish to change and typing in a new track number on the keyboard. Alternatively, you can just use the mousewheel in the "track number" box to the right of the mute button for the given channel. The track editor has to be in edit mode before you can put notes or commands into a track. Space toggles edit mode.
Each track in the track editor is split into 3 columns; the note column and two command columns. In edit mode, you use the keyboard like a piano keyboard to write notes into the track. The bottom row starting from the bottom left alphabet key (Z on english and us keyboards) is the low octave keyboard (on GB keyboard, Z = C, S = C#, X = D and so on). The top alphabetical row and the numerical row act as the high octave keyboard (on GB keyboard, Q = C, 2 = C#, W = D etc.). AHX and HVL has 5 octaves. Pressing F1 sets the low octave keys as octave 1, and the high octave keys as octave 2. F2 sets octaves 2&3, F3 sets 3&4, F4 sets 4&5 and F5 sets 5.
Using the cursor keys, you can move the cursor over to the command rows to insert commands. Commands are 3-digit hexadecimal numbers, where the first digit is the command type, and the second two are the effect parameter. See the command reference for more information.
HivelyTracker won't make any noise without instruments. Songs can have up to 63 different instruments. Instruments can be loaded in from disk. The "Load Ins" button loads an instrument file into the current instrument slot. You can change the currently active instrument slot with the numerical keypad (see keyboard reference), or by simply rolling the mousewheel over the instrument list to the right of the position editor.
When you insert notes into tracks, usually it will have an instrument number next to it. For example, "C#1 01" means play C#1 on instrument one. There is an "empty" instrument, which is instrument 0. This shows up as "C#1" with no number next to it. This changes the note of any currently playing sound in the channel without starting any new instrument noises.
Pressing "Ins Ed" takes you into the instrument editor:
The instrument editor allows you to create or modify instruments. At the top is the slot number and name of the current instrument. Down the left hand side are a number of parameters you can change:
| Name | Function |
| Volume | This is the master volume for this instrument |
| Wavelen | This is the wavelength of the oscillators for this instrument. The higher the value, the lower the pitch of the instrument |
| Envelope | |
| Attack | All instruments start with a volume of 0, and build to the attack volume. The lower this value is, the faster it gets to the attack volume. A value of one means that it instantly reaches this volume |
| Volume | This is the volume to reach after the attack period |
| Decay | After the attack volume is reach it fades to the decay volume. The larger the decay value, the longer this takes |
| Volume | This is the volume to reach after the decay period |
| Sustain | This is how long to hold the decay volume level for |
| Release | After the sustain period, the volume fades to the release volume level. This sets how long that takes |
| Volume | This is the volume to reach after the relase period |
| Vibrato | |
| Delay | This is the amount of time to wait before activating the vibrato effect, if any |
| Depth | This is how much the vibrato modifies the frequency of the note (0 = no vibrato) |
| Speed | This is how fast the vibrato effect is. The smaller the number, the faste it goes |
| Square | |
| Lower L. | Sets the lower limit for square relation modulation. |
| Upper L. | Sets the upper limit for square relation modulation |
| Speed | Sets the speed for square relation modulation |
| Filter | |
| Lower L. | Sets the lower limit for filter modulation |
| Upper L. | Sets the upper limit for filter modulation |
| Speed | Sets the speed for filter modulation |
| - | |
| Speed | Sets the speed at which the performance list is parsed |
| Length | Sets the length of the performance list |
| Hard Cut | Sets a cut-off time before a new note is played for a previous one to stop |
| Rel. Cut | Toggles release cut |
To the right of these parameters is the "performance list". This defines the waveforms and notes that make up the instrument. Like the tracks, it is made up of a list of notes and commands. The commands are similar, but slightly different to the track commands (see command reference).
Like in the track editor, Space toggles between "free play" and "edit" mode. In edit mode, you can insert notes into the performance list using the keyboard as a piano-style keyboard. You can toggle the "fixed" parameter next to any note by hitting enter while in edit mode. Fixed notes have an asterisk (*) next to them. Fixed notes always play at the frequency of the note in the performance list (so, if the performance list has "C#1*", that will always play the note C#1, no matter what note is in the main track. Unfixed notes are added to the main track note, for example, if an instrument has "C#1" at the first position of the performance list, and the track has "C-1 n", where n is the instrument number, the instrument will actually play "C#1". If the track had "D-3 n", the instrument would play "D#3", because C#1 is one semitone higher than C-1, so the final note is one semitone higher than the track note.


