ckit
ckit is a C front end written in SML that translates C source code (after preprocessing) into abstract syntax represented as a set of SML datatypes. It also provides facilities for extending the C language with additional syntactic constructs, which can be useful for implementing "C-like" domain-specific languages as well as C dialects. Ckit is currently used as the front end for a variety of tools for static analysis of C code and at least one domain-specific language. Documentation is still rudimentary at this point. There is an overview (file doc/overview.html) explaining how to get started, and the signatures of the major components are commented. The ckit software is available as part of the normal SML/NJ installation in the directory ckit.Status
The latest version is 1.0, released 31 March 2000.Ckit has been used extensively to parse large code bases. While the parser is very stable, the type checker has been less thoroughly tested. Known open bugs can be found in the file BUGS. A record of previously fixed bugs is at the end of the file HISTORY.
Contact information
Bugs
Report bugs to<EMAIL_ADDRESS>The list of currently open bugs is available in the BUGS file.
Credits and History
David Ladd of Bell Labs in Naperville wrote a prototype C parser using ML-Lex and ML-Yacc in the early 90s which was used by Daniel Jackson and Gene Rollins at CMU for use in a program slicing tool (ChopShop, 1994).
Starting in late 1997, Satish Chandra (Bell Labs, Naperville) and Michael Siff (University of Wisconsin-Madison) extensively rewrote the parser and fixed numerous scoping problems, making it possible to parse the SPEC benchmarks and large industrial code bases. They also developed ML types for representing abstract syntax trees and C types and a translator from parse trees to abstract syntax. They used this infrastructure in various program analysis tools.
Starting in April 1998, Nevin Heintze and Dino Oliva (Bell Labs, Murray Hill), later joined by Dave MacQueen and with continuing assistance from Satish Chandra, turned this tool into a full-fledged extensible frontend, adding a type checker, pretty-printer, and syntax extension mechanisms as well as rewriting the parser to support error recovery. This effort lead to the current ckit, which has been used to process multi-million line industrial code bases.


Hornets Player Mocks Dak Prescott’s Hip Thrusting During Warmups (VIDEO)
by Darrelle LincolnDak Prescott likely never knew his pregame ritual that he does before every game would turn into the new thing to do, but here we are…
The hip thrusting he displayed on Sunday Night Football before the game against the Minnesota Vikings has now made its way to the NBA.
On Friday night, Charlotte Hornets player Devonte Graham was spotted on the court mocking the Dallas Cowboys QB with some hip thrusting of his own.
That is just awesome.


Public Member Functions | |
| svg_manipulator (G const &g, std::string const &style, int size) | |
Friends | |
| template<typename Char , typename Traits > | |
| std::basic_ostream< Char, Traits > & | operator<< (std::basic_ostream< Char, Traits > &os, svg_manipulator const &m) |
Stream manipulator, streams geometry classes as Virtual Earth shape
Definition at line 209 of file write_svg.hpp.
| boost::geometry::svg_manipulator< G >::svg_manipulator | ( | G const & | g, | |
| std::string const & | style, | |||
| int | size | |||
| ) |
Definition at line 213 of file write_svg.hpp.
| std::basic_ostream<Char, Traits>& operator<< | ( | std::basic_ostream< Char, Traits > & | os, | |
| svg_manipulator< G > const & | m | |||
| ) | [friend] |
Definition at line 220 of file write_svg.hpp.
|
December 1, 2009 |
Copyright © 1995-2009 Barend Gehrels, Geodan, Amsterdam Copyright © 2008-2009 Bruno Lalande, Paris Copyright © 2009 Mateusz Loskot, Cadcorp, London |


Player Name
Color Count
Positions
Rounds
Player count
New game
Exit
My Guess
Guess
-loading-
State
-waiting-


