The goal of this analysis is come up with the most relevant marketing strategies for Carrefour that will result in the highest no. of sales (total price including tax).
The project will be considered a success when we are able to perform all the four steps below and provide insights for each step:
Carrefour Kenya is a retail company in Kenya that sells a range of products including foodstuff, clothing, machine equipment among others. The company would like me to analyze past retail data in order to inform the marketing department on the most relevant marketing strategies that will result in the highest no. of sales (total price including tax). Marketing efforts can be quite expensive for any business and should therefore be optimized to make sure that the returns outweigh the marketing costs. As such, it is imperative that we gain insights about customer buying patterns to inform us on the most productive marketing strategies.
For this analyis, we begin with performing dimensionality reduction using PCA in order to reduce the dataset into a low dimension. Next, we perform feature selection to determine the features that contribute the most information in the dataset. Afterwards we conduct an association rules analysis and anomaly detection while providing insights developed at each stage of the analysis.
Below are the steps that will be followed in this analysis in order to respond to the research question satisfactorily:
- Read the Data
- Check the Data
- Perform Data Cleaning
- Perform Exploratory Data Analysis (Univariate, Bivariate & Multivariate)
- Implement the Solution
- Challenge the Solution
This project uses three different datasets provided by Carrefour. The first dataset will be used to perform PCA and feature selection. This data consists of 1000 records and 16 attributes. Some of the attributes include invoice number, product category, price, tax, quantity and date. The second dataset will be used to perform association rules while the last dataset will help us conduct an anomaly detection test.
# Installing relevant packages
install.packages("data.table", dependencies=TRUE)
install.packages("ggplot2")
install.packages("tidyverse")
install.packages("reshape",dependencies = TRUE)
# Loading the libraries
library(data.table)
library(ggplot2)
library(tidyverse)
library(reshape)
# Reading the data into R from the csv file
retail <- read.csv('Supermarket_Dataset_1 - Sales Data.csv')
retail
# Checking the top 6 records
head(retail)
# Checking the bottom 6 records
tail(retail)
# Checking the total number of records
nrow(retail)
# Checking the total number of columns
ncol(retail)
# Checking all column names
names(retail)
# Checking the data types of each column
str(retail)
# Checking the number of unique values in each column
lengths(lapply(retail, unique))
# Checking the summary of the data
summary(retail)
Missing Data
# Checking the existence of missing values
colSums(is.na(retail))
# Checking for duplicate values
duplicated_rows <- retail[duplicated(retail),]
duplicated_rows
Outliers
# Creating a variable with only numeric attributes
retail_num <- retail[ , unlist(lapply(retail, is.numeric))]
# Plotting boxplots to check for outliers
options(repr.plot.width = 15, repr.plot.height = 15)
ggplot(melt(retail_num), aes(variable, value))+ geom_boxplot() + facet_wrap(~variable, scale="free")
install.packages("fBasics", dependencies=TRUE)
library('fBasics')
# Calculating the mean for all numeric columns
colMeans(retail_num)
# Calculating the mode for all numeric columns
getmode <- function(v) {
uniqv <- unique(v)
uniqv[which.max(tabulate(match(v, uniqv)))]
}
lapply(retail_num,FUN=getmode)
# Calculating the minimum value for all numeric columns
colMins(retail_num)
# Calculating the maximum value for all numeric columns
colMaxs(retail_num)
# Checking the range for all numeric columns
lapply(retail_num,FUN=range)
# Calculating the variance for all numeric columns
colVars(retail_num)
# Calculating the standard deviation for all numeric columns
colStdevs(retail_num)
# Calculating the kurtosis for all numeric columns
colKurtosis(retail_num)
# Calculating the skewness for all numeric columns
colSkewness(retail_num)
# Plotting histograms to check distributions of numeric attributes
par(mfrow=c(2,4))
colnames <- dimnames(retail_num)[[2]]
for (i in 1:15) {
hist(retail_num[,i], main=colnames[i], probability=TRUE, col="blue", border="black")
}
# Density plots
par(mfrow=c(3,3))
colnames <- dimnames(retail_num)[[2]]
for (i in 1:15) {
d <- density(retail_num[,i])
plot(d, type="n", main=colnames[i])
polygon(d, col="red", border="gray")
}
# Bar plot of categorical attributes
par(mfrow=c(2,3))
colnames <- dimnames(retail)[[2]]
barplot(sort(table(retail$Branch), decreasing=T),main='Branch')
barplot(sort(table(retail$Customer.type), decreasing=T), main = 'Customer Type')
barplot(sort(table(retail$Gender), decreasing=T), main = 'Gender')
barplot(sort(table(retail$Product.line), decreasing=T), main = 'Product Line')
barplot(sort(table(retail$Payment), decreasing=T), main = 'Payment Method')
barplot(sort(table(retail$Date), decreasing=T), main = 'Date')
In this section, we investigate the relationship of different variables by creating relevant visualizations such as scatter plots, correlation matrix and Pearson correlation coefficient.
# Removing column with 0 standard deviation
retail_num <- retail_num[,-5]
# Checking the correlation coefficients for numeric variables
install.packages("ggcorrplot")
library(ggcorrplot)
corr = round(cor(select_if(retail_num, is.numeric)), 2)
ggcorrplot(corr, hc.order = T, ggtheme = ggplot2::theme_gray,
colors = c("#6D9EC1", "white", "#E46726"), lab = T)
# Scatter plot to compare tax vs total amount
plot(retail$Tax, retail$Total, xlab="Tax", ylab="Total Amount")
# Scatter plot to unit price and tax amount
plot(retail$Unit.price, retail$Tax, xlab="Unit Price", ylab="Tax")
# Comparing total amount by product line
ggplot(data = retail,aes(x = Product.line, y = Total)) + geom_col(aes(fill = Product.line))
# Comparing total amount by branch
ggplot(data = retail,aes(x = Branch, y = Total)) + geom_col(aes(fill = Branch))
# Comparing total amount by customer type
ggplot(data = retail,aes(x = Customer.type, y = Total)) + geom_col(aes(fill = Customer.type))
# Comparing total amount by gender
ggplot(data = retail,aes(x = Gender, y = Total)) + geom_col(aes(fill = Gender))
# Comparing total amount by Payment type
ggplot(data = retail,aes(x = Payment, y = Total)) + geom_col(aes(fill = Payment))
# Converting categorical attributes to numeric data type
retail$Customer.type <- as.integer(as.factor(retail$Customer.type))
retail$Gender <- as.integer(as.factor(retail$Gender))
retail$Product.line <- as.integer(as.factor(retail$Product.line))
retail$Branch <- as.integer(as.factor(retail$Branch))
retail$Payment <- as.integer(as.factor(retail$Payment))
# Converting the date column to date type
retail$Date <- as.Date(retail$Date, "%m/%d/%Y")
# Separating the Date column into Year, Month and Day
retail <- separate(retail, "Date", c("Year", "Month", "Day"), sep = "-")
# Separating the Date column into Year, Month and Day
retail <- separate(retail, "Time", c("Hour", "Minutes"), sep = ":")
# Dropping unnecessary columns
reduced_retail <- select(retail, -c(1, 9, 16, 17))
# Checking the data types of the data
str(reduced_retail)
# Converting remaining categorical attributes to numeric type
reduced_retail$Month <- as.integer(as.factor(reduced_retail$Month))
reduced_retail$Day <- as.integer(as.factor(reduced_retail$Day))
reduced_retail$Hour <- as.integer(as.factor(reduced_retail$Hour))
reduced_retail$Minutes <- as.integer(as.factor(reduced_retail$Minutes))
# Confirming data types
str(reduced_retail)
# Normalizing all the features
normalize <- function(x){
return ((x-min(x)) / (max(x)-min(x)))}
reduced_retail$Branch <- normalize(reduced_retail$Branch)
reduced_retail$Customer.type <- normalize(reduced_retail$Customer.type)
reduced_retail$Gender <- normalize(reduced_retail$Gender)
reduced_retail$Product.line <- normalize(reduced_retail$Product.line)
reduced_retail$Unit.price <- normalize(reduced_retail$Unit.price)
reduced_retail$Quantity <- normalize(reduced_retail$Quantity)
reduced_retail$Tax <- normalize(reduced_retail$Tax)
reduced_retail$Month <- normalize(reduced_retail$Month)
reduced_retail$Day <- normalize(reduced_retail$Day)
reduced_retail$Hour <- normalize(reduced_retail$Hour)
reduced_retail$Minutes <- normalize(reduced_retail$Minutes)
reduced_retail$Payment <- normalize(reduced_retail$Payment)
reduced_retail$cogs <- normalize(reduced_retail$cogs)
reduced_retail$Rating <- normalize(reduced_retail$Rating)
# Applying PCA to dataset
retail.pca <- prcomp(reduced_retail, center = TRUE, scale. = TRUE)
summary(retail.pca)
# Previewing characteristics of the pca object
str(retail.pca)
# plotting the pca
install.packages("devtools",dependencies=TRUE)
library(devtools)
install_github("vqv/ggbiplot")
library(ggbiplot)
plot(retail.pca, type="l")
# Checking the features that contribute most to PC1
ggbiplot(retail.pca)
From the above analysis, the first 12 principal components explain 99% of the variance in the data, with PC1 explaining the most variance (26.2%). As such the remaining 3 principal components can be dropped.
However, PCA does not seem to be suitable enough for this data since the first 2 or 3 principal components do not convey most of the information of the data (first 4 principal components account for only 50% of the variance in the data). Other dimensionality reduction techniques such as t-SNE can be investigated for this dataset.
# Installing and loading caret package
suppressWarnings(
suppressMessages(if
(!require(caret, quietly=TRUE))
install.packages("caret")))
library(caret)
# Calculating the correlation matrix for all numeric attributes
all_features <- reduced_retail[c(5:15)]
correlationMatrix <- cor(all_features)
# Finding all attributes that are highly correlated
highlyCorrelated <- findCorrelation(correlationMatrix, cutoff=0.75)
highlyCorrelated
names(all_features[highlyCorrelated])
# Removing highly correlated features
final_features <- all_features[-highlyCorrelated]
# Graphical comparison
install.packages("corrplot")
library(corrplot)
par(mfrow = c(1, 2))
corrplot(correlationMatrix, order = "hclust")
corrplot(cor(final_features), order = "hclust")
# Loading the association rules dataset
install.packages("arules")
library(arules)
path <-"http://bit.ly/SupermarketDatasetII"
retail2 <-read.transactions(path, sep = ",")
# Previewing the dataset
retail2
# Checking the data types
str(retail2)
class(retail2)
# Previewing first 3 records
inspect(retail2[1:3])
# Checking a summary of the data
summary(retail2)
# Previewing the items that make up our dataset
items <-as.data.frame(itemLabels(retail2))
colnames(items) <- "Item"
head(items, 15)
# Exploring the frequency of transactions ranging from 1 to 10
itemFrequency(retail2[, 1:10],type = "absolute")
# Checking frequency of transactions as a percentage of the total transactions
round(itemFrequency(retail2[, 1:10],type = "relative")*100,2)
# Plotting top 10 most common items & items whose relative importance is at least 10%
par(mfrow = c(1, 2))
itemFrequencyPlot(retail2, topN = 10,col="darkgreen", main = 'Most Common Items')
itemFrequencyPlot(retail2, support = 0.1,col="darkred", main = 'Most Common Items with atleast 10% Importance')
Developing a Model Based on Association Rules
# Using the apriori function with Min Support as 0.001 and confidence as 0.8
rules <- apriori (retail2, parameter = list(supp = 0.001, conf = 0.8))
rules
# Exploring the model
summary(rules)
# Building an apriori model with Min Support as 0.002 and confidence as 0.8
rules2 <- apriori (retail2,parameter = list(supp = 0.002, conf = 0.8))
rules2
# Exploring the model
summary(rules2)
# Building apriori model with Min Support as 0.002 and confidence as 0.6
rules3 <- apriori (retail2, parameter = list(supp = 0.001, conf = 0.6))
rules3
# Exploring the model
summary(rules3)
# Observing rules built in our first model i.e. first 10 model rules
inspect(rules[1:10])
# Observing rules built in our third model i.e. first 10 model rules
inspect(rules3[1:10])
# Ordering these rules in model 1 by level of confidence
rules <- sort(rules, by="confidence", decreasing=TRUE)
inspect(rules[1:5])
# Creating a subset of rules about milk
milk <- subset(rules, subset = rhs %pin% "milk")
# Then order by confidence
milk <- sort(milk, by="confidence", decreasing=TRUE)
inspect(milk[1:5])
# Checking other items bought for customers who bought milk
# Subset the rules
milk <- subset(rules, subset = lhs %pin% "milk")
# Order by confidence
milk <- sort(milk, by="confidence", decreasing=TRUE)
# inspect top 5
inspect(milk[15:19])
# Creating a subset of rules about shrimp
shrimp <- subset(rules, subset = rhs %pin% "shrimp")
# Then order by confidence
shrimp <- sort(shrimp, by="confidence", decreasing=TRUE)
inspect(shrimp)
# Creating a subset of rules about chocolate
chocolate <- subset(rules, subset = rhs %pin% "chocolate")
# Then order by confidence
chocolate <- sort(chocolate, by="confidence", decreasing=TRUE)
inspect(chocolate)
From the above analysis, some of the insights about product placement for optimal marketing include:
# Loading the final dataset
install.packages("anomalize")
library(anomalize)
retail3 <- read.csv('Supermarket_Sales_Forecasting - Sales.csv')
# Previewing the dataset
head(retail3)
# Checking the structure of the data
str(retail3)
# Convert Date column to date type
retail3$Date <- as.Date(retail3$Date, "%m/%d/%y")
str(retail3)
# Checking a summary of the data
summary(retail3)
# Checking the dimension of the dataset
dim(retail3)
# Checking the existence of missing values
colSums(is.na(retail3))
# Plotting the distibution of the Sales attribute
hist(retail3$Sales, col = 'blue', main = 'Sales Distribution')
# Checking the correlation between sales and time period
plot(retail3$Date, retail3$Sales, xlab="Date", ylab="Sales", main = 'Scatterplot of Date vs Sales')
Anomaly Detection
# Begin by sorting dates in ascending order
retail3 <- retail3[order(retail3$Date),]
# Grouping the data to get the average sales per day
retail_average <- aggregate(Sales ~ Date, retail3, mean)
head(retail_average)
# visualize the data
library(tibbletime)
library(dplyr)
library(tibble)
retail_average <- tbl_time(retail_average, Date)
retail_average %>%
time_decompose(Sales) %>%
anomalize(remainder) %>%
plot_anomaly_decomposition() +
ggtitle(" Anomaly Detection Plot")
From the above analysis, we have been able to perform dimensionality reduction using PCA. We only need to move forward with 12 out of 15 principal components since the first 12 components explain ~99% of the variance in the data. However, we also found out that the first 4 principal components only explain 50% of the data variance. This implies that PCA might not be the best dimension reduction technique for this particular data. As such, other reduction techniques such as t-SNE can be explored to further challenge the solution.
In terms of feature reduction, we used filter methods to discard highly correlated features. We were able to determine the most important features which can be focused on when curating a marketing campaign. Other methods such as wrapper methods, embedded methods and feature ranking can also be explored and compared to accurately determine the features that contribute the most information to the dataset.
From the association rules analysis we were able to determine that the most commonly bought items are mineral water, eggs, milk, green tea, chocolate, french fries, spaghetti, pancakes, frozen vegetables and ground beef. These items can be prioritized on marketing since they are already popular with customers. In addition, customers who buy pasta are highly likely to buy shrimp as well. Therefore these products can be placed in close proximity. On the other hand, mineral water, french fries and spaghetti are often bought by customers who buy milk. These products can be placed close enough to each other to maximize on marketing.
Finally, we did not detect any anomalies in the sales data recorded by the store. We can therfore conclude that there's no fraud going on and that current systems are good enough to safeguard against fraudulent activities.