Any Objective
Description
The Any Objective is an object that may attach to some other object.
Model
of
Concept
Public base classes
None
Template Parameter
|
typename IndexType |
The type of index |
|
int Dimension |
The dimension |
Typedef
|
anyobj_index_t |
The type of index. It is available if Dimension is greater than 0. |
Members
template<typename Target>
void anyobj(anyobj_index_t ..., Target&) |
Attaches to an object. The number of index is determinated by Dimension. |
template<typename Target>
Target * anyobj(anyobj_index_t ...) const |
Retrieves the attached object. It returns a null pointer if it is empty or the specified type is not matched. |
C++11 Members
template<typename Target>
void anyobj(anyobj_index_t ..., Target &&) |
Ditto. |
File
nana/concepts.hpp
Notes
None.
See also
None.
Move to The Nana Programmer's Guide Main Page |


Convective Outlook
The convective outlook is a national forecast for areas of general and severe thunderstorms.
- Thunderstorm forecast
- 8 day forecasts are available
- Day 1 and 2 outlooks also give areas with a 10% or greater change of thunderstorm activity
- Shading
- Green: General
- Yellow: Slight (meaning small number or low coverage of storms)
- Red: Moderate/severe
- Magenta: Highly severe
Low-Level Significant Weather Prognosis Chart
Low-level prog charts predict weather from the surface to 25,000 feet.
High-Level Significant Weather Prognosis Chart
High-level prog charts predict weather from the 25,000 feet to 63,000 feet.
- The height of the tropopause is shown in 100’s of feet inside a rectangle
- The chart shows bases and tops for major cloud cover
- XXX means the base is below the bottom of the chart (25,000 feet)
- Hatching across the jet stream line means wind speed changes of more than 20 knots
- Cumulonimbus coverage:
- ISOL: < 1/8
- OCNL: 1/8 to 4/8
- FRQ: 5/8 to 8/8
Winds Aloft Forecast
The graphical winds aloft chart uses barbs and pennets to show wind speed:
- Half barb: 5 knots
- Full barb: 10 knots
- Pennet: 50 knots
The textual product encodes the direction, speed, and temperature aloft:
- 2518+06 = 250 degrees at 18 knots, temperature +6 degrees C
- For wind speeds > 50 knots:
- 50 is added to the wind direction (making it an impossible direction)
- The 1 is left off of the wind speed
- Thus, 731960 = 230 degrees at 119 knots, at -60 degrees C
- 73 - 50 = 23 => 230 degrees
- 19 + 100 = 119 knots
- 60 => -60 degrees C
- For wind speeds > 199 knots:
- They will place 99 in the wind direction, and still add 50 to the direction
- Thus, 779960 = 270 degrees at >199 knots, and -60 degree C
- They will place 99 in the wind direction, and still add 50 to the direction
- Winds that are “light and variable”
- 9900+09 = Light and variable, +9 degree C
- Note:
- All texual reports (METARs, TAFS, FAs): Wind direction is in true degrees
- All radius recieved wind reports (ATIS, ASOS, AWOS, Tower): Wind direction is in magnetic degrees
Terminal Aerodrome Forecast (TAF)
- Doesn’t really tell you what’s going on in the clouds
METARs
- METARs are old information
- Compare with forecast and see if they were
PIREPS
- Beware of old pilot reports
- The type of aircraft should color your interpretation of the report
- Larger airplanes can handle more turbulence
- Faster airplanes will spend far less time in icing, and their skin is usually warmer due to the the friction of fast moving air
Area Forecasts
- Occluded fronts usually means wind shear
- Look for mountain wave
- Winds increasing with altitude above a ridge and above 20-30 knots
Cockpit Systems
- Airborne Weather Radar
- Reflects off precipitation
- Look for a steep change in precipitation return
- Adjust the tilt
- Note that snow (which usually occurs high in clouds) does not give much radar return
- Attenuation occurs when heavy rainfall returns most of the radar signal
- Then, you may only be able to see 5-10 miles ahead
- You have no idea what lingers beyond the effective range
- To help, adjust the tilt to pick up some ground returns
- If you aren’t getting ground return in the area behind the storm, you know you can’t pick precip either
- Stormscope/Strikefinder
- Detects lighting
- Don’t point the airplane towards discharges
- Isn’t affected by attenuation
- Clear the screen and observe the rate of reappearing strikes
- NextRAD weather radar
- They are always history
- Lower resolution than airborne radar


- Free - Includes a B-MICRO backtesting node.
- Prime - Includes the basic features required to get started with QC resources and allows collaboration between members.
- Professional - Includes company features, version control with git, custom deployments of LEAN, and ownership of projects.