Quiet rainy day down in Corvallis with the fam. Cora's sleeping, lunch cooking, life is good.
9/19/2009, 11:24:58 AM
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Quiet rainy day down in Corvallis with the fam. Cora's sleeping, lunch cooking, life is good.
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Founded in 2012 by Danielle Durán, M.S., Better Statistical Consulting has over 7 years of experience in quantitative analysis. Located in downtown Albuquerque, New Mexico, BSC offers services related to analyzing quantitative data and reporting results in academic journals and business briefs alike. Recent projects include research design, completion, analysis, and report production for Caterpillar, Inc., and data analysis for the Illinois Environmental Protection Agency and the New Mexico Department of Health. Danielle, a social science researcher by training, has an educational background in statistics and research methods. Her propensity for data analysis and special pricing offers competitive benefits for clients.
Better Statistical Consulting provides many data services, for professionals, students, and researchers. Danielle has experience analyzing data from diverse fields, including economics, environmental conservation, education, mental health, sociology, and business, among others. BSC offers the main services:
Better Statistical Consulting offers services that fall under two broad categories: assisting with research design and statistical considerations for your study, and performing the data analysis with the appropriate explanation of results. BSC quotes each service separately, so clients may choose to use one service or both, depending on the stage of their project. This allows clients to choose the level of assistance best suited to their project.
The process of research design includes choosing an appropriate methodology, study design, sampling methods as applicable, and forming a data analysis plan.
The process of statistical work includes executing the data analysis plan, interpreting results and writing up findings according to the medium of distribution (article, dissertation, etc.).
BSC handles all of the work on clients’ projects directly. All communication will is directed between the owner, Ms. Pasko, and the client.
Contact BSC by phone or email
to get started today.
Rates vary by the services requested.
Consultations and estimates are FREE.
Special introductory rate for new clients:
Free consult, estimate, and half off hourly rate for the first hour.
Student rate: $10 off standard hourly rate for students with valid ID.
Email<EMAIL_ADDRESS>for more information.
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Albuquerque, NM 87120
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The Band, ‘The Band (50th Anniversary Edition)': Album Review
by Michael GallucciIt didn't take long for Bob Dylan's backing group to claim its own identity. With 1968's Music From Big Pink, the Band not only anticipated a move toward more stripped-down and roots-oriented songs – something they picked up from their former boss – they also helped ease the transition from one decade into another, as the Summer of Love gave way to other, more musically adventurous directions.
With their second album, simply titled The Band and released in 1969, the quintet – Rick Danko, Levon Helm, Garth Hudson, Richard Manuel and Robbie Robertson – basically invented modern Americana, tying their inherent musicality to a sound and aesthetic rooted in century-old history.
Its influence can still be heard 50 years later–- from the front-porch swing of "Rag Mama Rag" to the album's centerpiece, "The Night They Drove Old Dixie Down," a Civil War primer viewed from the losing side. The Band's appeal was etched with a timelessness that sounded little like the Woodstock and Altamont generations it got caught in the middle of when the album came out.
That appeal remains a strong draw half a century later on The Band (50th Anniversary Edition), which gathers the remixed album, outtakes, surround mixes and the group's never-released set from the Woodstock festival on a series of CDs, Blu-rays and vinyl.
The alternate takes, early versions and instrumental mixes won't change your mind about what made it to the original album. It was perfectly assembled in 1969 by the Band and producer John Simon in Sammy Davis, Jr.'s Los Angeles pool house. Instead, the bonus tracks – about half previously unheard; others have appeared on reissues over the years – serve to remind you just how accomplished, and important, each member was in his various roles. (Listen to the way Hudson's wah-wah-powered clavinet drives "Up on Cripple Creek" like a dusty jaw-harp, while Manuel's piano subtly echoes in the background.)
The key new addition here is the Band's full Woodstock performance, which consisted mostly of Big Pink songs along with some covers, including an electric take on the Four Tops' "Loving You Is Sweeter Than Ever." The classic 1972 live album Rock of Ages chronicles how great they were as a live act, and by that time, they pretty much had everything nailed down. There are some creaks here and there in the Woodstock set, but this human element opens up the music even more. Along with Creedence Clearwater Revival's previously unreleased show from the fest, which also finally saw release in 2019, the Band's 11-song show colors Woodstock history in some brilliant new tones.
But it all comes back to that original album, stunning in its ability to uncover depth and character in the seemingly simple design of its packaging and appearance. The Brown Album positions itself as a snapshot of a time gone by, but it's really more forward-looking than that. Robertson's expert songs mined the past for inspiration, and musically many of them could be played on instruments that were around a century earlier, yet they were forging a new path. Appropriately, the 50th-anniversary edition is more revisit than revelation, but that takes nothing away from this landmark and still-essential album.
See the Band Among the Top 100 '60s Rock Albums
'Please Please Me'
The Beatles (1963): The Beatles' debut album is the sound of rock 'n' roll at the crossroads. On one hand, many of its songs are rooted in the '50s (and earlier) music the group revered. On the other hand, this is the '60s taking shape.
'Freewheelin' Bob Dylan'
Bob Dylan (1963): From the loopy title to the goofy cover image, Dylan’s second LP revels in something you don’t see much anymore: his humor. Even the liner notes are funny: “Anything I can sing, I call a song," Dylan writes. "Anything I can’t sing, I call a poem.”
'With the Beatles'
The Beatles (1963): After spending just one day recording their debut album, the Beatles appeared to take a more leisurely pace here, piecing together the follow-up over seven sessions. The real reason? They were crisscrossing England, building a rabid fan base that would make 'With the Beatles' their first U.K. million seller. Next up: America!
'A Hard Days Night'
The Beatles (1964): Even though it shares a title with the Beatles' first movie, 'A Hard Day's Night' plays more like the group's third LP than a soundtrack. Yeah, some of the songs are in the film, but this classic stands confidently on its own.
'The Animals'
The Animals (1964): These soul shouters might have looked, at least on paper, like yet another Brit band flipping through the familiar American R&B songbook. But what they did with a trio of Chuck Berry songs made their counterparts sound wafer thin, like put-ons. Then there was a scorching take on "House of the Rising Sun," as dark and full of portent then as now.
'Beatles for Sale'
The Beatles (1964): On standout tracks like "No Reply," you hear, finally, everything the Beatles would one day be. Inventive in that it has no chorus as such, this is a key early moment for another reason: It’s one of the first Beatles songs with a complete story. They were just getting started, of course. There'd be many more to tell.
'Now!'
The Rolling Stones (1965): The Stones' third U.S. album gathers songs from various U.K. sides – LPs, singles, leftovers – and turns out to be the band's first essential release. It's heavy on blues and R&B covers, but "Heart of Stone," one of Mick Jagger and Keith Richards' first original numbers, signals things to come.
'Bringing It All Back Home'
Bob Dylan (1965): The album that changed everything for Dylan. Side one is all electric, plugged-in fury; side two is sprawling acoustic folk. Within the next 15 months, he'd release two more eternal classics. It all starts here.
'Help'
The Beatles (1965): More than just the soundtrack to the Beatles' second movie, 'Help!' is the first step on the path that led to 'Rubber Soul,' which led to 'Revolver,' which led to 'Sgt. Pepper's.' In other words, it's the moment where they outgrew Beatlemania and became the 20th century's most important music artists.
'Mr. Tambourine Man'
The Byrds (1965): A Bob Dylan song reimagined into something like the Beach Boys, and also something like the Beatles – and nothing like folk music – propelled the Byrds to their first No. 1. Oh, and it popularized the folk-rock movement.
'Out of Our Heads'
The Rolling Stones (1965): We prefer the U.S. version of the Stones' classic 1965 album, because it includes "(I Can't Get No) Satisfaction," among other differences. Either way, from here on out the group was on a, um, roll, tossing aside blues and R&B covers for world-shaking originals.
'Today'
The Beach Boys (1965): The first real album to showcase Brian Wilson's budding genius, 'Today!' is the ramp-up to 'Pet Sounds,' featuring Beach Boys classics like "When I Grow Up (To Be a Man)," "Help Me, Rhonda" and other teenage symphonies to God.
'Highway 61 Revisited'
Bob Dylan (1965): The gauntlet could be found clanging around on the floor from the opening stanza of “Like a Rolling Stone,” a career-making track from Dylan's second electric album. “The first two lines,” Dylan once said, “which rhymed ‘kiddin’ you’ with ‘didn’t you,’ just about knocked me out.” Us too.
'Paul Butterfield Blues Band'
Paul Butterfield Blues Band (1965): The debut album by Butterfield and his ace band is loaded with blues classics by Elmore James, Muddy Waters and Willie Dixon. For a bunch of white guys from Chicago, they sure made it sound effortless.
'Having a Rave Up'
The Yardbirds (1965): Half Eric Clapton (on the live blues part), half Jeff Beck (on the more experimental pop stuff), this is the two sides of the Yardbirds reaching for a common ground. Take your pick: The electricity surging through both guitarists powers a band that had songs and chops to spare.
'Rubber Soul'
The Beatles (1965): The Beatles traded their pop smarts for something more mature on 'Rubber Soul,' up to that point the most accomplished album made by a rock band. The seeds of the music's future can be heard in "Norwegian Wood (This Bird Has Flown)," "Nowhere Man" and "In My Life." This is the moment where Beatlemania grew up.
'My Generation'
The Who (1965): A little rough, a little raw, somewhat unfocused and not quite sure of itself, the Who's debut album nonetheless introduced listeners to one of rock's all-time greatest bands. The title track is the killer here, but dig deep and you'll hear garage rock at its most soulful.
'Aftermath'
The Rolling Stones (1966): Think of it as the Rolling Stones' 'Rubber Soul' – the album that signaled a giant leap forward. Brian Jones plays around with instruments, Jagger and Richards write every single song for the first time and the group looks inward to see the future.
'Pet Sounds'
The Beach Boys (1966): Is this the most gorgeous album ever made? Possibly. It's certainly one of the greatest pop records of the 20th century, a song cycle of teenage dreams, glorious harmonies and kitchen-sink production that Brian Wilson learned from Phil Spector.
'Blonde on Blonde'
Bob Dylan (1966): Dylan capped his 15-month hitting streak with this double-album masterpiece that's looser, tougher and more tuneful than almost anything else in his vast catalog. After its release, he disappeared for a year and a half, eventually re-emerging as a windswept cowboy.
'Freak Out'
The Mothers of Invention (1966): Frank Zappa's debut album was full of ambition: a double LP, a concept record and a weird mix of everything from doo-wop to pop to soul to (yes) freak-out rock music. He messed around with variations on these themes for the rest of his career.
'Blues Breakers With Eric Clapton'
John Mayall's Bluesbreakers (1966): Clapton was already a star with the Yardbirds when he split that group and joined British bluesman Mayall's expanding project. And he's the star here, giving blues standards by Robert Johnson and Little Walter new, warm hues and cementing his status as one of the all-time guitar greats.
'Roger the Engineer'
The Yardbirds (1966): Jeff Beck leads the Yardbirds on a collection of originals that treads the middle ground between the blues and Britpop. "Over Under Sideways Down" (its U.S. album title) was the semi-hit, but the flashes of psychedelic mystery in Beck's guitar are pure magic.
'Sunshine Superman'
Donovan (1966): As new producer Mickie Most moved him determinedly toward psychedelia, Donovan's familiar flights of lyrical fancy finally found a suitable context. There were still a few lingering moments of folk to be found, but the bulk of this album dresses up one of the era's most multi-colored voices in just the right amount of pomp.
'Revolver'
The Beatles (1966): 'Rubber Soul' was a tentative step into new territory for the Beatles. 'Revolver' is a full leap. The studio became their playground here, as they tricked out their songs with tapes, backward masking and a sense of adventure that pretty much opened up the decade to new sounds.
'Parsley, Sage, Rosemary and Thyme'
Simon and Garfunkel (1966): On their third album, Simon & Garfunkel begin to expand their pop and folk horizons, enveloping deeper shades of music along the way. Paul Simon's words were getting sharper too; "Homeward Bound" points to bigger and grander things to come.
'Fresh Cream'
Cream (1966): Restless Eric Clapton's first supergroup transports his love of vintage blues music to contemporary electric jams, with Ginger Baker and Jack Bruce making up his best-ever rhythm section. Cream's debut came out fully formed, and set a template that bands would imitate for years to come.
'The Doors'
The Doors (1967): The Doors sounded unlike any other band of the era. Guided musically by Ray Manzarek's simultaneously haunting and playful keyboards and pushed forward lyrically by Jim Morrison's bruised poetry, their debut album is sexy, dangerous, pretentious and occasionally self-absorbed. Just like the '60s.
'A Quick One'
The Who (1966): The title track was Pete Townshend's first stab at a rock opera (and a mighty good one at that). But the rest of the Who's second album is pretty awesome too, with the band moving outside of the limitations of its debut LP and finding new musical ground to explore and plunder.
'Between the Buttons'
The Rolling Stones (1967): Go for the U.S. version of the Stones' 1967 album. "Let's Spend the Night Together" and "Ruby Tuesday" are added, and give the record, as well as the band, a pre-Summer of Love boost. Forget 'Their Satanic Majesties Request'; this is the group's greatest psychedelic trip.
'Younger than Yesterday'
The Byrds (1967): Everybody was embracing new sounds in 1967, including the Byrds, whose fourth album steers even further away from the folk rock of their previous records. "So You Want to Be a Rock 'n' Roll Star" is self-effacing psychedelia, but there was room for Dylan, too, in "My Back Pages," which sorta gave the LP its title.
'Surrealistic Pillow'
Jefferson Airplane (1967): Jefferson Airplane's second album introduced their new singer, Grace Slick, and that made all the difference in the world. She brought two great songs – "Somebody to Love," written by her brother-in-law, and "White Rabbit" – as well as a sense of what the Summer of Love was all about.
'Velvet Underground and Nico'
Velvet Underground and Nico (1967): Andy Warhol kinda forced German singer Nico onto the ragged New Yorkers, but the three cuts she sings on here are among their very best. Her smoky, detached tone perfectly fits the tearing, buzzing and shredding played by the inventors of noisy art rock.
'Are You Experienced?'
Jimi Hendrix Experience (1967): He didn't just rewire the blues, plugging directly into the new age, and didn't just begin building a heavy-metal template. This was bigger. Hendrix's debut saw him take the familiar artiface of electric guitar and make it into something brand new, an otherworldly experience – confusing, exciting, surprising and way-cool loud.
'Sgt. Pepper's Lonely Hearts Club Band'
The Beatles (1967): The loose, over-reaching theme might have made this the big-bang of prog. But 'Sgt. Pepper's,' more often than not, is too much fun for that. A fizzy combination of ambition and pop smarts – underscored by an eye-popping maze of cover-art cultural icons to pore over – has always made this the Beatles' most-praised work, and rightfully so.
'Moby Grape'
Moby Grape (1967): Other San Francisco bands got more attention during the period, but Moby Grape boasted a trio of dynamic guitar players who knew when to pull back and let the songs (rather than the grooves) take over. Their debut album remains a milestone of the scene.
'Piper at the Gates of Dawn'
Pink Floyd (1967): Before the 10-minute space-age jams, before the prog and before the groundbreaking concept albums that turned on a generation, Pink Floyd were a psychedelic band with a fearless leader who chose to burn out rather than to fade away. Syd Barrett is not only the instigator, but the mad architect behind this captivating set of mind-benders.
'Strange Days'
The Doors (1967): ‘Strange Days,’ in many ways, followed the template of the Doors' self-titled debut from earlier in the year, but – for some reason – not its trajectory up the charts. That means there's still much to discover here, as they began to feel more comfortable experimenting in the studio.
'Something Else'
The Kinks (1967): The Kinks' lead-in to their 'Village Green' masterwork is cut from the same pastoral cloth, but some of the band's garage-rock roots seep through. Still, songs like "David Watts" and "Waterloo Sunset" point to sunny days ahead.
'Again'
Buffalo Springfield (1967): Buffalo Springfield's second album hinted at the turmoil behind the scenes. Neil Young's songs sound like solo cuts, Stephen Stills brought in session musicains for some of his and there isn't much band interaction. The songs are great, though, and it's a cornerstone record of country-folk psychedelia.
'Magical Mystery Tour'
The Beatles (1967): Pity the poor Brits, who only received the first half of this album as an EP. Side two of the U.S. version, meanwhile, included the greatest-ever Beatles double-sided single in "Penny Lane" and "Strawberry Fields Forever." For once, the '60s-era greed of Capitol Records, which chose to pair the original film’s music with a trio of recent hit 45s, actually paid off.
'Disraeli Gears'
Cream (1967): The cover of Cream's second album pretty much tells you what to expect inside – a kaleidoscope of psychedelic colors and senses-assauting self-indulgence. From the period anthem "Sunshine of Your Love" to the mini-prog epic "Tales of Brave Ulysses," this is the band at its widescreen and over-abundant best.
'Forever Changes'
Love (1967): Love's third album is the sound of the Summer of Love kissing itself. Embellished by horns, strings and a pastoral ethos that transforms these former garage rockers into one of the era's best baroque pop groups. 'Forever Changes' is their masterpiece, and a glorious document of the period.
'Days of Future Passed'
The Moody Blues (1967): A breakthrough moment for the Moody Blues’ second, more prog-focused line-up, highlighted initially by the intriguingly episodic “Tuesday Afternoon” and then, much later, by “Nights in White Satin” – which for some reason wasn't released as a single in the U.S. until 1972, where it promptly shot to No. 2.
'Axis: Bold as Love'
Jimi Hendrix Experience (1967): Still Hendrix's most indelible blending of African-American roots-music showmanship, lyrical Dylanesque whimsy and grease-fire virtuosity. His impishly magnetic personality, retro-cool fashion sense and flinty outsider inventiveness glued it all together.
'John Wesley Harding'
Bob Dylan (1967): Released in the time immediately following 'The Basement Tapes' (which wouldn't see the light of day 'til the dawn – or is that yawn? – of disco), Bob Dylan goes twangy, and with resounding success. His rootsy return, in fact, set the stage for a seismic shift in rock.
'Sell Out'
The Who (1967): Pete Townshend's first album-length concept project takes the form of a pirate radio station, complete with jingles, ads and pop-music static. 'Tommy' and 'Quadrophenia' are better realized, but 'The Who Sell Out' is way more fun.
'There Are but Four Small Faces'
The Small Faces (1967): Retitled and reshuffled for U.S. audiences, this followed the confusing release of two separate self-titled albums by the group. What made perfect sense: adding the ageless single "Itchycoo Park" into the lineup, to say nothing of "Here Come the Nice" and "Tin Soldier," as the band rapidly expanded its musical palette.
'Mr. Fantasy'
Traffic (1967): Traffic's debut leveraged their deeply talented four-man cast perfectly, as Steve Winwood, Chris Wood, Jim Capaldi and the soon-to-depart Dave Mason created an intriguing, endlessly eclectic blend of psychedelic blues.
'Notorious Byrd Brothers'
The Byrds (1967): Behind the scenes, the Byrds were falling apart (David Crosby was fired right after they recorded 'The Notorious Byrd Brothers'), but all is peace-and-love harmony in the songs. Ramping up to 'Sweetheart of the Rodeo,' they kiss the '60s goodbye.
'White Light White Heat'
Velvet Underground (1968): Their debut featured moments of avant-garde noise sprinkled among the nihilistic junkie-pop. But nothing, really, to prepare you for this ferocious cacophony. It’s been said that producer Tom Wilson actually left during the inner ear-rearranging sessions for "Sister Ray." It's that kind of record.
'Vincebus Eruptum'
Blue Cheer (1968): Heavy, so very heavy, and completely stoned sounding, 'Vincebus Eruptum' can be credited by turns as the birthplace of metal, of punk and of grunge. Whatever you call it, this furious outburst remains a touchstone of rock primitivism.
'Steppenwolf'
Steppenwolf (1968): The 'Easy Rider' film solidified Steppenwolf's "Born to be Wild" as a hard-rock anthem for the emerging counterculture, but there was more to this confident debut – from their searing take on "The Pusher" to crunchy nods to the influences of Chuck Berry and blues legend Willie Dixon.
'Child Is Father to the Man'
Blood, Sweat and Tears (1968): Al Kooper made only one album with the group he helped form, but it influenced many of the horn-heavy acts that sprouted over the next few years. And unlike subsequent Blood Sweat and Tears records, 'Child Is Father to the Man' isn't weighed down by sap.
'Peter Green's Fleetwood Mac'
Fleetwood Mac (1968): Green, who had met Mick Fleetwood and John McVie as members of John Mayall’s Bluesbreakers, later descended into mental illness – opening the door for a more mainstream turn by the band. There is much to recommend for blues lovers, however, in these gritty early recordings.
'We're Only in It for the Money'
The Mothers of Invention (1968): Frank Zappa was no fan of hippies and the Summer of Love, and one of his sharpest albums takes aim at a period milestone: the Beatles' 'Sgt. Pepper's Lonely Hearts Club Band.' This isn't playful parody; this is satire at its most cutting.
'Bookends'
Simon and Garfunkel (1968): Coming off the outsized success of work on 'The Graduate,' Simon & Garfunkel returned with a painstakingly recorded, fiercely unified song cycle that focused on the stages of life. As they moved confidently away from early folk-revival mannerisms, the duo found its shared voice.
'Odessey and Oracle'
The Zombies (1968): 'Odessey and Oracle' was pretty much ignored when it was released in 1968; it didn't fare much better when "Time of the Season" became a hit a year later. But over the years the album's reputation has grown, and for good reason: It's one of the era's most ambitious and exciting LPs.
'Ogden's Nut Gone Flake'
The Small Faces (1968): Winkingly titled after a brand of tobacco sold around Liverpool, this themed album found the Faces continuing a head-long dive into psychedelia. What was interesting is that they still sounded as nervy and tough as ever.
'In-A-Gadda-Da-Vida'
Iron Butterfly (1968): This will always be dominated by the side-long, 17-minute title-track jam, a heavy-psychedelic triumph that made the album the first ever to earn platinum-selling status. Less well-known – but worth exploring – are the other three sides, which are filled with only-in-the-'60s variations on that same distorted acid-rock attitude.
'Music From Big Pink'
The Band (1968): Before they even recorded their debut album, the Band had taken part in a controversial, whirlwind tour with Bob Dylan and had recorded the historic 'Basement Tapes' with him. On their own, they covered Dylan, combed America's back roads and made a timeless record of faith, hope and regret.
'Wheels of Fire'
Cream (1968): Split into studio and live discs, 'Wheels of Fire' became the first platinum-selling double album on the strength of thumping originals like "White Room" and definitive concert excursions through treasured blues favorites like "Spoonful" and, in particular, "Crossroads."
'Anthem of the Sun'
The Grateful Dead (1968): The Dead's second album is part live record, part studio LP and all mad tinkering behind the scenes. It's the ultimate trip album by a band that knew a thing or two about trips. Songs – like the 11-minute centerpiece "Alligator" – slip in and out of each other with sly winks along the way.
'Super Session'
Mike Bloomfield, Al Kooper and Stephen Stills (1968): This was, to be sure, the product of a different time -- a time when players of a certain pedigree could get together in the studio, just to see what happened. Such is the mercurial, and quite enduring, magic surrounding 'Super Session.'
'Cheap Thrills'
Big Brother and the Holding Company (1968): Big Brother's self-titled debut from 1967 is clumsy and loaded with filler. But 'Cheap Thrills,' partly recorded live, is a sterling showcase for Janis Joplin, who quickly outgrew this often lumbering band and launched a short, but successful, solo career.
'Sweetheart of the Rodeo'
The Byrds (1968): The Byrds were in a period of flux by 1968, having lost a few original members and testing some new musical waters. For 'Sweetheart of the Rodeo' they recruited Gram Parsons, got twangy and pretty much invented country-rock.
'Truth'
Jeff Beck (1968): Beck moves confidently toward a harder-edged blues-rock synthesis, putting the Yardbirds behind him for good. 'Truth' is also where most of us were introduced to Rod Stewart and Ronnie Wood, long before they rose to their own fame. If Beck's smart debut had only accomplished that, it might still have made this list.
'Electric Ladyland'
Jimi Hendrix (1968): A definitive moment for psychedelic rock, and probably the best realization of Hendrix's far-reaching genius, the double-disc 'Electric Ladyland' is also a little too muddled, and certainly a little overstuffed. But his creativity could scarcely be contained at this point, something that would soon lead Hendrix to break up the Experience.
'The Beatles'
The Beatles (1968): The double-record White Album is often seen as the moment when the Beatles split apart, making four distinct solo records under the band name. To an extent, that's true. But this sprawling, mesmerizing work also points to the future, when things weren't so fab and the music took on intriguing new shades.
'Village Green Preservation Society'
The Kinks (1968): Ray Davies turned back the clock to an earlier time with this concept album about Victorian mores and ideology after a few years of cranking out two- and three-minute British garage-rock songs with two and three chords. It's the Kinks' most cohesive work and one of the decade's most accomplished LPs.
'Astral Weeks'
Van Morrison (1968): After Them's garage-rock blasts and some early poppy solo records (like the hit "Brown Eyed Girl"), Morrison scaled back with a pastoral, acoustic collection of songs with jazzy backing, twisting wordplay and crisscrossing phrasing that helped secure his legend. His masterpiece.
'Beggars Banquet'
The Rolling Stones (1968): A welcome return to their strengths, after a detour into psychedelia, 'Beggars Banquet' found the Stones suddenly coming into their own – as if they finally had gained a perspective on what made them so singular great all along.
'Led Zeppelin'
Led Zeppelin (1969): There's no denying this set's heavy-blues immediacy, its sense of throwback menace, or even that it's one of the all-time great debuts in rock. Think about this, though: For all of its raw power, the album actually only hints at where Led Zeppelin would soon go.
'The Gilded Palace of Sin'
Flying Burrito Brothers (1969): After a brief stint with the Byrds, Gram Parsons took bassist Chris Hillman with him and formed the Flying Burrito Brothers. Their debut album remains a cornerstone of the country-rock movement, the moment where back roads and front porches intersected with soul, guitars and attitude.
'Kick Out the Jams'
MC5 (1969): Recorded live in Detroit over two October nights in 1968, 'Kick Out the Jams' might be the most kinetic concert recording ever made. Only later did it become clear that this album, loud enough at times to deafen an army, had been one of the first pebbles in an avalanche that would one day be called punk rock.
'Happy Trails'
Quicksilver Messenger Service (1969): Long before they were a signed act, Quicksilver Messenger Service had been road warriors, and that time together helped them perfect an intriguing blend of rock, folk, blues, Bo Diddley, jazz, samba, bluegrass and some kind of crazy lysergic hoodoo. It's still best heard here, onstage.
'Velvet Underground'
Velvet Underground (1969): After two albums of art-noise discord, the Velvet Underground scaled back and crafted a late-night folk record of ballads and pretty melodies. But don't be totally fooled. Beneath that tranquility simmers some of Lou Reed's usual spit and spite.
'With a Little Help From My Friends'
Joe Cocker (1969): Joe Cocker remains most famous for what he did with others’ words, even in an era that prized songwriting more than singing. Along the way, Cocker’s audacious updates often superseded even the celebrated originals – and that starts here.
'Crosby, Stills and Nash'
Crosby Stills and Nash (1969): David Crosby (the Byrds), Stephen Stills (Buffalo Springfield) and Graham Nash (the Hollies) had only just released this new supergroup's debut when they played their first gig – at Woodstock. Everybody there apparently bought this 10-song album, which went to No. 6 behind two Top 40 hits.
 It's a perfect celebration and indictment of the '60s too.
'Everybody Knows This Is Nowhere'
Neil Young (1969): After a strangely subdued self-titled album that held none of the complexities that made his work with Buffalo Springfield so powerful, Neil Young hooks up with his garage-band soulmates in Crazy Horse. It's strange to think about now, but this album – a staggering rebuke of that debut, really – arrived just four months later.
'Trout Mask Replica'
Captain Beefheart (1969): Overseen by none other than Frank Zappa, this free-thinking, crazy-rock concerto saw Captain Beefheart (born Don Van Vliet) helping to set the stage for post-punk, New Wave surrealism and alternative all in one ear-popping fell swoop.
'Beck-Ola'
Jeff Beck (1969): And, just like that, the Jeff Beck Group were no more. But not before releasing a second, even more determinedly metallic album. Beck was, for a moment, racing neck and neck with Cream and Led Zeppelin in a quest to harden rock's edges. The lack of more original material, however, told the tale of a band that would soon splinter.
'Accept No Substitute'
Delaney and Bonnie & Friends (1969): Eric Clapton spent a short, but clearly very rewarding, period as a hired gun with Delaney and Bonnie's group of musically gifted friends – and then swiped two of them (drummer Jim Gordon and bassist Carl Radle) to form the nucleus of his Derek and the Dominos project with Duane Allman.
'Green River'
Creedence Clearwater Revival (1969): An Army stint helped John Fogerty's ideas coalesce away from the swiped sounds of the earliest pre-CCR recordings. It also, as heard here on the scalding "Fortunate Son," politicized him on the continuing Vietnam conflict. Importantly, the well-balanced 'Green River' still retrains plenty of their already-patented swamp-gothic mystery, too.
'Santana'
Santana (1969): Timing was everything. Santana's self-titled debut arrived not long after the mostly unknown band had taken the stage at Woodstock and, with “Soul Sacrifice,” quickly creating one of the event's signature moments. 'Santana' shot to No. 4 on the Billboard chart, powered by a U.S. Top 10 finish for "Evil Ways."
'The Stooges'
The Stooges (1969): They weren't the first punk band, and this wasn't the first album to incorporate punk. But Iggy Pop and the Stooges took all of the various pieces that had been lying around, everything that had been presented in scattered moments across others' discography, and muscled it into one ferocious expression of fear, loathing and anger.
'Blind Faith'
Blind Faith (1969): Sometimes oddly disappointing, this supergroup was bouyed with talent – and quickly drowned by expectations. But when Blind Faith put it all together (Steve Winwood's "Can't Find My Way Home" and "Had to Cry Today," Eric Clapton's "Presence of the Lord"), there's ample proof of the greatness that might have been.
'Abbey Road'
The Beatles (1969): Moments away from imploding, the Beatles seemed whole again, though only for a brief moment. If you’re a Paul McCartney fan, this remains his brightest, most artistically satisfying, moment. However, it’s John Lennon’s punctuations (and, to a quickly emerging degree, George Harrison’s), that undoubtably make it so.
'The Band'
The Band (1969): The Band's second album somehow manages to sound like its famous sepia-toned cover: dusty, ancient and infused with timeless classicism. Robbie Robertson wrote like he was reporting from the Civil War's front lines; the rest of the group played like they were coming from a funeral and on their way to a party.
'Led Zeppelin II'
Led Zeppelin (1969): Led Zeppelin begin to emerge from their influences, setting a template for heavy-rock sounds that would stand for generations. A punishing touring schedule had hammered them into fighting shape and, with 'II' they came out swinging.
'In the Court of the Crimson King'
King Crimson (1969): Daring, even today, and far darker than anything happening in psychedelic rock, this album was the match-light moment for prog. When a portion of King Crimson's lineup almost immediately departed, it also marked the first of what would become a continuous revolution of members around stalwart Robert Fripp.
'Willy and the Poor Boys'
Creedence Clearwater Revival (1969): With a hound-dog yawl that combined Little Richard and Howlin' Wolf, Fogerty used a series of strikingly consistent 1969 releases to unleash some of his very best original narratives. As they seemed to bubble up out of some murky bayou, you'd never have guessed CCR were from California.
'Live/Dead'
The Grateful Dead (1969): The Grateful Dead's first-ever full-length concert recording revealed more about them than any studio project ever could. Here, through a series of remarkable improvisations – both in terms of conception and nerve – they presented an ageless snapshot of their free-form genius.
'Volunteers'
Jefferson Airplane (1969): A recording that also featured Jerry Garcia, Stephen Stills and David Crosby, 'Volunteers' might have sunk under their collective all-star weight had Jefferson Airplane not constructed it around such a timely theme of anti-establishment and anti-war sentiments. Then there's Jorma Kaukonen's guitar, which provides a unifying, often angry voice.
'Space Oddity'
David Bowie (1969): This album, also known as 'David Bowie' and 'Man of Words / Man of Music,' serves as the perfect introduction to a man who never stuck around in one place for long. Part folk, part singer-songwriterly ballads and part prog, it belonged to no genre and no era. Just like David Bowie.
'Allman Brothers Band'
Allman Brothers Band (1969): This group was, even on its first recording, already a confident, deeply experienced force to be reckoned with – and you hear that everywhere on their timeless debut. Working off closely collaborative jam sessions, the Allmans arrived with signature songs like "Dreams" and "Whipping Post" at the ready.
'Let It Bleed'
The Rolling Stones (1969): The Stones put an end to the '60s with one of their grimiest, least hopeful albums, a cyncial summation of the decade that made them stars. "Gimme Shelter" was more than the opening song; it was their battle cry for the next few years.
'Boz Scaggs'
Boz Scaggs (1969): Recorded at Muscle Shoals with a group of ace sessions players including Duane Allman, this crackling, very improvisational debut includes forays not just into blue-eyed soul, R&B and blues, but even into country — making this a prototype of the Americana movement to come.
'Grand Funk'
Grand Funk Railroad (1969): A renewed focus on Mark Farner's guitar gave Grand Funk's second studio project a good deal more punch. Still, these approachable trio-based grooves will never be confused with thornier sides by the likes of Cream or Jimi Hendrix. The group's radio-friendly approach to hard rock, in turn, opened the door for acts like Foreigner.


This code simply trims leading and trailing whitespace from a string.
Almost nothing.
Almost everything.
The most obvious difference is that the C++ version goes about writing the
implementation for trim
rather than using something from
the standard library. Why is that?
Well... C++ can, at times, be very minimal in its stdlib. That is to say that no
trim
function exists directly. However, using the ability to remove
sub-sections of the std::string
along with some utilities from the
<algorithm>
header (std::find_if
), a simple and
efficient version can be created.
In practice, most organizations will either develop their own internal utility libraries that would likely include these functions or adopt an open-source implementation such as Boost. As an example, if we were using Boost, we would simply write:
#include <boost/algorithm/string.hpp>
boost::trim(msg);
Obviously there is a bit of code missing (the main
function and
declaration of msg
, but you can see that the important code is
now equivalent to the JS version.
The other difference worth pointing out is that the C++ does the modification to
the string in-place. If we were to examine the msg
in the JavaScript
version after running trim, you'll notice nothing was changed.
var msg = " \t\n\t Hello, World! \t\n\t ";
msg.trim(); // value returned is "Hello, World!"
console.log(msg); // prints " \t\n\t Hello, World! \t\n\t "


We move donations to a truly decentralized ecosystem!
Problem
Plenty of engaged people struggle to finance their projects effectively. Equally, various beneficent people strive to support initiatives purposefully. Organizations mediating the donation process cost money and time, but each, donatee and benefactor, are unwilling to lose value by resigning on these intermediaries.
Educational
... after his apprenticeship as a media designer Max needs 30 Ether for his bachelor studies in communication management in Hamburg.
Cultural
Susan would like to offer guided museum tours for pensioners and needs 2 Ether for their initial organization.
Social
Tanya would like to establish homework care for children of unprivileged families in problem areas and therefore needs 22.5 Ether for rent and working materials.
Ecological
Steven needs 75 Ether for the development of an emission-saving prototype of a new type of engine for her startup company.
Our approach
The DonateImpact Initiative ensures the security and traceability of each donation. Based on the Ethereum Blockchain, we enable donatees to raise their projects autonomously and donators to invest into them straightforwardly. By incarnating a project, the donor recipients simultaneously trigger the embodiment of a smart contract, which allows the benefactors to process the donation directly to the project – without any intermediating institution.
Those who are interested in our society’s progress can donate directly to those who have the time and passion for engaging. Today, costly organizations linking both sides are becoming obsolete. By means of latest technology, the process of transferring the donation from the benefactor to the donatee can be executed as fast and efficient as possible.


Nigerian president launches campaign against defecation in public
Nigerian President Muhammadu Buhari on Wednesday announced a campaign to end defecation in public, in a country where tens of millions of people going to the toilet outside poses a major health risk.
"Nigeria has committed to end open defecation throughout the country by 2025," a statement by the presidency said a day after the United Nations marked World Toilet Day.
The decree set up a new body called the Clean Nigeria Campaign Secretariat to ensure "that all public places including schools, hotels, fuel stations, places of worship, market places, hospitals and offices have accessible toilets and latrines within their premises".
According to the United Nations children agency, Unicef, Nigeria has amongst the highest number of people practising open defecation in the world, estimated at over 46 million people - almost a quarter of the population.
Around Nigeria each year 87 000 children die from diarrhoea, with more than 90% of deaths caused by a lack of water, sanitation and hygiene, according to the World Bank.
The new agency will be disbanded when the goal of ending open defecation has been met, the presidency said.


High-Level
Streams DSL
@jaceklaskowski
/
StackOverflow
/
GitHub
/
LinkedIn
The "Internals" Books:
books.japila.pl
## Agenda 1. [High-Level Streams DSL](#/intro) 1. [StreamsBuilder](#/streamsbuilder) 1. [KStream](#/kstream) 1. [KTable](#/ktable) 1. [GlobalKTable](#/globalktable) 1. [Consumed](#/consumed) 1. [Produced](#/produced) 1. [KafkaStreams](#/kafkastreams) 1. [Kafka Streams DSL for Scala](#/kafka-streams-dsl-for-scala) 1. [Demo: Processing Record Stream with KStream](#/demo-processing-record-stream-kstream) 1. [Demo: Kafka Streams DSL for Scala](#/demo-kafka-streams-dsl-for-scala)
## High-Level Streams DSL
(1 of 2)
1. **Streams DSL** is a high-level API built on top of the Processor API 1. Built-in abstractions for streams and tables * KStream * KTable * GlobalKTable 1. Declarative, functional programming style * Stateless transformations (e.g. **map**, **flatMap**, **filter**) * Stateful transformations (e.g. windowed aggregations) 1. Recommended for most developers, esp. beginners
## High-Level Streams DSL
(2 of 2)
1. Typical development flow 1. Read input streams (from Kafka topics) 1. Apply transformations 1. Write output streams (to Kafka topics or console) 1. Learn more in [The Internals of Kafka Streams](https://books.japila.pl/kafka-streams-internals/kstream)
## StreamsBuilder 1. **StreamsBuilder** is used to define a (processor) topology 1. Loads a record stream into a KStream 1. Loads a changelog stream into a KTable 1. Loads a changelog stream into a GlobalKTable 1. Streams from records in one or more Kafka topics 1. [StreamsBuilder API](http://kafka.apache.org/33/javadoc/org/apache/kafka/streams/StreamsBuilder.html)
## KStream 1. **KStream** is an abstraction of a **record stream** (of key-value pairs) 1. Data record represents a self-contained datum in the unbounded data set 1. Data records (in a record stream) are always interpreted as an "INSERT" * No record replaces an existing row with the same key 1. Examples: credit card transactions, page view events, server log entries 1. [KStream API](http://kafka.apache.org/33/javadoc/org/apache/kafka/streams/kstream/KStream.html)
## KTable 1. **KTable** is an abstraction of a **changelog stream** 1. Data records (in a record stream) are interpreted as an "UPSERT" * "UPDATE" of the last value for the same record key * "INSERT" if a given key doesn't exist yet 1. A record with a **null** value represents a "DELETE" or tombstone for the record's key 1. [KTable API](http://kafka.apache.org/33/javadoc/org/apache/kafka/streams/kstream/KTable.html)
## GlobalKTable 1. **GlobalKTable** is an abstraction of a **changelog stream** * Similarly to KTable 1. Fully replicated per KafkaStreams instance * Local GlobalKTable instance of each application instance will be populated with data from all partitions of the topic 1. Provides the ability to look up current values of data records by keys 1. Can only be used as right-hand side input for stream-table joins 1. [GlobalKTable API](http://kafka.apache.org/33/javadoc/org/apache/kafka/streams/kstream/GlobalKTable.html)
## Consumed 1. **Consumed** defines the optional parameters (metadata) that describe how to consume a record stream * Used in **stream**, **table**, **globalTable**, and **addGlobalStore** operators 1. Learn more in [The Internals of Kafka Streams](https://books.japila.pl/kafka-streams-internals/kstream/Consumed/)
## Produced 1. **Produced** defines the optional parameters (metadata) that describe how to produce a record stream * Used in **KStream.to** operator 1. Learn more in [The Internals of Kafka Streams](https://books.japila.pl/kafka-streams-internals/kstream/Produced/)
## KafkaStreams 1. **KafkaStreams** is a Kafka client 1. Performs continuous computation on data from one or more input topics 1. Sends output to zero, one, or more output topics 1. Executes a DAG topology of Processors 1. [KafkaStreams API](http://kafka.apache.org/33/javadoc/org/apache/kafka/streams/KafkaStreams.html)
## Kafka Streams DSL for Scala 1. **Kafka Streams DSL for Scala** is a wrapper over the existing Java APIs for Kafka Streams DSL 1. Making the Java APIs more usable in Scala * Better type inferencing * Enhanced expressiveness * Less boilerplates 1. Learn more * [Official documentation](https://kafka.apache.org/33/documentation/streams/developer-guide/dsl-api.html#scala-dsl) * [The Internals of Kafka Streams](https://books.japila.pl/kafka-streams-internals/scala)
# Demo ## Processing Record Stream
with KStream [Demo: Developing Kafka Streams Application](https://books.japila.pl/kafka-streams-internals/demo/developing-kafka-streams-application/)
# Demo ## Kafka Streams DSL for Scala [Scala API for Kafka Streams](https://books.japila.pl/kafka-streams-internals/scala/)
## Recap 1. [High-Level Streams DSL](#/intro) 1. [StreamsBuilder](#/streamsbuilder) 1. [KStream](#/kstream) 1. [KTable](#/ktable) 1. [GlobalKTable](#/globalktable) 1. [Consumed](#/consumed) 1. [Produced](#/produced) 1. [KafkaStreams](#/kafkastreams) 1. [Kafka Streams DSL for Scala](#/kafka-streams-dsl-for-scala) 1. [Demo: Processing Record Stream with KStream](#/demo-processing-record-stream-kstream) 1. [Demo: Kafka Streams DSL for Scala](#/demo-kafka-streams-dsl-for-scala)
# Questions? * Read [The Internals of Apache Kafka](https://books.japila.pl/kafka-internals/) * Read [The Internals of Kafka Streams](https://books.japila.pl/kafka-streams-internals) * Read [The Internals of ksqlDB](https://books.japila.pl/ksqldb-internals/) * Follow [@jaceklaskowski](https://twitter.com/jaceklaskowski) on twitter (DMs open) * Upvote [my questions and answers on StackOverflow](http://stackoverflow.com/users/1305344/jacek-laskowski) * Contact me at **jacek@japila.pl**


MAC ATTACK
Amy Macdonald blasts ‘charlatan’ Jo Swinson for nuclear weapons comments after ITV leaders’ debate
by Ewan MowatAMY Macdonald has blasted Jo Swinson for her comments on using nuclear weapons in an interview after last night's ITV leaders' debate.
The Scots singer, 32, also branded the Lib Dem leader a "charlatan" for her time as East Dunbartonshire MP.
Last night saw the first in a series of head-to-head debates between party leaders in the run-up to the general election.
Labour chief Jeremy Corbyn faced off one-on-one against Tory leader Boris Johnson.
The SNP and Lib Dems were not part of the main debate after losing a legal battle to be included.
But party chiefs Nicola Sturgeon and Jo Swinson, as well as Nigel Farage of the Brexit Party and Greens co-leader Sian Berry, were interviewed live by host Nina Hossain afterwards.
The Lib Dem leader repeated her promise to revoke Article 50 if her party win on December 12 - and confirmed she would not put Corbyn or Johnson into power.
But it was her quick-fire response to a question about nuclear weapons that irked Macdonald.
When asked if she would be prepared to use nukes, Swinson swiftly replied: "yes.".
And the This Is The Life singer - who has had Swinson as her MP for more than a decade - was left fuming by her answer.
In a now-deleted tweet, she wrote: "Swinson has been my MP for pretty much my entire voting life. She has been a charlatan the entire time.
"It took her one second to say that she'd happily drop nuclear weapons. Imagine voting her her?!?
"Liberal?! Hang on till I drop my nukes. Then we'll talk."
Her tweet racked up around 1,000 likes and more than 300 retweets before the singer pulled it from the site.
And responding to another social media user's comment about Swinson, she said: "I actually can't believe it. It's madness.
"What's wrong with the world that it's an acceptable answer to say you'd happily kill thousands of people and potentially start a nuclear war without a second thought."
The Scottish Sun has approached the Lib Dems for comment.


Are there any happy women left on this good green earth?
One is constrained to ask because we are uni– versally told that half the world in in rebel– lion—the woman half. Married women in the cage want to break in. In fact, half a wolrd of women are supposed to be wailing because they can't spend life in a sort of dolce far niente * dream with both hands folded idly in their laps. I say supposed, because, as a matter of fact in real life, you know and I know that the workers are the happy ones— married or single—the workers are the ones who sing; the idle the ones who wail.
We are told—just as if the world hadn't known that fact for countless years—that the highest duty of life is manufacturing new hu– man beings—alias babies; and that women are in open revolt against this duty. Yet as a matter of fact—not platform twaddle—not pyrotechnics to catch the vote of lustful men —we know that the supply of love–born babies is not dropping off; and that, for the first time in the history of the race, as much thought and care are given to keeping the babies, that are born, alive as to keeping up the birth rate of hypothetical unborn babies.
We are told by investigating commissions that women, who work behind the counter, over the typewriter, over the dish pan, in the school room, above the loom, in the factory, behind the broom are slaves of new industrial conditions; that they are desperately un– happy; that when the first gray hairs come, the iron has entered into their sould, or some– thing like that. (If the iron went as tonic in fishy blood, and gave some kick to the whine for self pity—a lifting kick, we'll say—there might be some point to it.) But the women that you know and I know—outside the peo– ple on the job at so much per for investigating commissions—behind the counter, over the typewriter, above the loom, behind the broom; the women, who do things in the home or out of it, who stand for plus, not minus, for per– formers, not parasites–are not idly poking irons of introspection in and out of their souls. They literally don't understand what all this talk hubbub is about. Big talk: little do— I have heard some of them say.
I am a woman; and I am living in the thick of life; and I have seen all sides of it; and I have worked at high pace and high pressure with fury and joy in the home and out of it; and I do not find this wail of woe purporting to come from womanhood rings true. It is not true of me. It is not true of the women, who work, that I know. The women I know who work—don't find love ashes of roses; nor ashes of Sodom; nor joy, a fading phantom. Life to the worker is a dream come true, with nightmare giants of troubled sleep, some– times, of course; but always at dawn, fear fad– ing in light. I am not writing this because of the standing policy of the average American editor—to make all stories end happily. I am not writing a story. I am setting down the actual facts of a life begun under handicap; and I want to set down that the older I grow, the more I find life a more beautiful thing than all the school girl gush and pointless longings of what the poets call youth. No matter how hard we think our own special han– dicap has been—poverty, or inherited disease, or the tradegy of wrong parenthood, or a per– sonality hopelessly askew—I do not think any life ever came into this world without its own handicap. Why we are handicapped—who can tell? It may be to compel the soul to work out its own hardihood getting rid of the hand– icap, or to commit suicide sinking under it. When I call life a dream come true, it is not in blindness to the wrecks and tradegies and crimes that litter every foot of life's progress. I know there are more tradegies hidden mute in the home than ever wer shouted from the housetops by the Sisterhood of Disontent * ; but I know alos how much of this waste of the gift of life results from the collision with the hidden handicap of the personality.
Having found life a dream come true, I ask myself (as I know multitudes of women work– ers inside and outside the home are asking themselves) is all this wail of woe genuine? Is the old world vocal of womanhood out of joint? Is there a great Sisterhood of Discontent? Or is it that we are so attuned to the wail of dis– content that we fail to note a world vocal with the music of the spheres; joy at work; service rendered in gladness, not grudgingly; zest of life; reapers garnering sheaves in sunlight; women laughing with children at play?
The new mental attitude to life has come so unexpectedly that it has left some ancient sex– poses forever behind; the wife–beater calling himself woman's natural protector,and at once proceeding to break her protected head; the sheep–type of woman pretending she likes that kind of protection; Amelia * fainting with terror of her own safety in the arms of the wicked * ;Don Juanpretending he is a very devil of a fellow engaged in the busi– ness of eating babies in the dark! Without knowing it, we have somehow come to regard self–pity as the beggar's hat of a mean spirit stuck out for alms.The Heroine of old (she, herslef, was never by any possibilty supposed to be half–past sixteen)set out joyously, coyly, I was going to say unblushingly—only, she was really supposed to blush bucketfuls—to harpoon a man for her support; if a little soulful longing were mixed in as a prime flavor. To–;day, we tear that pose to ten thou– sand analytic tatters. What's she after? What can she do?What's she going to give in return besides sweet smiles and sug– ared drafts on the family cash box?And if all she has to offer is sex, all draped in wistaria and roses and wistful soul longings, of course, we aren't suprised that she gets spurious coin back in return, bronze and cop– per and brass and putty, where she expected pure gold.
Quite unknown to ourselves as a generation, we have come to eye the parasite askance, be she rich or poor. It doesn't matter whether she belongs to the orchid or to the mosquito family. The woman, who is sorry for herself because she has to earn her living outsidethe home, is the very woman, who would be sorry for herself earning her living insidethe home. If she is sorry for herself in an office, what would she be in the pangs of giving birth to a new life?
My early days were passed in a Western city during the depression of the collapse from one of the worst real estate booms, that ever sent a whole community up in a crazy ballon of inflated hopes, only to drop them in a ten years' slough of reaction. I remember one speculator, who became a paper millionaire in anticipation of a railroad coming in, who, six months after the advent of the new line, was carried away to an asylum, where he passed the rest of his days bent almost double pick– ing up imaginary diamonds. A politician in the same place, who between dawn and dark unexpectedly as a bolt out of the blue, had made his half million, built a palace calling it after some castle or other. When the boom collapsed, he hadn't money enough of those paper thousands to light the fire in his fur– nace. He had to borrow money to leave the country.
In your mind, draw a line on the map from St.Louis* to St.Paul *. The depression pre– vailing in our city was typical of conditions in every little new hamlet west of that line from the tme of the Panic of 1893 up to 1898. At the time, we were all desperately sorry for our – selves. It isn't a pleasant awakening to think you have a lot worth 120,000, and to find in a day that what you really have is a mortgage debt for 12,000, against property, which carries taxes of 3,000 a year. We were all desperate– ly sorry for ourselves. Yet, looking back, we can all laugh at the hardships. We didn't laugh then. We hustled. Actual hunger never came within the majority of homes; but it came so near the doors that I can guess and have often as a child dreamed what the Phantom Frightlooks like when it stalks out of the dark to sping at the struggler's throat. There was one dream I used to have over and over in the darkest years of the city's collapse. It was of a half–naked figure flying along the edge of a precipice with two wolves snapping at its heels; and I do not think there were many people in the city at that time, who did not know what the sensations of the runner must have been. We were all, every one of us, on the edge.
Though hunger never actually entered most of the homes, it came horribly near many a home that kept a brave front face to the street. We laugh when reminiscent now. We didn't laugh then. I think it was the Spirit of the West that sustained us buoyantly under condi– tions that would have plunged an older commu– nity into slums. There were carefully nur– tured women, who would have gone hungry that first year of the Panic, if husbands and brothers had not been good shots to keep the family larder filled with prairie chicken and ducks. I know of one woman who, for six weeks before her first child was born, lived alone in a prairie shanty on the outskirts of the city with nothing to eat but potato meal. An editor, who at the time represented the city in the Federal Government and who used to cheer the community's heart by thunderous editorials on the glorious of the West, would have gone hungry that winter of '93if the boyshad not suspected that the old manlooked gaunt. They got up a shooting party and sent him a present of half a dozen barrels of wild geese. I have heard him in his cupscurse the hands that were feeding him; but nobody replied; and nobody told; and the friendships cemented in such hardships were embedded in a reinforced concrete.
I am stating these circumstances to make it clear that we were face to face with realitites, not theories; and the beautiful thing about a reality is that it never lies. You learn to look at facts without blinders; without side–step– ping or flinching. A woman, who has always lived the mural existence of a protected home, is so terribly apt to mistake what "she thinks" for great fact of "what is." If she doesn't like a fact, she shuts her eyes to it. You can't do that when you are bumping into facts that you don't like. So it was not all a disadvant– tage that the hard times taught us to face facts unflinchingly.
One of the curious features of the collapse was its reaction on what the study chair the– orists call woman's sphere. Those were the days, when all the public prints were full of blasts and counterblasts of argument as to whether woman ought to go out of the home to become a wage–earner. We hadn't time for those arguments then in the West. We were not confronted with arguments. We were face to face with hunger. We had to work, or starve. Ought not woman to stay in her own sphere of manufacturing babies?the dis– putants would has truculently. We hadn't any time to answer. We had to go out and work, or see the babies, that were already manufac– tured, go hungry. It seems to me that is typi–; cal of the whole woman movement. It isn't a rebellion, a revolt, a megalomania of individ– ualism run riot, the morbid monstrosity of a woman trying to be a man, to grow side–whis– kers and wear trousers. It is a new economic arena, into which woman has been forcibly pushed by unbending necessity.
Let me give some more examples of that ne– cessity. In three weeks in that city eleven hundred real estate agents closed their offices and took down their signs. What do you sup– pose the real estate agents' families did about bread and butter just then? The doctor, who became the most famous surgeon west of the Mississippi * preceding the fame of the Mayos, told me that he slept on the chairs in his of– fice that winter, and except for one mid–day meal, lived on peanuts and beer and hot Scotch. He died in receipt of an income of 100,000a year, of a disease contracted in those starva– tion days; but what do you imagine his old mother and two elderly sisters, whom he was thought to be supporting, did during that hard stress? They went out as wage earners—I shall not say how; for that is their affair, not mine;but, to me, the funny feature of it was that this same doctor was a most uncompro– missing foe to the woman movement. If his mother and sisters had not worked, he would not have had even that one mid–day meal.
I think of another case, a convent-bred girl, buxom, clean, laughing, good-natured, capable, with stolid, solid but at the same time the most passionate belief that a woman's only sphere was to be a loving wide and a most multitudi– nous mother.  Just when the boom collapsed, this girl's father came to his death either by suicide, or falling in front of a train. Her mother attested her gried by at once buying on credit about 2000dollars worth of deepest mourning. It was found that the life insur– ance has lapsed and the whole estate amounted to a horrible minus plus nine younger chil– dren to fed. If this girl had not thrown her theories to the winds, and plunged into the arena of the wage—earners, the home would have been seized by the sheriff and the family turned on the street. She had to take care of the babies already born, and let the unborn ones take care of themselves. SHe taught kin– dergarten, coached French, helped a convent in German, and laughed and danced her way along uner the load, and worked doggedly at paying those debts, besides educating and sup– porting the other nine till they could support themselves. At thirty eight she married an Englishman, with a right to sin in the House of Lords. Society sat up aghast, then received her with open arms.
Howdid she do it?one shoddy disap– pointed mother asked.
She didn't do it. It was what she wasdid it,I tried to explain. Your little mission, what you set out to do doesn't matter. It is what you are, what you become in what you do that wins or loses life's game for you. Why did hedo it? Because he happened to know what she had unostentatiously been doing all her life; but there are many things that he will never know.
He will never know, for instancem that one summer when she was supposed to be in Eu– rope on a holiday, she was secretly comforting a remote relative, who in the scramble of a speculative era had landed in the penitentiary. He will never know that once, when she wore her clothes so many seasons that friends mur– mured, she was using her allowance for dress to shield a woman in disgrace. And I never saw a tear of self–pity on this worker's face. I never heard her utter one complaint against life. I never heard her blame others for the load bequeathed to her willing shoulders. She once told me that the most worrying duty she ever undertook was her husband's first fam– ily of girls brought up in a short of dolce far nienteof pampered dreams of what life was to give them, not what they were to give life.
The trouble is,she once burst out, these girls have been brought up expecting every– thing to be done for them. Their indolent sel– fishness repels the kind of friends they need; and when people leave them to themselves, they get peevish at life. If they had been taught to do something; * if you like, that we have to do something for every blessed minute we are alive to justify our being alive at all they would have learned to forget them– selves. I am going to put—yes, you needn't should, I'm going to put—in a business of– fice. I did shout.   Emerson says only fools and cowards are consistent.
So I could go on to tell of hosts of women, shaken out by the Panic, that turned every– thing upside down, from all their little con– ventional pigeon holes and sheep cotes and CHines boots. Indeed, the Panic of '93did more than anything else I know, than all the arguments and pros and cons to take the foot bindings of prejudice, the Chinese boots of tradition, off the feet of Western women.
I couldn't— I simply couldn't—become a parasite,said a Southern woman, who had risen to be head of a great brokerage cotton agency. Women in industry aren't new. In– dustrious women have always been in indus– try. It is merely that of late years, so many industries have gone out of the home that we have had to sit with empty hands by silent looms, or else follow the industries out of the home to the place where they have gone.
It does not sound like a wail of woe from a Sisterhood of Discontent—does it? In fact, when the Panic shook us all out of our little pigeon holes of prejudice in '93, I do not know of a single woman—wife, daughter, sister—ef– ficient and self–respecting, who did not put her shoulder to the wheel, to lift finances out of the slough where they had fallen. We did not talk of woman's sphere and domestic virutes. We rolled up our sleeves and jumped into the arena of work. There were the drum beaters of woe, of course, who talked vaguely of for– mer grandeur and of the fearful come—down this pioneer rough—and—tumble had been to them; but as they talked, some little slip, unmanicured nails, perhaps, the twist of a word, the slur of an articulation, the wrong tang of slang, a slant of sidewise eyes, put the seal of damnation on their revelation; and we came to know in that hard stress, when every hand was needed to turn, push, pull, oil the wheels of life, that only the nogoods pre– tended to be too good to work.
Into this big free hard arena of Western work, I came as a child from the East. As we none of us get shaken out of our pigeon boxes of prejudice, out of the prisons of our own personality, which are the deepest dungeons of all, without a flutter of hopes and fears on callow wings, I may as well set down the facts. They are not pleasant. They were horribly painful; and, as I look back, I loathe myself for having paid any more attention to the pain than a child does to a bump. Of course, if you poultice a bump long enough, you can make a perpetual tenderness on the spot— even an ulcer.
We had not yet moved West.
Always, there had been something in the home that made us children want to play out– side in the sunlight. We would never stay in. Winter or summer, we wanted to do all our playing outside. It came to the point where I would let finger tips poking through holes in mits freeze before I wold go in to warm up. I didn't want to miss one second of being alive. I did not know then that what drove me to the sunlight outside was an intangible, indefinable shadow inside. I only new that I was hap– pier outside; and I carry about with me to this day two slightly stubbed finger tips from freez– ings and thawings, which I would never ac– knowledge. I knew that each of the brothers had left home just as soon as he could obtain a position yielding a living. I knew that the sisters were kept away at school as long as the money could be made to last. Fortunately, it did not last down to me; so that I stayed at home long enough to learn what the shadow was inside that frove the children outside.
We lived in a very beautiful country border– ing the lower of one of the Great Lakes. The passion for the outdoors made friends for me of every horse, cow, dog, cat, chickenand bird on the place. If I had not been the youngest, I suppose I should have annexed the baby to this list, too. I knew more intimately than I knew human playfellows, the blue warblers, that call flute notes in June, the yellow finches that chirp and twitter late in July, the long wedge-shaped lines of wild geese that pilfer wheat lands in autumn; and I have lain in the fields, whistling back their call by the hour.  How I escaped accident in the stables, I don't know; for neither my parents nor the hired hands could keep me out of the danger zome. I took extemporized rides on broad backed Durham cows that hooked. I never went round a horse's heels when un– watched. I dodged through under their bodies and was never kicked. A showy pet carriage horse once lifted me with his teeth; but a thick coat protected the shoulder bone; and once a young heaby draught Clydesdale gave my par– ents the scare of their lives. I had gone to a back field to summon the hired man. The good natured fellow put me on the colt's back. I was curious to know whether so heavy a draft horse could gallop. The young man was en– gaged shutting the railroad gate that led up the lane. I gave that horse a kick in the soft of the flank, where the gentlest horse on earth will suffer no liberties; and I don't think he stopped demonstrating his kicking abilities at both ends for the length of a mile.  The young fellow was afraid to pursie for fear of sending the obstreperous colt over the fence.
Well, miss,he admonished confidentially later, I guess you learned when you've raised the devil that you have ti hang on, or break your neck
I had. The lesson proved useful later, when we all went through that Western Panic.
 I had never the slightest in– terest in make–believe toys. If they put them in my Christmas stocking, I threw them behind the door. Once an uncle fresh from England with very pronounced English ideas about proper training for girls (he was a bachelor, of course)took me in hand with a good scold– ing about contempt for dolls—Little girls ought to like dolls; because dolls were little girls' babies. I told him I loved babies; but dolls were cheats; they couldn't do a thing but roll their eyes. He departed in disgust. I sat down to ponder.   Then, I went out to the real things, the pups and the kittens and the colts. After that Christ– mas, no more inane toys fell to my lot. I was given full bent with living real things. Poor Uncle Jim!  It has blinked him with gooeyes all the way through—wax–faced cheates that melt in heat, and break in stress, not realities with whom, if you raise the devil, you have to hang on or break your neck.
That love of realities bred by God's gift of staunch animal freinds has stuck through life; sometime, a horribly uncomfortable thing, like a burr in my chest; then again, a pilor star to a promised land. In after like when meeting doll–types; wax–faced, soft–haired, eyes limpid as sky–water, with display of all the little doll graces, tinkling ear–rings, a show of pearly teeth, a roll of expressionless eyes, inane remarks, the old feeling of affront would come back; and I have never seen what is known as the doll type of man without recalling these rocking horse toys that couldn't do any– thinkg but just romp round and back again. Is this, too, typical of the changed attitude in woman's outlook on life, of her reaching out past make–believes to realities? Is she going to break out of her doll house?
There were rare good days spent in the open meadows with the whole dumb world for playfellows. Sundays in good weather were spent under a big willow in an old garden lis– tening to story books. When the autumn and spring rains came, we became discoverers of unknown worlds rafting uncharted seas on voy– ages across swollen brooks and mud puddles. There were no merry–go–roundsor shoot the chutes; but we did attempt running Ni– agara by sliding down a water spout during a plunging shower straight into the rain barrel. Outsiders and grown–ups were not invited to this function. THe exigencies of the case re– quired exit by a low roof window and night– ies tied à la Turkish* costume. The acrobat able to endure longest under the deluge of the spout was awarded highest applause. THere were sugarings off in the maple woods in spring, when taffy on bass wood chips and taf”; fy in belts of elastic syrup hardening to the frost got inextricably tangled in pig tail hair and red̵;riding̵;hoods. These celebrations were usually held by starlight round a huge log fire. That out–door world afforded little feet a chance to chase real adventure and real ro– mance down the real paths of everyday life; and I never see the feet of youth on the age– less quest of ramnce along city streets, but I know that if we children had been norn in the gutter and those children of the city streets had been born to our open meadows—we, too, would have mistaken painted wax faces and make–believe hobby horses for the real thing, and come to age cheated of youth.
There comes a time when we know that we have suddenly awakened to a realization of life. The awakening may come in a great joy, or a great love, or a great sorrow, or all three; so that we hardly know whether the pain of love is greater than its joy, or the joy greater than its pain; but when for a moment the veil of things lifts, we fall on our faces before Life.
I had known that the others of the family as they came to their early teens, scattered from the home nest. I had come to know that the shadow in the home was deepening; but what it was, childhood could not define. The English uncle had gone West. Our father had gone West. The whole country from Atlan– tic to Pacific of '93. Everybody was hard up. Financial worry had come to be a constant in– visible presence in the home; but it was not that.
The revelation came one beautiful spring day, when the mist was on the meadows and among the cobwebby tender green of the May foliage. It was SUnday. WHen we had all been polished and furbished up to go off to some church festival instead of passing the afternoon under the willow tree, I had a feeling that we were being packed off for some reason. Our father had come back to make arrange– ments to move us West; and somehow there was something in the air. I couldn't help sus– pecting that both my mother and father were mentally distressed. I ran round to the back of the house and came unheard on my mother standing very still by a rain pool in the or– chard. SHe did not see me in time to hide the secret revelaed on her face. I had caught the expression on the face reflected in the pool be– for she looked up. It was despair of life; the utter end of hope; heartbreak mute for a life time. She did not speak. Neither did I. I was not ten years old; and childhood fell away like a worn cloak from that day.
I knew; and yet I could not have told what I knew. I knew from that day that I must earn. I knew from that day that I must fight, that there is no peace without a victory, that he who fights and runs away and lives to fight another day,might just as well fight the fight at the first challenge of fate, and win or die trying to win; for if he runs away,there is no hiding place in Heaven or Hell—defeat will pursue him.Sooner or later he must turn and make his stand, and do or die. It isn't as we would have it. IT is as lie ordains. I knew that Phantom Fright and Want and that tragedy of all tragedies—a living one, a hope– less chasm between husband and wife—had come menacing our happiness like satyr ghosts stealing out of the dark. I knew from that day that I must protect the home; or see it de– stroyed; and is not that typical of ninety-nine cases out of a hundred, where girls and women become wage–earners, where they enter the arena called industry?
It is not a matter of choice. Therefore cease arguing about it. It is a matter of force. Therefore, let us see that the conditions are made right—that the girl is as well protected outside the home as in it, and that she goes forth equipped with the only weapon that will win the Battle of Life—efficiency, physical and mental. It did not matter in the least whether I was able to earn, able to fight, able to pro– tect. I had to, whether I was able or not. If I was not able, then I must make myself able.
I did not realize then that every member of our family had not been born with several very serious handicaps; too many nerves, too little nerve; more brains than brawn, which fore– ordains tradegy just as soon as the hard test of life's scramble up and down hill begins to shake the flimsy machinery to pieces; and a very pronounced tendency to weak lungs on both sides of the house. Against thes handi– caps should be set three distinct advantages. First, we all had the advantage of that out– door life, of training in realities, that never lie and never cheat. Fools we have been all of us, many times. Blunders we have made ga– lore, so that I have come to the pass where, though I ask God to forgive my sins because I can't forgive them myself, ten times more I ask Him to wipe out my blunders; for I wouldn't forgive them if I could. And I think we've all been inclined slightly to be soft heads. We have had had to learn to be hard, to realize that though diamond and charcould are composed of the very same thinkg, it is the dia– mond that is hard. Training in out–door re– alities taught us all truth and integrity. I mean the kind of truth so that you realize that you must not lie to yourself. Another advan– tage was my mother's belief that innocence is no protection unless it is the innocence of knowledge as distinguished from the innocence of ignorance. She did not believe that a boy could know what evils to shun or why, a girl what dangers or why, unless taught what the signs of the evils and dangers were, instead od learning by experience, when it is too late. We all stepped into the arena of life knowing the signs to shun and why.
There was another advantage very hard to define but we all went out in the world equipped with it. My mother had a peculiar, almost uncanny, Cletic clairvoyant power to project the image of her personality with us all through life. In stress, in turmoil, in joy, in tight places of complicated decision, we have all felt her invisibly behind us, not advising, but shedding a sort of spiritualist and know little about spiritualism; but I knoew that we have all had this consciousness of her influence. It has a peculiarly clarifying, calming effect, when the waters flow below the bridge of life both turbid and tempestuous—this spirit touch of a love that is—I cannot say dead; for I know that the presence is with me as really and tensely to–day as that afternoon when we stood beside the rain pool in the orchard.
I longed to grow up. I grudged the min– utes till I could earn. If I could have taken a dagger and stabbed these Phantom FOes menacing out of the dark, I would gladly have died for the privilege of giving the death stroke; but the trouble is seeing red and going out to kill—doesn't help. It's hustling that helps.
My mother did not speak. Neither did I as we linked arms and went up the back stairs. At the landing she turned.
Aren't you going to the festival?
I should my head. We entered the room; and I flung my arms about her, but could not utter the question on my lips, any more than she could muster up evasive words to delude child– hood back into blind happiness. I laid my head on her shoulder. There were no tears. Though tears have come to my eyes and throat since, from that day to this, I have literally never shed a tear. What I wanted to ask, what I wanted to hurl at the very throne of God, was the question—Is it common lot of woman to suffer in mute heartbreak? Is suffering an inevitable and necessay part of her lot? Does it do any good, this suffering? What's it for? why? I have been seeing the an– swers to those questions all my life, answers in face, not argument;and I should like to bo– row the angel Gabirel's trumpet to sound abroad the answer that I've found. It would needs be a golden instrument with the mellow notes of ahunter's horn or the glad shout of disimprisoned waters in spring to voice the answers I have found.
And isn't that typical too, of this whole woman movement? Aren't the women moving uncertainly on untired feet to untried goals— seekers? And aren't the wailers, the para– sites, the sisterhoods of discontent weak ones lost in the dark, shivering at Phantom Fears they will neither fight nor face> That was my first glimmering of the great economic fact, which the world has barely yet sighted that women in industry, te economic independence of women, if you like to put it that way is not the repudiation of womanhood and the func– tions of womanhood, but is the building of a fortress of security round about womanhood against brutality and force and hunger; is a guarantee of the right of eveyr man child and every woman child to be love̵;born.
And in a few weeks we had joined the great migration West.
The Sisterhood of Discontent is a figurative organization of the stereotypical American woman during the 1900's. The figurative organization is meant to point out the limitations for a female inputed by a male during the 1900's, the time period of suffraging.
St.Louis is a city in Missouri. Within the decade of 1900, the city experienced rapid growth, so much so that the city was placed as the fourth largest city in the United States. As well as population growth, the city experienced infastructure and transportaion growth
St. Paul is the state capital of Minnesota. The rapid growth of the city during the early 1900's is due to the proximity of the city to Fort Snelling, a military fortification base.The location is on the upper side of the Mississippi River and was established by Saint-Paul.
The Mississippi river is the second-longest river of North America. The history of the river can be dated back to the usage from Native Americans.
The phrase Dolce Far Niete is an Italian phrase that translates to pleasant idlness.
The phrase Noblesse oblige is a French phrase that translates to nobility obliges.
The phrase à la Turkish is a French phrase that translates to the Turkish


Check your witness statement
We've used your answers to create this witness statement.
| Corrections to my claim | I said in my claim that I first spoke to Alex on the 16th of October, it was in fact the 16 of September. | Change |
| How you believe the dispute happened | As you can see in Exhibit A1, lorem ipsum dolor sit amet, consectetur adipiscing elit. Proin laoreet, lorem et rutrum convallis, urna nisl efficitur neque, mattis condimentum ex ipsum non urna. Ut euismod libero ac dolor tempor. | Change |
| Why you think the other party is to blame | Exhibit A2 clearly shows that usce quis pharetra metus. Vivamus egestas sodales metus ac faucibus. In pretium suscipit nisi vel dictum. Etiam sed egestas neque. Vestibulum lacus ex, fermentum non velit at, placerat rhoncus lorem. Duis a turpis metus. | Change |
| Why you decided to claim £1,500 | The repair estimate shown in Exhibit A3 shows vestibulum urna vitae mauris ultrices auctor. Morbi id magna turpis. Nam pellentesque, nulla non rutrum porta, libero orci maximus eros. | Change |
| Actions that would resolve the claim | I have already had the repairs made, so I would like Alex to reimburse me the £1,500 it cost me. | Change |
| Events on their timeline you dispute |
They said: 15/01/2018 - I hadn't had a reply so I told them I would be making a money claim. You said: I sent my email on 13/01/2018. See exhibit A4. They said: 15/01/2018 - I hadn't had a reply so I told them I would be making a money claim. You said: I sent my email on 13/01/2018. See exhibit A4. |
Change |
| Further details | Duis in odio eget ipsum ultricies tincidunt. Sed ut dui mi. Quisque fringilla vitae mauris non dignissim. Donec vitae turpis metus. Mauris commodo nulla at dui elementum, nec imperdiet urna semper. Praesent convallis pellentesque condimentum. In elit ante, suscipit eget erat vitae, tempus rutrum augue. Vestibulum mollis pellentesque lorem, ut aliquet diam tristique at. | Change |


Create a HTML file that has the following JavaScript code nested.
Output a variable in 3 different ways. (You told me to ignore the alert box).
Create a function that accepets a number and returns its square (in this case its 5)
Create a function that accepets 3 numbers and returns the sum (in this case its 1,2,3)
Create a Person object with three attributes. name, age and occupation.
Create a HTML buttom that calls a function when clicked
Create a HTML buttom that calls a function when clicked
Converting String to uppercase
Concatenate a string and a number together
Create and array with 2, add one, remove one
Check if the person object is between 20-40 years old
Loop to count and check if it is divisiable by 2
Loop to count and check if it is divisiable by 2


Introduction to OpenVayu
OpenVayu is an initiative to bring together people from all across the board with a singular passion for making a change. We aim to research air quality and climate change and analyze how it affects our lifestyle and our planet, at large. Our vision is to mobilize thinkers and doers and to empower them for the betterment of our world.
March 3, 2017


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Syphon
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Inherits NSObject.
Instance Methods | |
| (NSArray *) | - serversMatchingName:appName: |
Class Methods | |
| (SyphonServerDirectory *) | + sharedDirectory |
Properties | |
| NSArray * | servers |
Server Description Dictionary Key Constants | |
| NSString *const | SyphonServerDescriptionUUIDKey |
| NSString *const | SyphonServerDescriptionNameKey |
| NSString *const | SyphonServerDescriptionAppNameKey |
| NSString *const | SyphonServerDescriptionIconKey |
Notifications | |
| NSString *const | SyphonServerAnnounceNotification |
| NSString *const | SyphonServerUpdateNotification |
| NSString *const | SyphonServerRetireNotification |
SyphonServerDirectory provides information on available Syphon Servers. Servers are represented by dictionaries. Generally you can expect to find some or all of the keys listed in Constants.
| + (SyphonServerDirectory *) sharedDirectory |
Returns the shared server directory instance. This object is KVO complaint, and can be used to observe changes in server availability, server names and statuses.
| - (NSArray *) serversMatchingName: | (NSString *) | name | |
| appName: | (NSString *) | appname | |
Use this method to discover servers based soley on their name, or application host name. Both parameters are optional. If you do not specify either, all available SyphonServers will be returned.
| name | Optional (pass nil to not specify) Name of the published SyphonServer, matches the key value for SyphonServerDescriptionNameKey |
| appname | Optional (pass nil to not specify) Application Name of the published SyphonServer, matches the key value for SyphonServerDescriptionAppNameKey |
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related |
The object for this key is a NSString which uniquely identifies a SyphonServer instance. If two dictionaries contain the same string for this key, they represent the same server. This is provided solely to allow you to programmatically determine the identity of a server, and should never be displayed to users in interface elements. This key is not guaranteed to exist in the dictionary.
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related |
The object for this key is a NSString which is the human-readable non-unique name for the SyphonServer. If this string exists and is non-empty, you should use it in interface elements to identify the server, usually in combination with the name of the server's application (see SyphonServerDescriptionAppNameKey). This key is not guaranteed to exist in the dictionary.
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related |
The object for this key is a NSString with the localized name of the application in which the SyphonServer is running. Use this in combination with the server's name (if present) to identify the server in interface elements. This key is not guaranteed to exist in the dictionary.
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related |
The object for this key is a NSImage representation of the icon of the application in which the SyphonServer is running. This key is not guaranteed to exist in the dictionary.
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related |
A new SyphonServer is available on the system. The notification object is the shared SyphonServerDirectory instance. The user info dictionary describes the server and may contain SyphonServerDescription keys.
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related |
An existing SyphonServer instance has changed its description. The notification object is the shared SyphonServerDirectory instance. The user info dictionary describes the server and may contain SyphonServerDescription keys.
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related |
A SyphonServer instance will no longer be available. The notification object is the shared SyphonServerDirectory instance. The user info dictionary describes the retiring server and may contain SyphonServerDescription keys.
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readatomicassign |
NSArray of NSDictionaries that describe (using the keys above) currently available SyphonServer instances on the system.


Welcome to my portfolio. I am a full-stack data scientist, with a passion towards Machine Learning algorithms. In this portfolio, I showcase a few of my recent projects and also academic and research background.
Welcome to my personal portfolio. My name is Saied (Persian translation: happy!). I finished my PhD studies in Geophysics and Seismology at MIT in 2019. I have a strong background in building statistical models, GeoAnalytics, data filtering and time-series analysis, feature engineering, discrete signal processing, and numerical algorithms. To solve real-world data-driven challenging problems, I have developed the following skillsets through my experience and education:
Programing Languages: Python, MATLAB
Database: MS SQL Server, MySQL, AWS
Machine Learning: scikit-learn
Vectorized Computation: MATLAB, NumPy
API and web-scraping: NLP, DataFrame analysis
Visualization: Matplotlib, Plotly, Seaborn, Tableau
Numerical Analysis: Finite difference (MATLAB, Eclipse, CMG Inc.), Finite Element (Abaqus)
In my free time, I enjoy playing my music instruments (Tar and Setar) and playing soccer (both on turf and indoor).
Problem statement: The reddit users in [Globalwarming] subreddit were in genreal concerend, while the subreddit users in [Conspiracytheory] reddit were more interested in coming up with conspiracy theories. This contrasting viewopoint may be a good binary target for our NLP analysis, to develop a trained model.


Meet a partner for your best holiday
- Lucas Marsha I get my inspiration from nature and objects around me. I have a passion to colours, typography and skateboards.
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Heather Walker I'm a happy person that loves cats and climbing on mountains.
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Heather Walker Based in Chicago. I love playing tennis and loud music.
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Bradley Hunter Based in Chicago. I love playing tennis and loud music.