Welcome to Ms. Hildabrand's class!
Here you can find everything you need to know about what is going on in Room 211!


If yes, you will not be able to revert back.
Local Address
Foreign Address
Please select your share group
Not Found Your Joint Shareholder ? Add One.
Please select your share group
Not Found Your Joint Shareholder ? Add One.
Legal Person's Address
{{compayType['key'] == 'COMPANY_TYPE_OFFSHORE' || compayType['key'] == 'COMPANY_TYPE_OVERSEAS' ? 'Local Address' : 'Address'}}
Foreign Address
{{compayType['key'] == 'COMPANY_TYPE_OFFSHORE' || compayType['key'] == 'COMPANY_TYPE_OVERSEAS' ? 'Local Address' : 'Address'}}
Foreign Address
Please select your share group
Not Found Your Joint Shareholder ? Add One.
Beneficiary Owner(s)
Address
Foreign Address
You have successfully resubmitted the change for verification


Our usability testing found that users were willing to complete the sharing process in order to receive a coupon. Users generally had a specific method of sharing (text, facebook, etc.) that they were comfortable with and moving the icons for these methods around did not dissuade them from finding the one that they were comfortable with. Users prefered to receive a customized message with a picture from their friend, but did not want to go through the effort of customizing the message with a picture themselves. Users prefered to be able to see a blurred out coupon with a sign-in button over it, rather than a sign-in page only (as seen above).


|
GPUE
v1.0
GPU Gross-Pitaevskii Equation numerical solver for Bose-Einstein condensates
|
Functions | |
| double | psi2 (double2 in) |
| Calculates $|z|^2$, where $z {C}$. More... | |
| double | minValue (double *grid, int len) |
| Returns the minimum value in the array. More... | |
| double | maxValue (double *grid, int len) |
| Returns the maximum value in the array. More... | |
| double | sumAvg (double *in, int len) |
| Computes average of the array. More... | |
| double | fInvSqRt (double in) |
| id magic hackery. Double precision fast inverse square-root. Useless, but necessary to have. More... | |
| void | coordSwap (struct Vtx::Vortex *vCoords, int src, int dest) |
| Swap the position of vortices. More... | |
| double | complexMag (double2 in) |
| Calculates $|z|$, where $z {C}$. More... | |
| double | complexMag2 (double2 in) |
| Calculates $|z|^2$, where $z {C}$. More... | |
| double2 | complexMult (double2 in1, double2 in2) |
| Calculates complex multiplication of input parameters. More... | |
| double2 | complexScale (double2 comp, double scale) |
| Calculates real * complex. More... | |
| double2 | conj (double2 c) |
| Calculates complex conjugate. More... | |
| double2 | complexDiv (double2 num, double2 den) |
| Calculates complex division. More... | |
| double2 Minions::complexDiv | ( | double2 | num, |
| double2 | den | ||
| ) |
Calculates complex division.
| num | Complex numerator |
| num | Complex denominator |
| double Minions::complexMag | ( | double2 | in | ) |
Calculates $|z|$, where $z {C}$.
More complex helper functions
| in | Complex number |
| double Minions::complexMag2 | ( | double2 | in | ) |
Calculates $|z|^2$, where $z {C}$.
| in | Complex number |
| double2 Minions::complexMult | ( | double2 | in1, |
| double2 | in2 | ||
| ) |
Calculates complex multiplication of input parameters.
| in1 | Complex number 1 |
| in1 | Complex number 2 |
| double2 Minions::complexScale | ( | double2 | comp, |
| double | scale | ||
| ) |
Calculates real * complex.
| comp | Complex number multiplicand |
| scale | Mulitplier |
| double2 Minions::conj | ( | double2 | c | ) |
Calculates complex conjugate.
| c | Complex number |
| void Minions::coordSwap | ( | struct Vtx::Vortex * | vCoords, |
| int | src, | ||
| int | dest | ||
| ) |
Swap the position of vortices.
| vCoords | Pointer to vortex array |
| src | Source vortex to swap |
| dest | Destination for vortex swap |
| double Minions::fInvSqRt | ( | double | in | ) |
id magic hackery. Double precision fast inverse square-root. Useless, but necessary to have.
id magic hackery
| in | Value to calculate fast inverse square root |
| double Minions::maxValue | ( | double * | grid, |
| int | len | ||
| ) |
Returns the maximum value in the array.
| grid | Array of values |
| len | Length of grid |
| double Minions::minValue | ( | double * | grid, |
| int | len | ||
| ) |
Returns the minimum value in the array.
| grid | Array of values |
| len | Length of grid |
| double Minions::psi2 | ( | double2 | in | ) |
Calculates $|z|^2$, where $z {C}$.
| in | Complex number |
| double Minions::sumAvg | ( | double * | in, |
| int | len | ||
| ) |
Computes average of the array.
| in | Array of values |
| len | Length of array |


The Pandemic Explained
COVID-19
Home
(current)
About
Search

This application has been an extension of an internship project. Source code for the data analysis and graphical visualisation can be viewed on my
GitHub
Information on the making of this dashboard can be viewed
here
Created by Tanya Jain


This library allows you to create editable elements on your page. It can be used with any engine (bootstrap, jquery-ui, jquery only) and includes both popup and inline modes. Please try out demo to see how it works.
| Inline | Examples |
|---|---|
| Simple Text Field | superuser |
| Empty text field, required | |
| Select, local array, custom display | |
| Select, error while loading | Active |
| Combodate | |
| Textarea, buttons below. Submit by ctrl+enter | awesome user! |


About me
My name is Emile Ferrand and I'm a Full-stack devoloper from Belgium, I'm passionate about programming and everything TECH in general. I have experience with lots of programming languages but my main programming language is Javascript.
My name is Emile Ferrand and I'm a Full-stack devoloper from Belgium, I'm passionate about programming and everything TECH in general. I have experience with lots of programming languages but my main programming language is Javascript.
Adobe Photoshop, Adobe Illustrator
React, Angular, CSS (Less, Sass, Styled components), Redux, JavaScript, TypeScript
Android, Electron
.NET Core (C#), Express (Node)
MySQL, SQL, MongoDB, Elasticsearch
2011 - 2015
High-school VTI-Torhout
2015 - 2018
Hogeschool West-Vlaanderen (Howest)
Following the Web and app development trajectory, which involves creating Full-stack solution for android and browsers
2018
Otwoo
With our startup we want to revolutionize shopping by bringing the online shopping experience to your local store creating a hybrid store concept.
2018
Proceedix
Extend Proceedix software stack with a web client build in react/redux.
2018
Proceedix
Maintain and add features to the Proceedix Android app for mobile and smartglasses.
2018 - 2019
Storied
Help maintain and develop new features for the storied platform.
2020 - ...
Northeastern University
Student: Align Master in computer science at Northeastern University


Perfactly Desgin
Good design is like a refrigerator—when it works, no one notices, but when it doesn’t, it sure stinks. We will create best designs for your requirements to make them stunning.
Carefully Planned
We gives you the perfact plan for your demands by take caring of all the possible good and bad aspects for your project to make it splendid as per as possible.
Smartly Execute
Execution is defined as the carrying out of a plan, order, or course of action.We ensure your demands and guides you best to make your project best.


Kamil Baćkowski
Library for adding finite state machines to Ruby classes.
class Job
include AASM
aasm do
state :sleeping, :initial => true
state :running, :cleaning
event :run do
transitions :from => :sleeping, :to => :running
end
event :clean do
transitions :from => :running, :to => :cleaning
end
end
end
class Account < ApplicationRecord
enum state: { step1: 'step1', step2: 'step2',
step3: 'step3', finished: 'finished' }
end
Service object
class AccountManager
include AASM, ActiveModel::Model
attr_accessor :account, :name, :country, :language
validates :name, presence: true, if: :step1?
validates :country, presence: true, if: :step2?
validates :language, presence: true, if: :step3?
aasm do
state :step1, initial: true
state :step2, :step3, :finished
after_all_transitions :update_account_state
event :next_step do
transitions from: :step1, to: :step2
transitions from: :step2, to: :step3
transitions from: :step3, to: :finished
end
end
def initialize(attributes = {})
super
aasm_write_state_without_persistence(account.state.to_sym)
end
def save
if valid?
account.update! send(STEP_AVAILABLE_VALUES.fetch(aasm.current_state))
else
false
end
end
private
def update_account_state
account.update_column(:state, aasm.to_state)
end
end
class AccountsController < ApplicationController
def new
@account = Account.new
end
def edit
@account = Account.find(params[:id])
end
def create
@account = Account.new
account_manager = AccountManager.new(account_params.merge(account: @account))
redirect_to edit_account_path(@account) if account_manager.save && account_manager.next_step
end
def update
@account = Account.find(params[:id])
account_manager = AccountManager.new(account_params.merge(account: @account))
redirect_to edit_account_path(@account) if account_manager.save && account_manager.next_step
end
private
def account_params
params.require(:account).permit(:name, :country, :language)
end
end
Always use aasm oustide of ActiveRecord models.
Questions ?


"x" "1" "KIM,SW, SON,KH AND CHUNG,KC, MUTAGENIC EFFECT OF STEROIDAL SAPONINSFROM SMILAX CHINA RHIZOMES, YAKHAK HOECHI 33(5):285-289, 1989"


Feature Request - Change song rating via Global Me
-
anonymous
Here's a feature that I would love (especially since I recently lost my song rating data ) : The ability to change a song's rating information via the global menu.
-
anonymous
another request; I have some songs that came on my computer because I copied them from my PC. Often these songs don't have a tag, and the name of the song dissapears with the copy to mac. When Synergy encounters those files who only have an artist, and a weird name, he is often able to find from which album it comes. I wonder how he does this, and if this is right, it would be nice if Synergy also would write the whole tag so I also know what song it is!
-
anonymous
and another request/question: some songs get the wrong album cover. I can throw it away, but next time it will download the album again! is there a way to prevent this?
-
Greg Hurrell
Quote: and another request/question: some songs get the wrong album cover. I can throw it away, but next time it will download the album again! is there a way to prevent this?
For now, the only way is to put the correct art in iTunes, then get rid of the incorrect art that Synergy downloaded.
I'm working on a much more elegant system for Synergy Advance.
Reply
This topic is now closed.


"Mercury Rising" -- A Degree of Suspense, Warmth by Homer Yen (c) 1998
Bruce Willis plays FBI agent Art Jeffries in a film about compassion and conspiracy. As a man living with a ghost and looking for redemption, his chance for penitence comes when he is called to investigate a crime involving the slain parents of Simon Lynch (Miko Hughes), an autistic child. Why were the parents killed? The audience knows that Simon's autism gives him the ability to 'see through' a newly developed government supercode called Mercury. A Mercury-encrypted message was slipped into the back of a puzzle magazine, and when Simon reads it, he calls a phone number revealed within the message. When NSA officials learn of this, they believe that Simon is a dangerous threat to national security and decides to take drastic actions. "Nothing can connect the boy to this office," says the NSA officer (Alec Baldwin). Jeffries, however, is unable to question the boy because of his condition. But when he learns that Simon's life is in jeopardy, he takes it upon himself, at great risk, to take care of Simon and try to learn why Simon is being relentlessly hunted down.
This may seem like a formulaic movie to some degree, and indeed, several elements here can be found in many other films of the same genre. For example, during his investigation, Jeffries must go into hiding as several parties make him the target of a manhunt. He has no personal or family ties which justifies his apparent willingness to go way above and beyond the call of duty. He even has a partner who is reluctant to help at first but then eventually gives in. However, there are several elements that makes this an enjoyable movie.
What I appreciated about this film was its restraint. It finds a suitable middle-ground that melds action and drama. It never went over-the-top, and took itself seriously by carefully underscoring its dramatic elements. Willis is perfectly cast as the anti-hero and ably handles the reigns of this film. He realizes that the stakes are high and that saving the boy is not some kind of cavalier stunt. His fear and frustration can be seen on his face. Despite his pug nature, he tries to do the right thing. A subtle level of suspense is maintained throughout the film. In a nicely executed sequence, both Jeffries and a hired killer are looking for Simon in the hospital where Simon is staying. Later, all 3 of them wind up in the same elevator. Our attachment to Simon is quickly developed, and we cringe when the bad guys begin to close in or when Simon decides to walk out into a middle of a busy intersection or onto the middle of the train tracks. We also feel good when we see Jeffries finally begin to make inroads into Simon's autistic world.
Mercury Rising has several moments that begs you to be 'open-minded' and not question the reasoning behind some of the actions taken. If you can make these minor sacrifices, like I did, then it offers enough to make this a satisfying movie experience.
Grade: B
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
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belongs to the author.
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Notebooks
Story: Why Dia!kwain's brother Ko-bbo received his name
Why Dia!kwain's brother Ko-bbo received his name
Title
Why Dia!kwain's brother Ko-bbo received his name
Collection
Summary
Explanation of various personal names was given, in the Katkop dialect, by Díä!kwãin (L V.-10. 4751-4754, 4758-4777, 18. 5373 rev., 19. 5505 rev. and 5506 rev., 20. 5572 and 5573, 5605-5607). Dia!kwain's mother named his brother Ko-bbo because the people at their place blamed her family for all the misfortunes that occurred there. They called Dia!kwain's people 'Bbo' and threatened them. These same people killed Dia!kwain's grandmother and grandfather 'with sorcery' and intended to kill the rest of his family as well.
Comments
1) Dia!kwain was told this story by his mother (≠kamme-an), 2) This story interrupts Told in illustration of the picture of the dance of sorcerers (Mr Stow's number 8 and 9), 3) p.4752v: the |xam names of Dia!kwain's grandmother (|abbe-ttu) and grandfather (||khwai-|na); they had no Dutch names, having had no contact with them, 4) p.4753v: Dia!kwain's sister was !kweiten ta ||ken and her Dutch name was Rachel, 5) This story is found in Book V-10
Contributors
Date
27 May 1875 (started)
Categories
History (personal), Custom and daily life
Keywords
Dia!kwain (his relations killed by sorcery) , Dia!kwain (his personal history) , Dia!kwain (the naming of his brother Ko-bbo) , Dia!kwain (his relations) , Dia!kwain (his family threatened) , sorcery (and why Dia!kwain's brother Ko-bbo received his name) , sorcery (Dia!kwain's relatives 'killed with') , Ko-bbo (the naming of) , Ko-bbo (accounting for his name) , personal history (of Dia!kwain and the naming of his brother) , personal history (why Dia!kwain's brother Ko-bbo received his name) , personal history (Dia!kwain's relatives 'killed with' sorcery) , death (Dia!kwain's relatives 'killed with' sorcery) , death (and why Dia!kwain's brother Ko-bbo received his name) , death (Dia!kwain's family threatened with) , name (why Dia!kwain's brother Ko-bbo received his) , name (names of Dia!kwain's relations)
Story Pages
4751-4754


I just made a rather absurd build (a Monk/Cleric/Wizard) which achieved the unlikely feat of having a pre-epic BAB of only 9. This meant that, using the Monk attack schedule on a single kama, I had 3 base APR. When I cast Divine Power, I expected that number to increase to 6, which is the number of main-hand, non-hasted, non-flurry attacks usually touted by DP spammers. However, I was dismayed to find, upon testing, that I only got 5 APR.
My question is, why? Is there a hard cap on the number of attacks you can gain from DP? Or is there some other issue with the build that prevents it from getting a sixth attack?
The spell will never give more than two extra attacks. _________________ "We keep our Feast of Feasts, sure of our bourne, Our aims self-same: The Guest of Guests, friend Zarathustra, came! The world now laughs, the grisly veil was torn, And Light and Dark were one that wedding-morn."


--- layout: page title: 404 ERROR categories: [] tags: [] status: publish type: page published: true meta: {} ---


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Navigation
Documentation sites need full control of their navigation and menus.
11ty provides a way to do this, using the 11ty navigation plugin. It's full-featured, supporting breadcrumbs, nesting, and highlighting active menu items. I recommend using it, unless you have a good reason not to.
Its downside (for me) is that you control your navigation from within each content file. In other words, in the frontmatter of every content file, you have to add a key
(the name of the menu item), a parent
if it's nested, and a numerical value for order
, which determines the order of the pages on the menu. I find this gets confusing fast. When adding a new page, you have to check the output, then work out what number in the order the new page will be and what its parent will be. If you decide to change the order, you have to edit several files. I like having one file that defines the whole menu.
If you use the 11ty Navigation plugin: use large numbers for the order. For example, use
100
for the first page,200
for the second and so on. This will allow you to add new pages in future without editing the whole menu.
I have set up an alternative using a data file (_data/nav.js
) which sets out the menu structure and details, and a Nunjucks template (_layouts/nav.njk
) that consumes it to create a menu. It supports:
- Infinite nesting (you can have as many navigation levels as you want).
- Highlighting active menu items.
- Custom titles (you set the title in the data file, not in the content file).


Rating is a very important both for us (it motivates to develop new modules), and for future customers. So
we request you to rate our Templates with 5 Stars on Themeforest.
You can do it in Themeforest Download
section. Thank you!
Clean UI is the first framework in the world, which uses the concept of modularity. The use of such approach allows you to drastically reduce the time and cost of development. Build the interface from the ready blocks and modules quickly and easily, like Lego! And all this is available now for Angular (version 4 or higher).
This is a completely modular framework, built on the latest technologies, such as BEM methodology (Block Element Modifier). You can learn more about the methodology here. Following the simple and understandable rules of this methodology allows the easy support of code even after long-term development. Adding new functionality and modifying the old one has never been so easy before. The presence of a variety of useful development methodologies make this process easier and more enjoyable; for example, such feature as rem measurement units make mobile versions of applications, built on the basis of Clean UI, look great on any type of devices. Open our template on your mobile phone and be sure to verify it yourself!
Clean UI - a modern professional admin template, based on Bootstrap 4 framework. It's a powerful and super flexible tool, which suits best for any kind of web application: Web Applications; CRM; CMS; Admin Panels; Dashboards; etc. Clean UI is fully responsive, which means that it looks perfect on mobiles and tablets.
Our template is fully based on SASS pre-processor, includes 50+ commented SASS files. Each file corresponds to a single component, layout, page, plugin or extension – so you can easily find necessary piece of code and edit it for your needs. The package includes CSS files compiled from SASS.
NOTE: A single license can be used only for one domain or client. Each use of the theme requires a separate license. We hope you will follow the rules as it will help us to continue supporting our themes and providing a free future updates. Also, don't forget read about Extended License.
Purchase A New License License InfoNOTE: A single purchase includes 6 months support subscription and after this period expired in order to continue getting the theme support from us you will need to extend it by purchasing a new support subscription. For more info please check Envato support rules or support policy.
Extend SupportAlmost every source file of the template contains the necessary minimum comments to the code. Please be sure to read them to understand the work of this code.
+ + ├─ cleanui-admin-template-angular/ .. angular version │ ├─ e2e/ .. system angular files │ ├─ dist/ .. build app files after "ng build --prod --aot" run │ ├─ node_modules/ .. node.js modules installed after "npm install" run │ ├─ src/ .. app source files │ │ ├─ app/ .. app files (includes templates manually copied and adapted from clean ui) │ │ ├─ assets/ .. assets folder (includes files manually copied and adapted from clean ui) │ │ ├─ environments/ .. system angular files │ │ ├─ index.html .. main app template │ │ ├─ main.ts .. main app script │ │ └─ * .. system angular files │ ├─ * .. system angular files │ └─ README.md .. git readme file + + ├─ cleanui-admin-template/ .. html version │ ├─ dist/ .. build app files by gulp after "gulp" run │ │ ├─ modules/ .. cleanui modules files │ │ ├─ vendors/ .. vendors files │ │ └─ versions/ .. cleanui versions files (layout variations) │ ├─ node_modules/ .. node.js modules installed after "npm install" run │ ├─ src/ .. source files │ │ ├─ modules/ .. cleanui modules files │ │ ├─ templates/ .. cleanui template files (layout variations) │ │ │ ├─ structure/ .. template structure │ │ │ └─ versions/ .. cleanui versions templates (layout variations) │ │ └─ vendors/ .. vendors files installed by bower after "bower install" run │ ├─ * .. system npm, gulp, and git files │ └─ README.md .. git readme file + + └─ documentation.html .. link to template documentation
Note: For use px
's instead rem
's in CSS, change calculation
formula in rem
function (/src/modules/core/css/mixins.scss) and recompile SASS by
gulp build:css
task.
Use the ready (pre-compiled) templates of different versions from the folder /dist/versions/
or
Use Gulp for build source files:
npm install --global bower gulp
;npm install
;bower install
;gulp
(builds to /dist/);Gulp tasks:
gulp
default task, includes ['build', 'watch', 'serve'] tasks;gulp build
includes ['build:version', 'build:js', 'build:css', 'build:img',
'build:vendors'];
gulp serve
project serve;gulp build:versions
build pages and structure (html);gulp build:js
build js scripts;gulp build:css
compilation and build sass files (css);gulp build:img
build images;gulp build:vendors
copy and merge vendros plugins to dist folder.Angular (version 4 and higher) of Clean UI Admin Template. Application routing + Ng-Bootstrap directives. Use of this version is optional.
Installation:
npm install -g angular/cli
;npm install
;bower install
;ng serve
;ng build --prod --aot
(builds to /dist/);The original display of template consists of the following blocks:
| 2. | 1. | 4. |
| 3. |
||
| 5. |
Code structure:

The template has a set of global settings, which are activated by adding certain classes to the
body
tag:
Settings:
| Class | Applies to | By default used for |
|---|---|---|
.cat__config--vertical
|
body |
The vertical layout type. Mandatory class, can be replaceed by .cat__config--horizontal
|
.cat__config--horizontal
|
body |
The horizontal layout type. Mandatory class, can be replaceed by .cat__config--vertical
|
.cat__config--boxed
|
body |
Fixed width content block |
.cat__config--compact
|
body |
Compact layout type |
.cat__config--unfixed
|
body |
Layout type with unfixed blocks |
.cat__config--superclean
|
body |
Clean styles layout type
|
.cat__config--squared-corners
|
body |
Squared corners |
.cat__config--shadow
|
body |
Drop shadows |
Example of use (will configure the compact horizontal menu on top with the fixed width of content-area):

This template uses font PT Sans, loaded from.
Google Fonts. This font has to be loaded into head
.
<link href="https://fonts.googleapis.com/css?family=PT+Sans:400,400i,700,700i&subset=cyrillic" rel="stylesheet">
Description:
Installation:
<link rel="stylesheet" type="text/css" href="../../modules/core/common/core.cleanui.css">
The impact of global settings on this module:
| Class | Applies to | Used for |
|---|---|---|
.cat__config--superclean
|
body |
Changes the size of margins of content area (remove paddings, borders, etc) |
.cat__config--squared-corners
|
body |
Squared corners of card component of bootstrap framework |
Deascription:
Installation:
<link rel="stylesheet" type="text/css" href="../../modules/layouts/common/layouts.cleanui.css">
The impact of global settings on this module:
| Class | Applies to | Used for |
|---|---|---|
.cat__config--horizontal
|
body |
Activates horizontal configuration for "Core Module", "Menu-left Module", "Top-bar Module" |
.cat__config--boxed
|
body |
Activates fixed width configuration for "Core Module", "Menu-left Module", "Top-bar Module" |
.cat__config--compact
|
body |
Activates compact layout type for "Core Module", "Menu-left Module" |
.cat__config--unfixed
|
body |
Activates unfixed blocks layout type for "Core Module", "Menu-left Module", "Menu-left Module" |
Description:
Installation:
<link rel="stylesheet" type="text/css" href="../../modules/top-bar/common/top-bar.cleanui.css">
Can affect on:
| Module | Used for |
|---|---|
| Core Module | Changes the size of margins of content area (create space for module block) |
Template:

 ... image link logo

 ... any content

 ... any content

Description:
Installation:
<link rel="stylesheet" type="text/css" href="../../modules/menu-left/common/menu-left.cleanui.css">
Can affect on:
| Module | Used for |
|---|---|
| Core Module | Changes the size of margins of content area (create space for module block) |
Settings:
| Class | Applies to | Used for |
|---|---|---|
.cat__menu-left--visible
|
body |
Hide / show module block |
.cat__menu-left--colorful
|
body |
Activates the automatic addition of random classes (when loading page) to menu items to display a colored line |
.cat__menu-left__item--active
|
.cat__menu-left__item |
Active menu item |
.cat__menu-left__submenu--toggled
|
.cat__menu-left__submenu |
Expands the cascading menu |
.cat__menu-left--colorful--primary ,
.cat__menu-left--colorful--secondary ,
.cat__menu-left--colorful--primary ,
.cat__menu-left--colorful--default ,
.cat__menu-left--colorful--info ,
.cat__menu-left--colorful--success ,
.cat__menu-left--colorful--warning ,
.cat__menu-left--colorful--danger ,
.cat__menu-left--colorful--yellow
|
.cat__menu-left__item |
Adds a colored line (depending on the class) to the menu item |
The impact of global settings on this module:
| Class | Allplies to | Used for |
|---|---|---|
.cat__config--vertical
|
body |
Activates custom scroll |
.cat__config--shadow
|
body |
Adds shadow |
Actions:
| Class | Applies to | Used for |
|---|---|---|
.cat__menu-left__action--menu-toggle
|
* (any element on the page)
|
Toggles menu module block |
Template:

 ... image link logo

   ... link title

   ... link title

  AA ... link title   ... next level submenu item

Description:
Installation:
<link rel="stylesheet" type="text/css" href="../../modules/menu-right/common/menu-right.cleanui.css">
Settings:
| Class | Applies to | Used for |
|---|---|---|
.cat__menu-right--visible
|
body |
Hide / show module block |
Actions:
| Class | Applies to | Used for |
|---|---|---|
.cat__menu-right__action--menu-toggle
|
* (any element on the page)
|
Toggles menu module block |
Template:

  ... header title

 ... any content

Description:
Installation:
<link rel="stylesheet" type="text/css" href="../../modules/footer/common/footer.cleanui.css">
The impact of global settings on this module:
| Class | Applies to | Used for |
|---|---|---|
.cat__config--squared-corners
|
body |
Squared corners |
Template:

 ... any content

 ... any content

Description:
Installation:
<link rel="stylesheet" type="text/css" href="../../modules/themes/common/themes.cleanui.css">
Can affect on:
| Module | Used for |
|---|---|
| Left-menu Module | Changes color of the elements |
| Top-bar Module | Changes color of the elements |
Settings:
| Class | Applies to | Theme name |
|---|---|---|
.cat__theme--light
|
body |
Light Theme |
.cat__theme--green
|
body |
Green Theme |
.cat__theme--blue
|
body |
Blue Theme |
.cat__theme--red
|
body |
Red Theme |
.cat__theme--orange
|
body |
Orange Theme |
Description:
Installation:
<link rel="stylesheet" type="text/css" href="../../modules/vendors/common/vendors.cleanui.css">
Description:
Installation:
<link rel="stylesheet" type="text/css" href="../../modules/pages/common/pages.cleanui.css">
Description:
Installation:
<link rel="stylesheet" type="text/css" href="../../modules/apps/common/apps.cleanui.css">
Description:
Installation:
<link rel="stylesheet" type="text/css" href="../../modules/ecommerce/common/ecommerce.cleanui.css">
Please read the Official Documentation to plug-ins that are used on the pages of the template. This will eliminate many issues, related to the work of these plug-ins.
You may find links on top of each block in the template pages ("Official Documentation " button) or in the list below.
| Name | Description | URL |
|---|---|---|
| jquery | Core Javascript library | http://www.jquery.com |
| angular | Angular is a development platform for building mobile and desktop web applications | https://angular.io |
| jquery | Sleek, intuitive, and powerful front-end framework for faster and easier web development | |
| tether | Tether is a JavaScript library for efficiently making an absolutely positioned element stay next to another element on the page | http://tether.io/ |
| jquery-mousewheel | A jQuery plugin that adds cross-browser mouse wheel support with delta normalization | https://github.com/jquery/jquery-mousewheel |
| ladda | Buttons with built-in loading indicators, effectively bridging the gap between action and feedback | http://lab.hakim.se/ladda/ |
| bootstrap-select | Bootstrap-select is a jQuery plugin that utilizes Bootstrap's dropdown.js to style and bring additional functionality to standard select elements | https://silviomoreto.github.io/bootstrap-select/ |
| select2 | Select2 gives you a customizable select box with support for searching, tagging, remote data sets, infinite scrolling, and many other highly used options | https://select2.github.io/ |
| html5-form-validation | The jQuery form validation plugin unifies the way to validate HTML forms using JavaScript | https://github.com/running-coder/jquery-form-validation |
| jquery-typeahead | The jQuery Typeahead plugin provides autocomplete preview on search inputs similar to google search with builtin options and deep customization | https://github.com/running-coder/jquery-typeahead |
| jquery-mask-plugin | A jQuery Plugin to make masks on form fields and html elements | https://igorescobar.github.io/jQuery-Mask-Plugin/ |
| autosize | A small, stand-alone script to automatically adjust textarea height | http://www.jacklmoore.com/autosize/ |
| bootstrap-show-password | Show/hide password plugin for twitter bootstrap | https://github.com/wenzhixin/bootstrap-show-password |
| eonasdan-bootstrap-datetimepicker | Date/time picker widget based on twitter bootstrap | https://github.com/Eonasdan/bootstrap-datetimepicker |
| fullcalendar | A JavaScript event calendar. Customizable and open source. | https://fullcalendar.io/ |
| bootstrap-sweetalert | A beautiful replacement for JavaScript's "alert" | https://lipis.github.io/bootstrap-sweetalert/ |
| remarkable-bootstrap-notify | This plugin helps to turn standard bootstrap alerts into "growl" like notifications | http://bootstrap-notify.remabledesigns.com/ |
| summernote | Super Simple WYSIWYG Editor on Bootstrap Summernote is a JavaScript library that helps you create WYSIWYG editors online | http://summernote.org/ |
| owl.carousel | Touch enabled jQuery plugin that lets you create a beautiful responsive carousel slider | http://owlcarousel2.github.io/OwlCarousel2/ |
| ionrangeslider | Easy, flexible and responsive range slider with skin support | http://ionden.com/a/plugins/ion.rangeslider/ |
| nestable | Drag & drop hierarchical list with mouse and touch compatibility | https://dbushell.com/Nestable/ |
| datatables | Table plug-in for jQuery | https://datatables.net/ |
| datatables-responsive | Responsive is an extension for DataTables that resolves that problem by optimising the table's layout for different screen sizes through the dynamic insertion and removal of columns from the table | https://datatables.net/extensions/responsive/ |
| datatables-fixedcolumns | When making use of DataTables x-axis scrolling feature, you may wish to fix the left or right most columns in place | |
| chartist | Simple responsive charts | https://gionkunz.github.io/chartist-js/ |
| chartist-plugin-tooltip | This plugin provides quick and easy tooltips for your chartist charts | https://github.com/Globegitter/chartist-plugin-tooltip |
| c3 | D3-based reusable chart library | http://c3js.org/ |
| d3 | Data-Driven Documents | https://d3js.org/ |
| peity | Peity (sounds like deity) is a jQuery plugin that converts an element's content into a svg mini pie, donut, line or bar chart | http://benpickles.github.io/peity/ |
| gsap | The new standard for HTML5 and javascript animation | https://greensock.com/gsap |
| jquery-countTo | jQuery countTo is a jQuery plugin that will count up (or down) to a target number at a specified speed, rendered within an HTML DOM element | https://github.com/mhuggins/jquery-countTo |
| nprogress | A nanoscopic progress bar. Featuring realistic trickle animations to convince your users that something is happening! | http://ricostacruz.com/nprogress/ |
| jquery-steps | An all-in-one wizard plugin that is extremely flexible, compact and feature-rich | http://www.jquery-steps.com/ |
| chart.js | Simple yet flexible JavaScript charting for designers & developers | http://www.chartjs.org/ |
| dropify | Override your input files with style | https://github.com/JeremyFagis/dropify |
| clean-media-player | Audi / Video Html Players | http://cleanhtmlplayer.com/ |
| editable-table | This tiny (3KB, < 120 lines) jQuery plugin turns any table into an editable spreadsheet | https://github.com/mindmup/editable-table |
| font-awesome | The iconic font and CSS toolkit | http://fontawesome.io/ |
| font-icomoon | General purpose icons. Gets the job done | https://icomoon.io/#icons-icomoon |
| font-lineraicons | Ultra Crisp Line Icons with Integrity | https://linearicons.com/ |
| jquery-ui | jQuery UI is a curated set of user interface interactions, effects, widgets, and themes built on top of the jQuery JavaScript Library | https://jqueryui.com/ |
Html Version:
Major:
Minor:
Angular Version:
Major:
Html Version:
Major:
Minor:
Angular Version:
Major:
Thank you once again for purchasing Clean UI Admin Template. We hope that you will use it in your project with delight.


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This is important....


Mac is a Calico cat. This breed comprises of 97 percent females. This is because they have three chromosomes which is evidenced in their fur. From birth, the males genetic pattern is unstable because it iis dominated by the Xchromosome.


Dear Dry,
The Feminist Majority has been standing shoulder-to-shoulder with Afghan women and girls in the fight against Taliban oppression for 18 years. Since the fall of the Taliban regime in 2001, many Afghan women and girls are going to school, have entered the paid workforce, and have benefited from a significantly reduced maternal mortality rate. But the Taliban has not gone entirely away and is threatening constantly women and girls’ advancement and security. *We must remain shoulder-to-shoulder with Afghan women and girls. [ http://salsa.wiredforchange.com/o/1269/p/dia/action3/common/public/?action_KEY=11000&tag=C30317 ]*
* [ http://salsa.wiredforchange.com/o/1269/p/dia/action3/common/public/?action_KEY=11000 ]* [ http://salsa.wiredforchange.com/o/1269/p/dia/action3/common/public/?action_KEY=11000&tag=C30317 ]
Many Afghan women leaders as well as ordinary Afghans are saying their number one concern is security, and they want the remaining U.S. support troops to stay. We support the Afghan women’s groups concerns. This is no time to leave Afghanistan completely when women and girls are making progress and the new unity government, pledged to women’s empowerment, is trying to move forward.
*Please urge President Obama, Secretary Kerry, and Congress to support postponement or extension of the US **timeline for removing support troops from Afghanistan.* [ http://salsa.wiredforchange.com/o/1269/p/dia/action3/common/public/?action_KEY=11000&tag=C30317 ]
President Obama is right now reviewing his decision to withdraw some 5,000 U.S. troops from Afghanistan by the end of 2015 and ALL troops by the end of 2016. There are now some 10,000 U.S. troops in Afghanistan.
Afghan women and girls have come too far to turn back now. If the Taliban returns, too many of the women who have gone to work and school and who have taken on leadership in government or in over 200 established Afghan women’s groups, will be killed. We must stand shoulder-to-shoulder with these courageous women.
*Please tell President Obama, Secretary Kerry, and Congress that the U.S. must not abandon Afghan women and girls who need and want security. [ http://salsa.wiredforchange.com/o/1269/p/dia/action3/common/public/?action_KEY=11000&tag=C30317 ]* Let’s help Afghan women protect the gains they have won.
For women’s lives and equality,
Normal 0 false false false EN-US JA X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:“Table Normal”; mso-style-parent:“”; font-size:10.0pt;“Times New Roman”; border:none;}
Eleanor Smeal
President, Feminist Majority


Photos: Saif Ali Khan, Kareena Kapoor Khan opts for traditional outfits for their airport look!
by TIMESOFINDIA.COMSaif Ali Khan and Kareena Kapoor Khan along with their little munchkin Taimur Ali Khan get snapped in the city on various occasions. Today, the trio was snapped at the airport as they arrived in Mumbai.
The actress was shooting in Chandigarh for her upcoming film and Taimur was with her at the union territory.
And for the airport look, Saif opted for a light pink kurta paired with white pyjama and black shoes. Kareena, on the other hand, looked pretty in a yellow kurta with grey pyjama while little Tim was in all-blue attire.
Check out the pictures here:
Meanwhile, on the work front, Saif will be next seen in 'Tanhaji: The Unsung Warrior' co-starring Ajay Devgn. He will be playing the role of Udaybhan Rathod in the film. Kareena will feature in 'Good Newwz' alongside Akshay Kumar. She will also star in Karan Johar's 'Takht', Irrfan Khan starrer 'Angrezi Medium'.


>>
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Usr
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Primer
Conjunction
A conjunction is similar to an adverb, except that it takes both a left and right argument. The rank conjunction was introduced informally in an earlier section. In addition, the : used to define verbs such as centigrade can now be recognized as a conjunction. In defining centigrade, the : takes a left argument of 3 and a right argument of 0. So far it could be a verb, but the fact that its result is a verb proves it is a conjunction.
The verb result of a conjunction is referred to as a derived verb.
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ENTRAPMENT (M). (Twentieth Century Fox) Director: Jon Amiel Stars: Sean Connery, Catherine Zeta-Jones, Ving Rhames, Will Patton, Maury Chaykin, Kevin McNally Running time: 113 minutes.
This slick and undeniably entertaining thriller about a seductive female insurance investigator who tries to catch a suave thief almost makes the forthcoming remake of the 1968 caper movie The Thomas Crown Affair redundant. Entrapment takes the basic plot details and updates them with sophisticated technology of the late '90's, and throws in a few extra twists and turns to make it more interesting. Cleverly written by Ron Bass (Rain Man, etc), Entrapment also brings to mind Hitchcock's To Catch A Thief and its ilk. The film adheres closely to the charming formula of those wonderful caper thrillers from the '60's, but adds a few cynical 90's touches.
When a $25 million Rembrandt is stolen from a New York skyscraper, insurance investigator Virginia "Gin" Baker (Catherine Zeta-Jones, who last heated up the screen in the entertaining The Mask Of Zorro) sets out to prove that notorious but debonair cat burglar and art thief Robert MacDougal (Sean Connery) is responsible. She plans to trap him by convincing him to help steal a priceless Chinese heirloom from a museum. But she also has another agenda in mind. MacDougal soon finds himself involved in trying to steal billions from Malaysia's high-tech securities bank on the eve of the new millennium.
As with the great caper comedies of the past, the film explores in detail the elaborate plotting and daring execution of their impossible robberies. The uneasy relationship that slowly develops between the pair is further characterised by a mutual lack of trust.
British director Jon Amiel (The Singing Detective, etc) is better known for his off beat comedies, but he brings plenty of suspense and tension to the material. The key set pieces are superbly staged. There are a number of implausibilities within the convoluted plot, and a willing suspension of disbelief comes in handy.
However, the sheer chemistry between the two stars more than carries the movie. Connery may be the oldest action hero in the business, but he shows few signs of slowing down or making concessions for his age. He still oozes charisma and carries off the role with deceptive ease and conviction. The gorgeous Zeta-Jones is seductive, sultry and heats up the screen as the tough heroine. Unlike many other superannuated stars, Connery actually makes the older man-younger woman dynamic work here.  Ving Rhames (from Mission: Impossible, etc) is along for the ride as the enigmatic Thibadeaux, whose involvement in the scheme of things is never really explained until the conclusion.
The ending is a little clumsily handled, but otherwise Entrapment quickly snares audiences with its appealing and sophisticated combination of suspense, romance and old fashioned entertainment.
**** greg king http://www.netau.com.au/gregking
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
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{% extends 'explorer/base.html' %} {% load staticfiles %} {% block scriptincludes %} {% endblock %} {% block content %}
We're here to help Canadians make better sense of local elections.
Figure out where you stand on important local issues and identify the candidate or candidates who most closely align with your beliefs.


From:Roger Mellor<EMAIL_ADDRESS>Stop the World - I Want To Get Off (1966)
Technicolor (with B/W sequences) Warner Bros.
Anailable on video in the USA (NSTC only)
Book, Music and Lyrics :Leslie Bricusse and Anthony Newley Based on the Stage Productions at Queens Theatre, London (1961) (485 performances), and Shubert Theatre, New York (1962) (555 perfs) Filmed in at Pinewood Studios outside London and at the (old) Lyric Theatre, Hammersmith.
Cast: Tony Tanner (Littlechap) Millicent Martin (His wife) Twins:Leila Croft [Susan], Valerie Croft[Jane] (His daughters) Dancers: Georgina Allen, Natasha Ashton, Sandra Burville, Carlotta Barrow, Vivyan Dunbar, Katerina Holden, Margaret Frost, Ann Holloway, Liz Gold, Derina House, Marion Horton, Carolyn Irving, Pam Hart, Pam Jones, Sarah Hardenberg, Kay Korda, Rosemary Phillips, Judith McGilligan, Jo Anna Short, Julie Pitcher, Liz White, Heather Simms
Credits: Director: Philip Saville Mime and Movement Director: Tutte Lemkow Production Designer: Sean Kenny (as Stage Production) Custumes: Kiki Byrne (as Stage Production) Photography: Oswald Morris (Mitchell Camera System 35) Music Director: Al Ham Producer: Bill Sergeant Stage Director: Michael Lindsay-Hogg Additional Material by: David Donabie, Al Ham, Alan and Marilyn Bergman
As the overture commences, we are presented with a sequence of monochrome still photographs, of a theatre musical director waving his baton; of scenes in a recording studio, with the principals, chorus , conductor, a large orchestra, surrounded by microphones, booms and other equipment; of scenes in the theatre dressing rooms as the principals and other performers the actors preparing for the night's performance, applying their custumes and make up, with a particular emphasis on Tony Tanner's transformation from almost unrecognisable everyday self to the white faced clown Littlechap. At the end of the credits, the image switches to orange hued Technicolor and movement, and the performance begins................with a mime sequence.
>From the very beginning therefore, theatricality is emphasised. We are to see a PERFORMANCE It is Brechtian, in the sense that one is never allowed to forger the PROCESS of production. There are various 'alienation' devices to comment on the action, and prevent the viewer getting too involved in the story: the film is on several occasions interrupted when Littlechap shouts 'Stop the World! , and he launches into a monologue to camera which returns to Black and White. The film also shows us shots from the stage, of a theatre audience applauding after some songs, and shots of the conductor in the pit. The essence of the appeal of STW is theatrical, a real challenge (if not impossible) to turn into a film, and the film's producers have wisely avoided all attempts at naturalism.....
Here we have what is basically a filmed record of a stage production, so one's response to the film depends entirely on one's response to the show, and the performers. Promoted in London and New York as a 'new style musical' with a 'new style entertainer' (Anthony Newley) in 1961, STW was a considerable stage success. It is a young man's show, and , in mood, a typically early 1960s piece which seems rather 'quaint' by today's standards. It caught the mood of the time with its comments on social class and politics, and (some would say, banal) attempts to make a statement on 'the human condition'. At a time when audiences were willing to accept experiment in the arts [including theatre(Beckett) and movies Godard)], it had some of this sense of 'experiment'. A musical with very little narrative, especially by todays standards ('Cats', also a mime show is its nearest equivalent, but is much cosier and less challenging). In STW one can see the influence of Charlie Chaplin on Newley and on the production (especially 'Modern Times' - the images of the depersonalising effect of machinery, skillfully portrayed in mime by the dancers). The film also reflections certain 1960s notions of 'Art'. It opens with a very stylised mime routine, revealing the influence of the French mime artist Marcel Marceau, with Littlechap's clown costume and white face make up. A circus ring setting is suggested in Sean Kenny's design.
The central character Littlechap is an Everyman figure, with roots going back to medieval theatre, but also an 'antihero' (another very 1960s term !), a 'little Englander' and a 'chauvinist' in his relations with Evie and his daughters. (there are also 21 pretty girl dancers in the film, who have an important role in the film - they act as a chorus, and comment on the action, both visually in mime, and in words). The satire is at a pretty shallow level, however. The role of Littlechap is a tour de force for the leading actor, placing heavy physical and vocal demands on the performer, who is never off the stage. The film 'Introduces' Tony Tanner (but this was not his first film - he appeared in 'Strictly For The Birds' in 1963). Tanner followed Newley in both the London and New York stage productions, and replicates Anthony Newley's performance, including his vocal mannerisms. Personally, although he gives a skilful performance in a very demanding role, I found Tony Tanner overbearing and very irritating after a while, and if one finds Littlechap tiresome, the show loses a lot of its appeal. As a show STW had many admirers, especially Sammy Davis Jr. who recognised the quality of its songs and appeared in it more than once, and adopted several of its songs. Certainly, nobody could complain about the quality of the songs in this show. With several excellent numbers [with powerful ('What Kind of Fool am I?') and tender ('Someone Nice Like You Evie' songs], it is one of the best scores of the period (from any source), and together with 'Oliver' is one of the great British musicals of the 1960s. Other songs include: 'The ABC Song'(TT), 'I Wanna Be Rich' (TT), 'Typically English[Deutsche/Russian/Japanese/All American]' (MM), 'Lumbered' (TT), 'Gonna Build a Mountain'(TT), 'Meilinki Meilchick' (TT/MM), 'Mumbo Jumbo'(TT), and 'Once in a Lifetime'(TT).
Also both Newley and Bricusse deserve credit for the boldness of the concept- a concept musical before the term became fashionable, it is only preced by the Weill/Gershwin 'Lady in the Dark' and Rodger's and Hammerstein' s 'Allegro' in its originality. Unfortunately, what was new and 'fresh' in the 1960s was bound to date quickly, and the show, far from being timeless and universal, subsequently proved to be unrevivable, as various short-lived attempts since the 1960s have shown.
This film attempts to capture the experience of live theatre. As this is an impossible task, one has to give the producers credit for attempting to place the show on record, although the film is fatally flawded by not having Anthony Newley in the leading role. Whether Newley's non appearance was due to contractual disagreements, or because he was appearing on Broadway in another show, is not certain (if the latter, why wasn't the production of this film moved to New York to accommodate Anthony Newley's other committments?). It was crazy to proceed with a film of 'Stop The World' without Anthony Newley on board.
The experience of seeing 'Stop The World' live in the theatre in 1961 ,with the show's creator/performer, Anthony Newley on a good night, and in top form, in 1961 must have been electrifying. Love it or loathe it, this film is a poor substitute, but let's be grateful - it is all we have as a visual record of this show..
By Roger Mellor If you have any comments on this review, or the movie, you can e mail me at<EMAIL_ADDRESS>Check out the British Musical Movies site at: http://britmusicalfilm.webjump.com
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


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"use strict";
"use strict";
language.en.resources.js 1.0.0
https://github.com/matt3501/CurrentStockValues
Licensed under the Apache License, Version 2.0 (the "License");
you may not use this file except in compliance with the License.
You may obtain a copy of the License at
http://www.apache.org/licenses/LICENSE-2.0
Unless required by applicable law or agreed to in writing, software
distributed under the License is distributed on an "AS IS" BASIS,
WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
See the License for the specific language governing permissions and
limitations under the License.
Has all of the keys needed for the display in the solution.
var Language = {
ticker: "Ticker",
quantity: "Quantity",
currentPrice: "Current Price",
high: "High",
low: "Low",
currentValue: "Current Value"
};
Make the module publicly accessible.
module.exports = Language;


JavaScript syntax is the set of rules, how JavaScript programs are constructed.
A computer program is a list of "instructions" to be "executed" by the computer.
In a programming language, these program instructions are called statements.
JavaScript is a programming language.
JavaScript statements are separated by semicolons:
JavaScript statements are composed of:
Values, Operators, Expressions, Keywords, and Comments.
The JavaScript syntax defines two types of values: Fixed values and variable values.
Fixed values are called literals. Variable values are called variables.


| # | Job ID | Progress | Data | Pause/Resume | Remove |
|---|---|---|---|---|---|
| 1 | 24 |
|
| # | Job ID | Progress | Data | Pause/Resume | Remove |
|---|---|---|---|---|---|
| 1 | 24 |
|
| # | Job ID | Progress | Data | Pause/Resume | Remove |
|---|---|---|---|---|---|
| 1 | 24 |
|
| # | Job ID | Progress | Data | Pause/Resume | Remove |
|---|---|---|---|---|---|
| 1 | 24 |
|
Developed by Shoaib Merchant with for Node.js. View on GitHub


The examples use the following:
import upcloud
from upcloud import Server
from upcloud import Storage
from upcloud import ZONE
manager = upcloud.CloudManager("username", "password")
Start / Stop / Restart
server.stop()
server.start()
server.restart()
# populate the object with updated information from API
server.populate()
Please note that the server might not be stopped/started/restarted immediately when the API responds. The .populate()
method updates the object's fields from the API and is thus useful for checking server.state
.
Server states:
"started","stopped" -- server is shut down or running
"maintenance" -- when shutting down or (re)starting
"error" -- erronous state in UpCloud's backend
List / Get
The CloudManager returns Server instances.
servers = manager.get_servers()
server = manager.get_server(servers[0].uuid)
Create
Creation of servers in the API is handled by the CloudManager. It accepts a Server instance, forms the correct POST request and populates the Server instance's fields from the POST response.
server = Server(
core_number = 1,
memory_amount = 512,
hostname = "web1.example.com",
zone = ZONE.London,
storage_devices = [
Storage(os = "Ubuntu 14.04", size=10),
Storage(size=10, tier="hdd")
])
manager.create_server( server )
Currently available Storage operating systems are the following UpCloud public templates:
# upcloud/tools.py
Operating Systems:
"CentOS 6.5", "CentOS 7.0",
"Debian 7.8", "Ubuntu 12.04", "Ubuntu 14.04",
"Windows 2003", "Windows 2008", "Windows 2012"
Please refer to the API documentation for the allowed Server attributes.
Update
Attributes
Updating a Server's attributes is done with its .save()
method that does a PUT request. If you want to manage the Server's Storages or IP-addresses, see below.
server = manager.get_server( uuid )
server.core_number = 4
server.memory_amount = 4096
server.save()
The following fields of Server instance may be updated, all other fields are read-only. Trying to assign values to other fields leads to an error.
Updateable attributes:
"boot_order", "core_number", "firewall", "hostname", "memory_amount",
"nic_model", "title", "timezone", "video_model", "vnc", "vnc_password"
Please refer to the API documentation for the allowed values.
Storages
A Server's Storages can be attached and detached with .add_storage()
and .remove_storage()
. Both requests issue an API request instantly.
# attach
storage = manager.create_storage( size=100, zone=ZONE.Helsinki )
server.add_storage(storage)
# detach
storage = server.storage_devices[1]
server.remove_storage(storage)
IP-addresses
A Server's Storages can be attached and detached with .add_IP()
and .remove_IP()
. Both requests issue an API request instantly. Note that the attached IP is allocated randomly as UpCloud's does not (yet) support floating IPs.
# attach
IP = server.add_IP()
# detach
server.remove_IP(IP)
Destroy
Destroys the Server instance and its IP-addresses. However, does not destroy the Storages.
server.destroy()


WITNESS LIST Environmental Regulation Committee March 27, 2001-2:00P HB 356 For: Alvarez, Ramon, Ph.D. (Environmental Defense) Brown, Travis (Self and Neighbors for Neighbors) Elioseff, Jane (Galveston-Houston Assoc. for Smog) Ganges, Michelle G. (Self and Neighbors for Neighbors) Kramer, Ken (Lone Star Chapter, Sierra Club) Schneider, Robin (Texas Campaign for the Environment) Schonborn, Josh (Self) Smith, George (Lone Star Chap. of Sierra Club) Smith, Tom "Smitty" (Public Citizen's Members) Against: Miksa, Mary (Texas Assoc. of Business & Chambers of Commerce) Sebree, Ben (Texas Oil & Gas Assoc.) On: Blackburn, Rev., Janet (Self) Saitas, Jeff (TNRCC) HB 1227 On: Richardson, Fred (Lone Star Chapter Sierra Club) HB 2134 For: Alvarez, Ramon, Ph.D. (Environmental Defense) Bandy, Bill (Lone Star Lubrication, Inc., Texas State Inspection Assn.) Barnes, Charissa E. (Official Inspection Station dba OIS Inestments, Inc., TSIA) Beatty, Jr., George (Greater Houston Partnership) Berger, Pamela M., Dr. (Mayor Lee P. Brown, City of Houston) Lee, James (Parsons Advanced Technology) Manhart, Fred (Association of Electric Companies of Texas (AECT)) Miksa, Mary (Texas Assoc. of Business & Chambers of Commerce) Morphew, Cindy (Texas Oil & Gas Assoc.) Moyer, Elizabeth (American Electronics Associaiton) Quinten, Jim (Automotive Wholesalers of Texas) Stock, Chris (Keating Technologies, Inc.) Thompson, Al (Self) Youngblood, Joe (Self) Against: Blanton, Tom (Texas Automobile Dealers Assn.) On: Barbour, Hazel (TNRCC) Martin, Ed (TSIA Texas State Inspection Association) Smith, Major Ricky (Texas Department of Public Safety) HB 2461 Against: Smith, George (Lone Star Chapter) HB 2518 For: Miksa, Mary (Texas Association of Business & Chambers of Commerce) Moyer, Elizabeth (American Electronics Association) Stewart, Michael (Texas Aggregates & Concrete Assn.) Williams, Tony (Texas Cotton Ginners Assn.) Against: Clarke, Margot (League of Conservation Voters Education Fund) Frederick, David (Sierra Club, Lone Star Chapter) Smith, George (Sierra Club Lone Star Chap.) On: Duncan, David (TNRCC) HB 2649 For: Rigsbee, Ken (Phillips Petroleum Company) Sebree, Ben (Texas Oil & Gas Assoc. / Texas Clean Fuels Alliance) Stewart, Michael (Tx. Aggregates & Concrete Assn.) Webb, Bill (Texas Motor Transportation Assn. (TMTA)) Weitzel, John (Texas Petroleum Marketers & Convenience Store Assoc.) Against: Alvarez, Ramon, Ph.D. (Environmental Defense) Clarke, Margot (League of Conservation Voters Education Fund) Johnson, Scott (Self) Richardson, Fred (Lone Star Chapter Sierra Club) Smith, George (Self) Smith, Tom "Smitty" (Public Citizen's Members) On: Saitas, Jeff (TNRCC) HB 2726 For: Clarke, Margot (League of Conservation Voters Education Fund) Richardson, Fred (Lone Star Chapter Sierra Club) Smith, Tom "Smitty" (Public Citizen's Members) On: Henry, Judy (Texas Dept. Health) HB 2819 For: Anderson, Sparky (Clean Water Action) Smith, Tom "Smitty" (Public Citizen's Members) Turner, Jill (Texas Farm Bureau) Against: Fisher, Jon (Texas Chemical Council) Fisher, Scott B. (Texas Petroleum Marketers Association) Hohnholt, John F. (Valero Energy Corporation) Landry, Richard (Paper Allied Industrial Chemical and Energy Workers Local 4-228) Miksa, Mary (Texas Assoc. of Business & Chambers of Commerce) Sebree, Ben (Texas Oil & Gas Association) Young, Dale O. (Lyondell Chemical Company) On: Honeycutt, Mike (TNRCC) HB 2820 For: Smith, Tom "Smitty" (Public Citizen's Members) Turner, Jill (Texas Farm Bureau) Against: Fisher, Jon (Texas Chemical Council) Fisher, Scott B. (Texas Petroleum Marketers Association) Hohnholt, John F. (Valero Energy Corporation) Landry, Richard (Paper Allied Industrial Chemical and Energy Intl. Union)) Miksa, Mary (Texas Assoc. of Business & Chambers of Commerce) Sebree, Ben (Texas Oil & Gas Association) Young, Dale O. (Lyondell Chemical Company) On: Honeycutt, Mike (TNRCC) HB 3040 For: Holmes, Jack (First Wave Marine) Against: Smith, George (Sierra Club Lone Star Chapter) HB 3205 For: Schneider, Robin (Texas Campaign for the Environment) HB 3284 On: Huston, Robert (TNRCC) Rae, Karen (Capital Metropolitan Transportation Authority) Smith, Tom "Smitty" (Public Citizen's Members) HB 3431 For: Sears, Walt (Notheast Texas Municipal Water District) Tatum, Jack W. (Sabine River Authority) Against: Fisher, Jon (Texas Chemical Council) Fisher, Scott B. (Texas Petroleum Marketers Association) Hohnholt, John F. (Valero Energy Corporation) Landry, Richard (PACE Local Union 4-228) Miksa, Mary (Texas Assoc. of Business & Chambers of Commerce) Sebree, Ben (Texas Oil & Gas Association) Young, Dale O. (Lyondell Chemical Company) On: Honeycutt, Mike (TNRCC) HB 3483 For: Bye, Richard (Reliant Energy, Association of Electric Companies of Texas) Eminger, Randy (The Center for Energy & Economic Deveopment) Miksa, Mary (Texas Association of Business & Chambers of Commerce) Olson, Ron (Union Pacific RR) Smith, Lonnie (Texas Mining & Reclamation Association and TXU Mining) On: Smith, George (Sierra Club Lone Star Chapter) HB 3523 For: Hurst, Elizabeth (Self) On: Smith, Major Ricky (Texas Department of Public Safety) HB 3534 For: Anderson, Sparky (Clean Water Action) Johnson, Scott (Self) Reed, Cyrus (Texas Center for Policy Studies, Alliance for a Clean Texas) Smith, George (Self) Smith, Tom "Smitty" (Public Citizen's Members) Against: Fisher, Jon (Texas Chemical Council) Glacken, Shawn (Association of Electric Companies of Texas) Miksa, Mary (Texas Association of Business & Chambers of Commerce) Morphew, Cindy (Tx Oil & Gas Assoc.) On: Saitas, Jeff (TNRCC) HB 3545 For: Berger, Pamela M., Dr. (Mayor Lee P. Brown, City of Houston) Bryson, Mark (Alcoa Inc.) Elioseff, Jane (Galveston-Houston Assoc. for Smog) Gibbs, Gary (AECT (Association of Electric Companies)) Miksa, Mary (Texas Assoc. of Business & Chambers of Commerce) Rachels, Darrell (Eastman Chemical Company) Schonborn, Josh (Self) Against: Alvarez, Ramon, Ph.D. (Environmental Defense) Brown, Travis (Self and Neighbors for Neighbors) Ganges, Michelle G. (Self and Neighbors for Neighbors) Schneider, Robin (Texas Campaign for the Environment) Smith, Tom "Smitty" (Public Citizen's Members) On: Blackburn, Rev., Janet (Self) Parce, Douglas (Duke Energy Field Svcs.) Romero, Celina (Association of Texas Intrastate Natural Gas Pipelines) Saitas, Jeff (TNRCC) Sebree, Ben (Texas Oil & Gas Assoc.) Smith, George (Sierra Club Lone Star Chap.) HCR 90 Against: Smith, George (Self) Smith, Tom "Smitty" (Public Citizen's Members) HCR 213 On: Wood, Randy (TNRCC)


public interface AudioProcessor
Call configure(int, int, int)
to configure the processor to receive input audio, then
call isActive()
to determine whether the processor is active in the new configuration.
queueInput(ByteBuffer)
, getOutputChannelCount()
, getOutputEncoding()
and getOutputSampleRateHz()
may only be called if the processor is active. Call reset()
to reset the processor to its unconfigured state and release any resources.
In addition to being able to modify the format of audio, implementations may allow parameters to be set that affect the output audio and whether the processor is active/inactive.
| Modifier and Type | Interface and Description |
|---|---|
static class |
AudioProcessor.UnhandledFormatException
Exception thrown when a processor can't be configured for a given input audio format.
|
| Modifier and Type | Field and Description |
|---|---|
static ByteBuffer |
EMPTY_BUFFER
An empty, direct
ByteBuffer . |
| Modifier and Type | Method and Description |
|---|---|
boolean |
configure(int sampleRateHz,
int channelCount,
int encoding)
Configures the processor to process input audio with the specified format.
|
void |
flush()
Clears any buffered data and pending output.
|
ByteBuffer |
getOutput()
Returns a buffer containing processed output data between its position and limit.
|
int |
getOutputChannelCount()
Returns the number of audio channels in the data output by the processor.
|
int |
getOutputEncoding()
Returns the audio encoding used in the data output by the processor.
|
int |
getOutputSampleRateHz()
Returns the sample rate of audio output by the processor, in hertz.
|
boolean |
isActive()
Returns whether the processor is configured and will process input buffers.
|
boolean |
isEnded()
Returns whether this processor will return no more output from
getOutput() until it
has been flush() ed and more input has been queued. |
void |
queueEndOfStream()
Queues an end of stream signal.
|
void |
queueInput(ByteBuffer buffer)
Queues audio data between the position and limit of the input
buffer for processing. |
void |
reset()
Resets the processor to its unconfigured state.
|
static final ByteBuffer EMPTY_BUFFER
ByteBuffer
.boolean configure(int sampleRateHz, int channelCount, @C.PcmEncoding int encoding) throws AudioProcessor.UnhandledFormatException
isActive()
to determine whether the audio processor is active.
If the audio processor is active after configuration, call getOutputSampleRateHz()
,
getOutputChannelCount()
and getOutputEncoding()
to get its new output format.
If this method returns true
, it is necessary to flush()
the processor
before queueing more data, but you can (optionally) first drain output in the previous
configuration by calling queueEndOfStream()
and getOutput()
. If this method
returns false
, it is safe to queue new input immediately.
sampleRateHz
- The sample rate of input audio in Hz.channelCount
- The number of interleaved channels in input audio.encoding
- The encoding of input audio.flushed
before queueing more input.AudioProcessor.UnhandledFormatException
- Thrown if the specified format can't be handled as input.boolean isActive()
int getOutputChannelCount()
configure(int, int, int)
<EMAIL_ADDRESS>int getOutputEncoding()
configure(int, int, int)
.int getOutputSampleRateHz()
configure(int, int, int)
.void queueInput(ByteBuffer buffer)
buffer
for processing.
buffer
must be a direct byte buffer with native byte order. Its contents are treated as
read-only. Its position will be advanced by the number of bytes consumed (which may be zero).
The caller retains ownership of the provided buffer. Calling this method invalidates any
previous buffer returned by getOutput()
.buffer
- The input buffer to process.void queueEndOfStream()
queueInput(ByteBuffer)
may not be called until after the next call to
flush()
. Calling getOutput()
will return any remaining output data. Multiple
calls may be required to read all of the remaining output data. isEnded()
will return
true
once all remaining output data has been read.ByteBuffer getOutput()
boolean isEnded()
getOutput()
until it
has been flush()
ed and more input has been queued.void flush()
void reset()


{% extends 'base.html' %} {% load humanize %} {% load i18n %} {% block title %}{% translate "Account use of" %} {{ account }}{% endblock title %} {% block content %} {% include "notes_header.html" %} {% if user.is_staff%}
{% translate "Create a new note" %}
{% endif %}{% translate "A priority under 1 means you were previously using more resources than allocated. Your new jobs are now launched at a lower priority to let the other user catch up their fair share." %}
{% translate "A priority above 1 means you were not using the cluster as much as you were allocated. Your new jobs are now launched at a higher priority to catch up your fair share." %}
{% if gpu %}{{gpu_count}} {% translate "GPUs were allocated" %}
{% else %}{{cpu_count}} {% translate "CPUs were allocated" %}
{% endif %}| {% translate "Username" %} | {% translate "Job ID" %} | {% translate "Status" %} | {% translate "Job name" %} | {% translate "Submit time" %} | {% translate "Start time" %} | {% translate "End time" %} | {% translate "Asked time" %} | {% translate "Used time" %} |
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--- layout: default title: PROJECTS permalink: /projects/ projects: - title: Manufactured src: /images/project1.png alt: Jeannette Srinivasan Red lights artist: Avalon Greenburg-Call year: 2020 - title: Martha Graham's Lemon of Life src: /images/Picture.jpg alt: Jeannette on the grass artist: Jeannette Srinivasan year: 2021 - title: Preparations for the Queen src: /images/prepforqueen.png alt: Jeannette Srinivasan in the Short Film Preparations for the Queen artist: Avalon Greenburg-Call year: 2021 ---
"{{project.title}}" by {{project.artist}} {{project.year}}


MTV EMAs: Dua Lipa flashes stockings on red carpet as awards kicks off in Seville
The MTV Europe Music Awards were held in Seville, Spain, on Sunday night as stars descended on the red carpet
by Molly Pike, https://www.mirror.co.uk/authors/molly-pike/The MTV EMAs kicked off in style tonight, with Dua Lipa leading the red carpet arrivals at the glitzy event in Seville, Spain.
Dressed in a sheer black midi-dress, the New Rules singer, 24, flashed her bra as she posed for snaps alongside a host of famous faces from the world of music.
Her kooky number was slit to the thigh, allowing her to flash her stockings and metallic black boots.
Dua also wore a black corset style waist belt over the dress, drawing attention to her slim frame.
Her blonde locks were worn in a slick backed style and she sported a pair of dangling diamond earrings.
Fresh from an appearance on Celebrity X Factor last night, Nicole Scherzinger, 41, arrived at the awards in a sequin red mini dress.
The skintight number clung to her curves and allowed her to show off her endless pins.

He was accompanied by his girlfriend Georgina Rodriguez, who poured her curves into a bright blue dress that was slit at the thigh and low cut on the cleavage.
Singer Mabel, 23, donned an eye-catching lace jumpsuit that flaunted her cleavage.
She pulled the look together with a statement belt and a long flowing skirt.
Halsey sported a kooky asymmetric look which had mismatched floral patterns and a high-low hem.
The 25-year-old posed with Niall Horran, who looked dapper in a checked double breasted suit.

Her fellow model Leomie Anderson wore a kooky butterfly dress that barely covered her naked body.
She sported a high ponytail and pulled the outfit together with a pair of black stilettos.
Argentine actress and singer J Mena flashed her boobs in a glittery bra, which just about covered her nipples.
She teamed the outlandish look with a pair of glittery jeans and matching denim jacket.
Italian heiress Elettra Lamborghini wowed in a blue floor-sweeping gown, dressing her outfit down with a ponytail.


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Venezuelans can't afford food. A family of five needs more than five minimum wages to pay for the basic food basket.


SAVING PRIVATE RYAN RATING: 8 / 10 --> Great movie
For more reviews and movie trivia, visit http://www.joblo.com/
Director Steven Spielberg takes us through another destructive time in our human history. World War II is the setting, and the American Armed Forces are the group sent in to fight for their country. This most devastating and realistic portrayal of actual combat earned Spielberg an Oscar for Best Director.
PLOT: A troupe of eight soldiers is given a mission to rescue one James Francis Ryan from the depths of the war. This order is trickled down directly from the top, after it is learned that the Ryan family has lost their three only other sons in the same war.
CRITIQUE: Absolutely genuine, graphic, testament of the actual horrors of war given by the way of skilled direction, a solid cast of performances, a genuinely touching conclusion and an unapologetic portrayal of the humanity and inhumanity suffered by all. Now despite having seen this film after all of the hoopla was over, I still managed to be extremely impressed by its gripping tale, authenticity and ultimate raw power. The first and last scenes were the ones that had me clenched heartily to my seat, feeling the intensity, the bravery and the insanity within all of the panic. While other sequences had me literally crying for their pain, their loss and their lives given away to free and save others. Unlike THE THIN RED LINE (6/10), this movie actually had a plot and drawn-out characters to whom we could relate and invest our attention.
Its biggest compliment relates to its extensive three hour run-time, which didn't seem to phase me one bit. This film had me by the balls from the get-go and kept pounding me with an interesting array of characters, solid guidance and a cast that was primed for the occasion. Standouts included Giovanni Ribisi and Tom Sizemore in my eyes, but all were extremely integral to the whole of the story. I commend Spielberg for bringing out the best in his players, and bringing to screen a variant version of "just another War movie". I did find that the fast-action camera technique was a tad overused, but who am I to argue with a genius of American cinema. All in all, an engaging film about a bleak subject told via a simple story, great characters, realistic and gruesome combat scenes, and a vision of a man graced with the talent to direct it all into a coherent and emotional page of human and cinematic history.
Little Known Facts about this film and its stars: (Some facts courtesy of the IMDb) There is only one woman who has a speaking part in this film (Need confirmation on this.) Don't blink, or you may miss actor Ted Danson and Dennis Farina's very small roles in this movie. All the principal actors in this movie underwent several weeks of grueling army training, except for Matt Damon, who was spared so that the other actors would resent him, and would convey that resentment in their performances. Director Steven Spielberg considered casting Matt Damon only after viewing his performance in 1996's COURAGE UNDER FIRE, but thought that he was too skinny (Ironically, Damon had specifically lost 40 pounds for his role in the film and become quite ill after the filming because of his newfound weight). But after fellow actor Robin Williams introduced Damon to Spielberg on the set of GOOD WILL HUNTING (8/10), Spielberg changed his mind, and cast the hot, young star in the role of Private Ryan. This movie is actually based upon the true story of the Niland brothers. One was killed on D-Day while in the 82nd Airborne, one was killed on Utah Beach with the 4th Infantry Division, and a third was killed that same week in Burma. Mrs. Niland received all three death notification telegrams on the same day. The fourth son was serving with the 101st Airborne and was pulled out of the front lines. The Edith Piaf song that the soldiers question the meaning of before the final battle is the same song that the commandos of 1967's THE DIRTY DOZEN question in their tents. There was some uncredited rewriting done on Robert Rodat's original script, by the director of THE SHAWSHANK REDEMPTION (8.5/10), Frank Darabont. Rodat's previous screenplay was for the Jeff Daniels/Anna Paquin goose story, FLY AWAY HOME. Real amputees were used for the shots of people with limbs missing. The last film that the three producers (Ian Bryce, Mark Gordon and Gary Levinsohn) from this film produced together was HARD RAIN (7/10).
Review Date: April 4, 1999 Director: Steven Spielberg Writer: Robert Rodat Producers: Ian Bryce, Mark Gordon, Gary Levinsohn and Steven Spielberg Actors: Tom Hanks as Captain John Miller Tom Sizemore as Sergeant Horvath Matt Damon as James Ryan Genre: War Year of Release: 1998
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Uncanny Rangda
| Fighting Style | ||
| When Dieing Do they run | ? | |
| Ranged Attack | ? | |
| AOE Area of Attack | ? | |
| Spawns lesser monsters | ? |
Uncanny Rangda Pronounced un-can-ny rang-da
Once upon a time, in the deepest forest of Darkon, lived a witch named Rangda. She suffered from a terrible and mysterious illness that made her see only illusions. As a result, she lived in her own fantasy world where she cursed everything around her until the day she died.
Unfortunately, Rangda’s soul was too heavy to leave Madrigal, so it stayed here with no choice but to wander the world. Some explorers say that they’ve seen her moving aimlessly through the trees in the darkest places, but no one has ever gotten close enough to see if it’s really her...
If you happen to see Rangda, do not underestimate this poor old witch... in whatever form she appears in! Each of the four incarnations of Rangda : Rangda, Horrible Rangda, Uncanny Rangda, and Dreadful Rangda are giants. Not much is known of her but it is said that she is impervious to many spells and she is hard to find for she appears and disappears randomly. - drops unique items!
Locating Uncanny Rangda
Each incarnation of Rangda has 3 appearance places. If it is not hunted in an hour at one location, it moves to the another place. Here are some screenshots of where each incarnations of Rangda spawns. These are approximates, she may spawn elsewhere. If you have info on her spawn please post here
| Guardiane |
| Magmient South |
| Magmient North |
Available
that involve this masquerpet
Uncanny Rangda Statistics
| Name | lvl | HP | Def | Mdef | Exp | Atk | Ele |
| Rangda | 70 | 313,096 | 95 | 112 | 132,380 | 1,358~1,429 |
| Horrible Rangda | 85 | 968,344 | 103 | 136 | 733,926 | 2,257~2,376 |
| Uncanny Rangda | 100 | 1,388,670 | 103 | 168 | 2,927,870 | 2,696~2,838 |
| Dreadful Rangda | 115 | 2,241,841 | 103 | 214 | 8,497,335 | 3,066~3,186 |
Note: Atk stat comes from kFlyff and may differ from our version.


Listen to Ellie Goulding’s tender cover of Joni Mitchell’s classic song, ‘River’
The song is from Joni Mitchell's album, 'Blue'
Ellie Goulding has covered Joni Mitchell’s classic song, ‘River’. You can listen to the song here.
The song was originally released on Mitchell’s 1971 album, ‘Blue’. Sharing the cover on social media, Goulding said “Joni was one of the reasons I wanted to be a songwriter.”
She added: “I’m honoured to have had the opportunity to cover this song.” You can listen to Mitchell’s original version of the song below.
Recently, Lana Del Rey also covered a classic Joni Mitchell song as she performed ‘For Free’ during her live shows.
The ‘Norman Fucking Rockwell!‘ singer first covered the track at Vancouver’s Rogers Arena on September 30, before repeating the cover days later at Seattle’s WaMU Theater.
It originally appeared on Mitchell’s 1970 record ‘Ladies Of The Canyon’, although Del Rey offers a stripped down take – accompanied by a single piano.
“I slept last night in a good hotel, I went shopping today for jewels, the wind rushed around in the dirty town,” Del Rey sings on the track.
Back in March, it was announced that Mitchell was set to release a personal book of lyrics, poetry, and paintings.
The book was originally penned by the iconic singer-songwriter back in 1971. Titled Morning Glory on the Vine, the rare collection of handwritten words was limited to 100 copies and gifted to Mitchell’s close friends.
Released on October 22, the works are now available to fans for the first time.
Describing the new version of Morning Glory on the Vine, a post on Mitchell’s official website read: “In this faithfully reproduced facsimile edition, Joni’s best-loved lyrics and poems spill across the pages in her own elegant script.”