Tim Dennis is the
Director of the Social Science Data Archive at the UCLA Library where he provides research data services,
including, data management, instruction, one-on-one consulting, and community building. He is a regular user of R,
Python, SQL and command-line tools and has extensive experience helping researchers and students with these tools.
Instructor Trainer


AddonEditor is an add-on for Firefox that allows you to use an external editor when building add-ons with the Add-ons Builder (aka Flightdeck). Yeah, say that 10 times fast.
While Skywriter (aka Bespin) is nice, it's just not [insert your favorite editor here]. So I stole the code from the Ubiquity project for loading an external app as editor, and converted it to a CommonJS module for Jetpack (which I've listed on the Jetpack Modules page). I built an add-on using Jetpack's page-mod module to add buttons to the Add-on Builder for loading a file in an external editor:
When you click the button the first time, you're prompted with a file-open dialog. Select the editor application of your choice, and the file will open in it. From then on, your chosen editor will automatically load files when you click the button. To clear your choice, choose the other button.
Install AddonEditor. Requires Firefox 4 Beta 7 or newer.
Clone and make your own, based on AddonEditor. I built it using Jetpack 0.10, which isn't released yet. However, I don't think it takes advantage of anything new, so it might be test-able from the Builder. But the Builder is giving errors when I hit the "test" button (which I've reported to Zalun), so I can't tell for sure yet.
BEWARE:
- I've only tested on Linux. Let me know in the comments if it works or doesn't for you.
- Terminal apps not liked, apparently: /usr/bin/vim hangs Firefox completely. /usr/bin/gvim works fine.
- The UI augmentation to Flightdeck probably made Zalun puke. It should probably just be an option in the context menu or something. Except that you'd never find it. Ideas?


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Main Features
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Multiple Image classification using MobileNet and p5.js
The results will be saved to a JSON file when finished


Ruth C. Turnbull
Ruth C. Turnbull, 94, of Whitewater, passed away peacefully on Thursday, October 31, 2019 at Fairhaven Senior Services where she received loving and compassionate care for the past 14 years.
Ruth was born on April 18, 1925 in Corfu, NY, daughter of the late Charles and Florence (Burgess) Fincher. She graduated from Corfu High School and attended 1 year of Nursing School at Buffalo General.
Ruth's life revolved around family, community and Fairhaven.
Ruth will be greatly missed by her children, Sandra (Christopher) Rogers of Fort Atkinson, WI and Paula Pendergast of Rochester, MN; stepchildren, Sharon (Gary) May and Thomas (Michelle) Turnbull both of Batavia, NY; grandchildren, Laura and Liz Gramley both of Madison, Jennifer (Steve) Mahoney of Fort Atkinson, Ryan (Jennifer) Pendergast of Rochester, MN, Sarah Pendergast of Austin, TX, Jessica (Scott) Colby of Cazenovia, NY, Darrick May of Colorado, Bryan (Jillian) May of Rhode Island and J.T. Turnbull of Batavia, NY; great grandchildren, Ethan, Jayson and Lindsey Pendergast, Phineas and Landis Colby, Astrid Reynolds and Audrey and Evelyn May. She is also survived by many nieces and nephews.
Ruth was also preceded in death by her husbands, Robert Norton and Roy Turnbull and her siblings, Lewis, Thelma and Dean.
Following her wishes, her body was donated to UW-Madison Medical School.
A service will be held at a later date in East Pembroke, NY, and she will be buried next to her first husband, Bob at Hillside Cemetery.
For those wishing to make a memorial gift, please consider the Fairhaven Employee Fund, 435 W. Starin Rd., Whitewater, WI 53190 (money is dispersed among the employees who make Fairhaven such a wonderful place to live) or Rainbow Hospice, 147 W. Rockwell St., Jefferson, WI 53549.
The Dunlap Memorial Home in Fort Atkinson, WI is assisting the family.
www.DunlapMemorialHome.com


'Hunters' Trailer: Al Pacino Assembles His Gang of Nazi Hunters in Amazon Series From Jordan Peele (Video)
Thriller is slated to premiere next year
by Reid NakamuraAmazon released a full-length trailer for “Hunters” on Thursday, giving a fuller glimpse at the rag-tag team assembled by Al Pacino to hunt Nazis in the upcoming thriller series.
Set in New York City in 1977, “Hunters” centers on an eclectic team of so-called Hunters who have discovered that hundreds of high-ranking Nazi officials are living among in the U.S. and conspiring to create a Fourth Reich.
Executive produced by Jordan Peele, the series stars Pacino as the leader of the hunters, alongside Logan Lerman, Jerrika Hinton, Josh Radnor, Kate Mulvany, Tiffany Boone, Greg Austin, Louis Ozawa Changchien, Carol Kane, Saul Rubinek, Dylan Baker and Lena Olin.
Also Read:
The series was created by David Weil (“Moonfall”), who serves as executive producer and co-showrunner alongside executive producer Nikki Toscano. Alfonso Gomez-Rejon (“American Horror Story”) will direct the pilot and is also an executive producer.
Other executive producers include Peele, Win Rosenfeld, Nelson McCormick and Tom Lesinski.


Digital Navigation System
This tool will help you create a better and more seamless Digital Journey for your customer.


---
title: MoraLife
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MoraLife is the Digital Conscience and Moral Accounting application for iOS®. Keep track of your Virtues and Vices and see if you are living up to your own standards. It is maintained on Github. You can review the docset as well.
With MoraLife you can: