| Book of Mormon |
Annotations |
|
Chapter 46
|
|
|
1 And it came to pass that as many as would not hearken to
the words of Helaman and his brethren were gathered together against their
brethren.
|
|
|
2 And now behold, they were exceedingly wroth, insomuch
that they were determined to slay them.
|
|
|
3 Now the leader of those who were wroth against their
brethren was a large and a strong man; and his name was Amalickiah.
|
|
|
4 And Amalickiah was desirous to be a king; and those
people who were wroth were also desirous that he should be their king; and
they were the greater part of them the lower judges of the land, and they
were seeking for power.
|
|
|
5 And they had been led by the flatteries of Amalickiah,
that if they would support him and establish him to be their king that he
would make them rulers over the people.
|
|
|
6 Thus they were led away by Amalickiah to dissensions,
notwithstanding the preaching of Helaman and his brethren, yea,
notwithstanding their exceedingly great care over the church, for they were
high priests over the church.
|
|
|
7 And there were many in the church who believed in the
flattering words of Amalickiah, therefore they dissented even from the
church; and thus were the affairs of the people of Nephi exceedingly
precarious and dangerous, notwithstanding their great victory which they had
had over the Lamanites, and their great rejoicings which they had had because
of their deliverance by the hand of the Lord.
|
|
|
8 Thus we see how quick the children of men do forget the
Lord their God, yea, how quick to do iniquity, and to be led away by the evil
one.
|
|
|
9 Yea, and we also see the great wickedness one very
wicked man can cause to take place among the children of men.
|
|
|
10 Yea, we see that Amalickiah, because he was a man of
cunning device and a man of many flattering words, that he led away the
hearts of many people to do wickedly; yea, and to seek to destroy the church
of God, and to destroy the foundation of liberty which God had granted unto
them, or which blessing God had sent upon the face of the land for the
righteous’ sake.
|
|
|
11 And now it came to pass that when Moroni, who was the
chief commander of the armies of the Nephites, had heard of these
dissensions, he was angry with Amalickiah.
|
|
|
12 And it came to pass that he rent his coat; and he took
a piece thereof, and wrote upon it—In memory of our God, our religion, and
freedom, and our peace, our wives, and our children—and he fastened it upon
the end of a pole.
|
|
|
13 And he fastened on his head-plate, and his breastplate,
and his shields, and girded on his armor about his loins; and he took the
pole, which had on the end thereof his rent coat, (and he called it the title
of liberty) and he bowed himself to the earth, and he prayed mightily unto
his God for the blessings of liberty to rest upon his brethren, so long as
there should a band of Christians remain to possess the land—
|
|
|
14 For thus were all the true believers of Christ, who
belonged to the church of God, called by those who did not belong to the
church.
|
|
|
15 And those who did belong to the church were faithful;
yea, all those who were true believers in Christ took upon them, gladly, the
name of Christ, or Christians as they were called, because of their belief in
Christ who should come.
|
|
|
16 And therefore, at this time, Moroni prayed that the
cause of the Christians, and the freedom of the land might be favored.
|
|
|
17 And it came to pass that when he had poured out his
soul to God, he named all the land which was south of the land Desolation,
yea, and in fine, all the land, both on the north and on the south—A chosen
land, and the land of liberty.
|
|
|
18 And he said: Surely God shall not suffer that we, who
are despised because we take upon us the name of Christ, shall be trodden
down and destroyed, until we bring it upon us by our own transgressions.
|
|
|
19 And when Moroni had said these words, he went forth
among the people, waving the rent part of his garment in the air, that all
might see the writing which he had written upon the rent part, and crying
with a loud voice, saying:
|
|
|
20 Behold, whosoever will maintain this title upon the
land, let them come forth in the strength of the Lord, and enter into a
covenant that they will maintain their rights, and their religion, that the
Lord God may bless them.
|
|
|
21 And it came to pass that when Moroni had proclaimed
these words, behold, the people came running together with their armor girded
about their loins, rending their garments in token, or as a covenant, that
they would not forsake the Lord their God; or, in other words, if they should
transgress the commandments of God, or fall into transgression, and be
ashamed to take upon them the name of Christ, the Lord should rend them even
as they had rent their garments.
|
|
|
22 Now this was the covenant which they made, and they
cast their garments at the feet of Moroni, saying: We covenant with our God,
that we shall be destroyed, even as our brethren in the land northward, if we
shall fall into transgression; yea, he may cast us at the feet of our
enemies, even as we have cast our garments at thy feet to be trodden under
foot, if we shall fall into transgression.
|
|
|
23 Moroni said unto them: Behold, we are a remnant of the
seed of Jacob; yea, we are a remnant of the seed of Joseph, whose coat was
rent by his brethren into many pieces; yea, and now behold, let us remember
to keep the commandments of God, or our garments shall be rent by our
brethren, and we be cast into prison, or be sold, or be slain.
|
|
|
24 Yea, let us preserve our liberty as a remnant of
Joseph; yea, let us remember the words of Jacob, before his death, for
behold, he saw that a part of the remnant of the coat of Joseph was preserved
and had not decayed. And he said—Even as this remnant of garment of my son
hath been preserved, so shall a remnant of the seed of my son be preserved by
the hand of God, and be taken unto himself, while the remainder of the seed
of Joseph shall perish, even as the remnant of his garment.
|
|
|
25 Now behold, this giveth my soul sorrow; nevertheless,
my soul hath joy in my son, because of that part of his seed which shall be
taken unto God.
|
|
|
26 Now behold, this was the language of Jacob.
|
|
|
27 And now who knoweth but what the remnant of the seed of
Joseph, which shall perish as his garment, are those who have dissented from
us? Yea, and even it shall be ourselves if we do not stand fast in the faith
of Christ.
|
|
|
28 And now it came to pass that when Moroni had said these
words he went forth, and also sent forth in all the parts of the land where
there were dissensions, and gathered together all the people who were
desirous to maintain their liberty, to stand against Amalickiah and those who
had dissented, who were called Amalickiahites.
|
|
|
29 And it came to pass that when Amalickiah saw that the
people of Moroni were more numerous than the Amalickiahites—and he also saw
that his people were doubtful concerning the justice of the cause in which
they had undertaken—therefore, fearing that he should not gain the point, he
took those of his people who would and departed into the land of Nephi.
|
|
|
30 Now Moroni thought it was not expedient that the
Lamanites should have any more strength; therefore he thought to cut off the
people of Amalickiah, or to take them and bring them back, and put Amalickiah
to death; yea, for he knew that he would stir up the Lamanites to anger
against them, and cause them to come to battle against them; and this he knew
that Amalickiah would do that he might obtain his purposes.
|
|
|
31 Therefore Moroni thought it was expedient that he
should take his armies, who had gathered themselves together, and armed
themselves, and entered into a covenant to keep the peace—and it came to pass
that he took his army and marched out with his tents into the wilderness, to
cut off the course of Amalickiah in the wilderness.
|
|
|
32 And it came to pass that he did according to his
desires, and marched forth into the wilderness, and headed the armies of
Amalickiah.
|
|
|
33 And it came to pass that Amalickiah fled with a small
number of his men, and the remainder were delivered up into the hands of
Moroni and were taken back into the land of Zarahemla.
|
|
|
34 Now, Moroni being a man who was appointed by the chief
judges and the voice of the people, therefore he had power according to his
will with the armies of the Nephites, to establish and to exercise authority
over them.
|
|
|
35 And it came to pass that whomsoever of the
Amalickiahites that would not enter into a covenant to support the cause of
freedom, that they might maintain a free government, he caused to be put to
death; and there were but few who denied the covenant of freedom.
|
|
|
36 And it came to pass also, that he caused the title of
liberty to be hoisted upon every tower which was in all the land, which was
possessed by the Nephites; and thus Moroni planted the standard of liberty
among the Nephites.
|
|
|
37 And they began to have peace again in the land; and
thus they did maintain peace in the land until nearly the end of the
nineteenth year of the reign of the judges.
|
|
|
38 And Helaman and the high priests did also maintain
order in the church; yea, even for the space of four years did they have much
peace and rejoicing in the church.
|
|
|
39 And it came to pass that there were many who died,
firmly believing that their souls were redeemed by the Lord Jesus Christ;
thus they went out of the world rejoicing.
|
|
|
40 And there were some who died with fevers, which at some
seasons of the year were very frequent in the land—but not so much so with
fevers, because of the excellent qualities of the many plants and roots which
God had prepared to remove the cause of diseases, to which men were subject
by the nature of the climate—
|
|
|
41 But there were many who died with old age; and those
who died in the faith of Christ are happy in him, as we must needs suppose.
|
|


--- layout: post title: 'Expirements with Ms AJAX 1 : Plot a Path and follow it' date: 2007-03-26 04:50:31.000000000 -04:00 type: post published: true status: publish categories: [] tags: - AJAX - Animation - JavaScript meta: _encloseme: '1' orig_url: http://blogs.msdn.microsoft.com/b/phaniraj/archive/2007/03/26/expirements-with-ms-ajax-1-plot-a-path-and-follow-it.aspx orig_site_id: '7524' orig_post_id: '1950974' orig_parent_id: '1950974' orig_thread_id: '503362' _wds_ratings_users: '0' orig_application_key: phaniraj orig_post_author_id: '56365' orig_post_author_username: PhaniRajuYN orig_post_author_created: Nov 10 2006 05:47:39:000PM orig_is_approved: '1' orig_attachment_count: '0' orig_url_title: http://blogs.msdn.com/b/phaniraj/archive/2007/03/26/expirements-with-ms-ajax-1-plot-a-path-and-follow-it.aspx opengraph_tags: | author: login: phanirajuyn email<EMAIL_ADDRESS>display_name: Phani Raju MSFT first_name: '' last_name: '' ---
While working on some documentation and presentations for MS AJAX Animation ( wait for it , its gonna rock !! ) , I made what you see in the demo video.
Its basic premise is this :
Why do this ?
No Perceptible use , pure fun factor .
I just though that it'd be cool to control an animation by clicking on points and asking an element to go to those points .
Well, here you have it .
Once the demo is hosted, you can see the same as an online app.
Take a look at a screenshot .
Lets see how we can achieve this ..
We need the following functionality
1.Allow the User to plot an arbitrary number of points on a plane
The "Plane" would be a DIV element on the page.

The user plots a point on the plane by clicking on the plane.
We will have a global collection of points called pointsInpath which will be a javaScript array .
var pointsInPath = new Array();
We can attach an eventhandler to the Click event of the Div by using the $addHandler function of the Ms AJAX framework explained Here .
Syntax: $addHandler(element, eventName, handler);
$addHandler($get("pathPallette"),"click",markPoint);
We will now define the function "markPoint".
function markPoint(eventArg)
{
var evt = window.event || eventArg;
var xCoOrd = evt.clientX ;
var yCoOrd = evt.clientY ;
Addpoint( xCoOrd , yCoOrd );
createMarker( xCoOrd - $get("pathPallette").offsetLeft , yCoOrd - $get("pathPallette").offsetTop );
}
MarkPoint calls 2 functions .
AddPoint
function Addpoint( xCoOrd,yCoOrd)
{
anyMorePoints= true;
pointsInPath[index++] = "{\"X\" : \""+xCoOrd +"\",\"Y\":\""+yCoOrd +"\"}";
}
The AddPoint function recieves the X and Y co-ordinates of the Point in the Element's Path.
Add the Point to the existing points collection.
Createmarker
function createMarker( xCoOrd,yCoOrd )
{
var newmarker = document.createElement("SPAN");
newmarker.id = "marker"+markeridCounter;
newmarker.className ="white";
newmarker.innerText = markeridCounter;
$get("pathPallette").appendChild( newmarker );
Sys.UI.DomElement.setLocation( newmarker , xCoOrd , yCoOrd );
markeridCounter++;
}
This Function creates a  element , writes the point # in the span , and positions it in the plane.
2.Create an animation that moves to all the points
Basic algorithm for this step
The Element that will move to all the points will be another div ( "divMovable" ) with a background color assigned to it

The Animation Markup would be to use the Move Animation to move the Element along the points.
<ajaxToolkit:AnimationExtender ID="AnimationExtender1" BehaviorID="controlledAnimation" runat="server" TargetControlID="divMovable"> <Animations> <OnClick> <Move relative="false" duration="0.2" fps="40" horizontalScript ="getX()" verticalScript ="getY()" AnimationTarget="divMovable" /> </OnClick> </Animations> </ajaxToolkit:AnimationExtender>
The MoveAnimation would run only once and would also move to only one point , we need to keep changing the destination Points.
If you notice the horizontalScript ="getX()" verticalScript ="getY()" snippet , the "Script" attribute added to any attribute in the Animation Markup
would cause the expression to be "eval"ed at runtime allowing us to use Expressions to set properties.
So, right , the horizontal (X) co-ordinates would be retrieved from the function getX().
The Vertical (Y) co-ordinates would be retrieved from the function getY().
The next point the element should move to would be represented by "nextPoint".
The Function "setNextPoint()" would set the next point in the path.
function getX() { if( nextPoint == null) { setNextPoint(); } return nextPoint.X; }
function getY() { return nextPoint.Y; }
Once we get the next point to move to , the animation should repeat with the new values for X and Y Co-Ordinates.
We do this , by hooking a handler to the Ending event of the Animation.

function continueAnimating(){ setNextPoint(); if( nextPoint!= null){ OnClickBehavior.play(); } }
function playAnimation()
{
ResetPoints();
hideAllmarkers();
setNextPoint();
OnClickBehavior.play();
}


mod_autoindex.c
file, and
is compiled in by default. It provides for automatic directory indexing.
index.html
.
The DirectoryIndex directive sets
the name of this file.
This is controlled by mod_dir
.
mod_autoindex
.
If FancyIndexing is enabled, or the FancyIndexing keyword is present on the IndexOptions directive, the column headers are links that control the order of the display. If you select a header link, the listing will be regenerated, sorted by the values in that column. Selecting the same header repeatedly toggles between ascending and descending order.
Note that when the display is sorted by "Size", it's the actual size of the files that's used, not the displayed value - so a 1010-byte file will always be displayed before a 1011-byte file (if in ascending order) even though they both are shown as "1K".
This sets the alternate text to display for a file, instead of an icon, for
FancyIndexing. File is a file
extension, partial filename, wild-card expression or full filename for files
to describe. String is enclosed in double quotes
("
). This alternate text is displayed if the client is
image-incapable or has image loading disabled.
This sets the alternate text to display for a file, instead of an icon, for
FancyIndexing. MIME-encoding is a
valid content-encoding, such as x-compress.
String is enclosed in double quotes
("
). This alternate text is displayed if the client is
image-incapable or has image loading disabled.
This sets the alternate text to display for a file, instead of an icon, for
FancyIndexing. MIME-type is a
valid content-type, such as text/html.
String is enclosed in double quotes
("
). This alternate text is displayed if the client is
image-incapable or has image loading disabled.
This sets the description to display for a file, for
FancyIndexing. File is a file
extension, partial filename, wild-card expression or full filename for files
to describe. String is enclosed in double quotes
("
). Example:
AddDescription "The planet Mars" /web/pics/mars.gif
This sets the icon to display next to a file ending in name for FancyIndexing. Icon is either a (%-escaped) relative URL to the icon, or of the format (alttext,url) where alttext is the text tag given for an icon for non-graphical browsers.
Name is either ^^DIRECTORY^^ for directories, ^^BLANKICON^^ for blank lines (to format the list correctly), a file extension, a wildcard expression, a partial filename or a complete filename. Examples:
AddIcon (IMG,/icons/image.xbm) .gif .jpg .xbm
AddIcon /icons/dir.xbm ^^DIRECTORY^^
AddIcon /icons/backup.xbm *~
AddIconByType should be used in preference to
AddIcon, when possible.This sets the icon to display next to files with MIME-encoding for FancyIndexing. Icon is either a (%-escaped) relative URL to the icon, or of the format (alttext,url) where alttext is the text tag given for an icon for non-graphical browsers.
Mime-encoding is a wildcard expression matching required the content-encoding. Examples:
AddIconByEncoding /icons/compress.xbm x-compress
This sets the icon to display next to files of type MIME-type for FancyIndexing. Icon is either a (%-escaped) relative URL to the icon, or of the format (alttext,url) where alttext is the text tag given for an icon for non-graphical browsers.
Mime-type is a wildcard expression matching required the mime types. Examples:
AddIconByType (IMG,/icons/image.xbm) image/*
The DefaultIcon directive sets the icon to display for files when no specific icon is known, for FancyIndexing. Url is a (%-escaped) relative URL to the icon. Examples:
DefaultIcon /icon/unknown.xbm
The FancyIndexing directive sets the FancyIndexing option for a directory.
Boolean can be on
or off
. The
IndexOptions directive should be used in
preference.
Note that in versions of Apache prior to 1.3.2, the FancyIndexing and IndexOptions directives will override each other. You should use IndexOptions FancyIndexing in preference to the standalone FancyIndexing directive. As of Apache 1.3.2, a standalone FancyIndexing directive is combined with any IndexOptions directive already specified for the current scope.
The HeaderName directive sets the name of the file that will be inserted
at the top of the index listing. Filename is the name of the file
to include, and is taken to be relative to the directory being indexed.
The server first attempts to include filename.html
as an HTML document, otherwise it will include filename as plain
text. Example:
HeaderName HEADER
when indexing the directory /web
, the server will first look for
the HTML file /web/HEADER.html
and include it if found, otherwise
it will include the plain text file /web/HEADER
, if it exists.
See also ReadmeName.
The IndexIgnore directive adds to the list of files to hide when listing
a directory. File is a file extension, partial filename,
wildcard expression or full filename for files to ignore. Multiple
IndexIgnore directives add to the list, rather than the replacing the list
of ignored files. By default, the list contains `.
'. Example:
IndexIgnore README .htaccess *~
The IndexOptions directive specifies the behavior of the directory indexing. Option can be one of
Note that in versions of Apache prior to 1.3.2, the FancyIndexing and IndexOptions directives will override each other. You should use IndexOptions FancyIndexing in preference to the standalone FancyIndexing directive. As of Apache 1.3.2, a standalone FancyIndexing directive is combined with any IndexOptions directive already specified for the current scope.
There are some noticeable differences in the behaviour of this directive in recent (post-1.3.0) versions of Apache.
The default is that no options are enabled. If multiple IndexOptions could apply to a directory, then the most specific one is taken complete; the options are not merged. For example:
<Directory /web/docs>
IndexOptions FancyIndexing
</Directory>
<Directory /web/docs/spec>
IndexOptions ScanHTMLTitles
</Directory>
then only ScanHTMLTitles
will be set for the /web/docs/spec
directory.
Apache 1.3.3 introduced some significant changes in the handling of IndexOptions directives. In particular,
IndexOptions FancyIndexing ScanHTMLTitles
.
Whenever a '+' or '-' prefixed keyword is encountered, it is applied to the current IndexOptions settings (which may have been inherited from an upper-level directory). However, whenever an unprefixed keyword is processed, it clears all inherited options and any incremental settings encountered so far. Consider the following example:
IndexOptions +ScanHTMLTitles -IconsAreLinks FancyIndexing
IndexOptions +SuppressSize
The net effect is equivalent to
IndexOptions FancyIndexing +SuppressSize
, because
the unprefixed FancyIndexing
discarded the incremental
keywords before it, but allowed them to start accumulating again
afterward.
To unconditionally set the IndexOptions
for a
particular directory, clearing the inherited settings, specify
keywords without either '+' or '-' prefixes.
The ReadmeName directive sets the name of the file that will be appended
to the end of the index listing. Filename is the name of the file
to include, and is taken to be relative to the directory being indexed.
The server first attempts to include filename.html
as an HTML document, otherwise it will include filename as plain
text. Example:
ReadmeName README
when indexing the directory /web
, the server will first look for
the HTML file /web/README.html
and include it if found, otherwise
it will include the plain text file /web/README
, if it exists.
See also HeaderName.


Written by: Ira Ungerleider
Transcribed by: Eric Aasen
[Scene: Rachel and Monica's, everyone is getting ready to go to a banquet]
Joey: All right they got water, orange juice, and what looks like cider. (takes a glass from the fridge.)
Chandler: Taste it.
Joey: (drinks from the glass and puts it back in the fridge) Yep, it's fat. I drank fat!
Chandler: Yeah, I know, I did that two minutes ago.
Ross: (entering) Hey!
Chandler: Hey, mister tux!
Ross: Why aren't you guys dressed?
Joey: We have a half hour.
Ross: No, four minutes ago you had a half hour, we have to be out the door at twenty to eight.
Joey: Relax Ross, we'll be ready. It only takes us two minutes to get dressed.
Ross: Well, you know, I'd feel a whole lot better if you got dressed now.
Chandler and
Joey: Okay. (they don't move)Rachel: (entering from bathroom) Hey-hey! Oh, look at you, all sexy.
Ross: Really.
Rachel: Ooooh! Wow!! Oh, hi.
Ross: Hi.

Joey: Hey, Ross, want some cider?
Ross: No. (to Rachel) So, um, let's see your pretty close, huh. Make-up's on, hair's done.
Rachel: Yeah, I just have to get dressed.
Ross: Yay! And that takes what? Just six or seven minutes.
Rachel: Yeah! Once, I figure out what I'm wearing.
Joey: Glass of fat?
Opening Credits
[Scene: Monica and Rachel's. Ross is acting nervous]
Joey: What's a matter Ross? What you're nervous about your speech?
Ross: No! Do you wanna hear it?
Joey: Am I in it?
Ross: Uh, huh. Yeah, right after I thank everyone for giving money to the museum, I sing a song about the wonder that is Joey.
Phoebe: (entering) Hello.
Ross: Hey!
Joey: Whoa!
Ross: Wow, hello! You look great!
Phoebe: Thank you! I know, though.
Ross: You see this, this is a person who is ready to go.
Phoebe: Ohh, well, you're my lucky penny.
Chandler: (entering from bathroom, with an issue of Cosmo) All right, I took the quiz, and it turns out, I do put career before men. (to Joey) Get up.
Joey: What?
Chandler: You're in my seat.
Joey: How is this your seat?
Chandler: 'Cause I was sitting there.
Joey: But then you left.
Chandler: Well, it's not like I went to Spain. I went to the bathroom, you knew I was coming back.
Joey: What's the big deal, sit somewhere else.
Chandler: The big deal is I was sitting there last, so, that's my seat.
Joey: Well, actually the last place you were sitting was in there (points to the bathroom). Soo...

Chandler: All right, Ross, I just have to do one thing, really quickly, it's not a big deal. (yells at Joey) GET UP!!
Monica: (entering) Hi.
All:
Hey.Monica: Ooh, Phoebe, you look great!
Phoebe: All right all ready.
Monica: (to Ross) Ooh, are you gonna do magic?
Ross: That's, that's funny. Change!
Monica: Hang on a second I just got in.
Ross: Look, I don't care it starts at eight, we can't be late.
Phoebe: We could not, would not want to wait.
Ross: Look, our table is down in front, okay, my boss is gonna be there, everyone will see if we arrive after it starts.
Monica: Has somebody been drinking my fat? (Joey and Chandler look at each other)
Rachel: (entering from her bedroom) You guys, (holds up an outfit) does this look like something the girlfriend of a paleontologist would wear?
Phoebe: I don't know, you might be the first one.
Monica: Rach, did you check the machine?
Rachel: Uh, no. Wait, you know what, this is the outfit that makes my calves look fat. Nevermind.
Chandler: Well, Joey, I wrote a little song today. It's called: Get Up.
Joey: All right! You can have the chair.
Chandler: Really!
Joey: Oh my, would you look at that! (holds up crossed fingers)
Phoebe: (on machine) "Hi, it's me, I'm coming over now. Hey, what if I'm already there when your playing this message?" (to the guys) Is that too spooky?
Ross: (on machine) "Hi Rach, are you there? It's me, pick up. Rachel. Rach!"
Rachel: (entering from her bedroom) What?!
Ross: Nevermind.
Richard:
(on machine) "Monica, it's Richard. Call me."Monica: Is-is-is that message old or new? (yelling) Old or new?! Old or new?!
Ross: It's old, it's definitely old. Didn't you hear the, the double beep?
Monica: What if it's new? I mean, we agreed not to talk again, unless we had something really important to say. Shouldn't I call him back?
Chandler: Honey, you did call him back. 'Cause, it's, it's really old.
Ross: Yeah, see Mon, listen, listen. When Carol and I broke up, I went through the same thing. And you know what I did?
Monica: Huh?
Ross: I.....got.....dressed. Really, really quickly. Okay, okay. (Rachel starts to follow Monica into her room, but Ross stops her and sends her back to her room.) There we go, there we go.
Chandler: You know what, okay, fine. Don't get up, you just sit right there.  Not touching can't get mad! Not touching can't get mad! (Joey flings some dip onto Phoebe's dress)
Phoebe: Ah! Oh my God! You r-r-rotten boys!
Chandler and
Joey: Sorry Phoebe.Joey: I'm so sorry.
Phoebe: What am I gonna do?
Ross: No, no, don't, don't, rub it! Don't! (clapping) What gets out hummus?! What gets out hummus?!
Phoebe: Monica, Monica, you know what gets out hummus.
Monica: If it is a new message, what is he calling to say?
Phoebe: Okay, thanks. Yeah, I'll try that.
Chandler: Maybe he's calling to say your obsessive and crazy.
Monica: So, should I call him back?
The Guys:
Noo! (Monica starts to go back into her room and stops) NO!Chandler: All right, fine, you know what, we'll both sit in the chair. (sits on Joey's lap) I'm soooo, comfortable.
Joey: Me too. In fact, I think I might be a little too comfortable.
Chandler: All right! (jumps up)
Ross: Okay, look, we have nineteen minutes. Okay, Chandler, I want you to go and change! Okay. And then, when you come back, Joey will go change, and he'll have vacated the chair. Okay. Okay.
Chandler: All right! Fine! I'm going. But when I get back it's chair sitting, and I'm the guy who's....sitting in a chair! (leaves)
Rachel: (entering from her room) Is this a little too... (sees Phoebe) Pheebs, what happened?
Phoebe: Hummus. I got the hummus.
Rachel: Ooooh! Honey, well we'll find you something.
Phoebe: That won't go with this dress though.
Rachel: No, you're right. Well, we'll find something. Let's just get you out of that. Come on.
Ross: No, no, no, no, no, no, not out of that, not out of clothes.
Rachel: Monica, can Phoebe borrow your green dress?
Monica: I called him.
All:
Nooo.Monica: Yes. Well I got his machine and I left a message.  It was breezy! Oh God, what if it wasn't breezy?
Phoebe: Well, how could it not be breezy, no, 'cause, you're, you're in such a breezy place.
Monica: Here, I got it. I'll will play my message for you guys, and you can tell me if it's breezy enough.
Joey: Monica, how are you gonna do that?
Monica: I know the code to his answering machine.
Ross: Okay, Mon, I really don't think this is the... Okay, you're dialing, you are dialing.
(Chandler enters, and Joey is standing near the chair, they have a show down to see who gets the chair and Joey wins)
Richard:
(on machine) "Hi, this is Richard. Please, leave a message at the tone."Machine: "You have two new messages."
Joey: Wow, what a cool job. (in a machine voice) 'You have two new messages.' 'Please, pass the pie.'
Monica: (on machine) "Hi, it's Monica. I'm just checking in 'cause I got this message from you and I didn't know if it was old or new or what. So, I'm just checkin'. So let me know, or don't, whatever. I'm breezy."
Joey: Hey, you can't say you're breezy, that, that totally negates the breezy.
Woman's Voice:
(on machine) Hola, it's me, yesterday was really fun. Call me about this weekend, okay.Joey: Now she sounded breezy.
Commercial Break
[Scene: Monica and Rachel's, continued from earlier]
Monica: He's seeing someone. I can't believe he's seeing someone.
Phoebe: Monica, you don't know that.
Monica: Well, who's voice was that?
Chandler: Maybe it was his sister's. You know, maybe it was his daughter's.
Monica: Michelle! Of course, it was Michelle! Did it sound like Michelle?
Ross: Oh, great. It's starting to rain, that will make it easy to get a cab.
Monica: It was Michelle. It was definitely Michelle.
Rachel: Pheebs, you go with Monica and try on her green dress. If that doesn't work, you can wear my gray silk one. Oh, gosh, what am I wearing?!
Ross: You don't, you don't know what your wearing?
Rachel: Well, hon-ey. I'm just trying to look nice for your big night.
Ross: Yeah, which, which we have to leave for in exactly twelve minutes. All right, come on, I'll just pick something out for you.
Chandler: All right, you will notice that I am fully dressed. I, in turn, have noticed that you are not. So in the words of A. A. Milne, "Get out of my chair, dillhole!"
Joey: Okay. (he gets up and takes the cushions with him, as he starts to leave)
Chandler: What are you doing?
Joey: You said I had to give you the chair, you didn't say anything about the cushions.
Chandler: The cushions are the essence of the chair!
Joey: That's right! I'm taking the essence.
Chandler: Oh-ho, it'll be back. Oh-ho, there's nobody in the room.
Ross: Look, I'm sorry, I thought it looked pretty.
Rachel: Ross, that was a Halloween costume, unless you would like me to go to this thing as Little Bo Peep.
Ross: Look, I didn't recognize it without that inflatable sheep.
Rachel: Yeah, which, by the way Chandler, I would like back one of these days.
Phoebe: Oh Rach, good, listen isn't this perfect for me! (she's wearing another dress on a hanger around her neck)
Rachel: Oh, it's perfect! But not for tonight.
Phoebe: Well, of course not for tonight. Yeah, hi!
Ross: Not for tonight. Not for tonight! Wh-what, what, what, are you doing?
Rachel: No honey, we're sorry, we didn't mean it. I love you. I love you.
Chandler: We used them as pillows when we went camping.
Ross: What?
Chandler: (shyly) The sheep.
Ross: Hey, what you do on your own time...
Joey: (entering) Where's my underwear?!
Ross: Whoa, whoa, whoa. Come on, come on, what. You took his underwear?
Chandler: He took my essence!
Ross: Okay, now hold on. Joey, why, why can't you just wear the underwear you're wearing now?
Joey: Because, I'm not wearing any underwear now.
Ross: Okay, then why do you have to wear underwear tonight?
Joey: It's a rented tux. Okay.
Chandler: Well, then it looks like somebody is gonna have to give back somebody his cushions.
Joey: Okay, you hide my clothes. I'm gonna do the exact opposite to you.
Chandler: What are you, what are you gonna show me my clothes?
Joey: Hey, opposite, is opposite! (leaves)
Chandler: He's got nothing!
Phoebe: (entering from Rachel's room, wearing a huge bow to cover the stain) Okay, I'm ready.
Ross and
Chandler: Oh, aaaah!Phoebe: Rachel, didn't have anything that I liked, so, but she had this Christmas ribbon, and I thought, 'All right, fine I'll be political.'
Chandler: What are you supporting?
Phoebe: Duh!! Christmas!
Ross: Okay, hey, that's okay with me. Two down and I have exactly twelve minutes.... Wha, my watch stopped. My watch. (shows Chandler) Okay, see, the, the dinosaur tail isn't going around any more. (grabs Chandler's watch) What time is it? It's 7:33, I have seven minutes. I have seven minutes!!
Rachel: (entering from her room) Okay, Pheebs, quick, what shoes should I wear? The black or the purple?
Ross: Just, just, just pick one!
Phoebe: Okay, okay, okay, the black. But, oh, do you have black, with the little strappys?
Rachel: Yeahh, but, but those really go better with pants. Maybe I should wear pants?
Ross: Yeah, pants, what, what an idea. Or better yet, um, how 'bout you go without any pants.  No, no I don't care if they match.
Ross: No, no, no just do it. Go in there and pick something out so we can go.
Rachel: All right.
Ross: Thank you!
Monica: (entering from her room) Okay. I gotta call Michelle. I gotta see if that was her voice or not. I'm sorry, I just have to.
Ross: It was, it was her voice.
Chandler: Monica, I think you've gone over to the bad place.
Michelle:
Hola! Hello. Hello?Monica: Okay. That was her right?
Phoebe: Definitely.
Monica: See there you go. Woo! We're out of the woods. Okay, I'll get dressed now.
Ross: Yay!
(phone rings)
Phoebe: I'll get it, okay. (answers phone) Hi, Monica and Rachel's. (listens) Yeah, just a second, can I ask who's calling. (to Monica) Oh, ew, it's Michelle! Ew! She, she must have that Caller Id thing. You should get that.
Monica: (on phone) Uh, Michelle. Yeah, that was me, I-I dialed your number by mistake. (listens) Oh, you're so sweet. Yeah, we were a great couple. I know I really miss him. Well, you know how it is, it's that....
Chandler: (to Phoebe) You know what's weird. Donald Duck never wore pants. But whenever he's getting out of the shower, he always put a towel around his waist. I mean, what is that about?
Monica: (on phone) Michelle, I only beeped in so I could hear my message. I mean that's allowed. Yeah-huh! I mean look, yeah, you know what I would really appreciate it if you didn't tell your Dad about. What do you mean, you're not comfortable with this? Come on we're friends!!  I'm calling her back.
Ross: No, no, no, no. Tick, tick, tick, tick.
Monica: Okay, fine. (runs to her room)
Chandler: They got a phone in there, right?
Phoebe: Okay, we're on it. We're on it.
(Rachel comes out from her room wearing sweat pants and a sweatshirt)
Ross: Um. I know it says black tie optional, but, um this may be pushing it a little, um.
Rachel: I'm not gonna gooo.
Ross: You're not going to go.
Rachel: No, I think I'm gonna catch up on my correspondence.
Ross: How, how, um how can you not be going?
Rachel: I'm not gonna gooo, so I think that will accomplish the not going.
Ross: Um, you know, just out of curiosity...
Rachel: Well, ever since I was humiliated and yelled at in front of my friends, I'm just, I don't know, not in a museum benefitty kind of mood.
Ross: Right. Right, okay, okay. I'm sorry. I'm sorry I yelled.
Rachel: It's fine.
Ross: No, but, your-your mad.
Rachel: I'm not mad.
Ross: No.
Rachel: I'm just not going.
Ross: Your not going.
Rachel: Right.
Ross: Okay. You know that I-I have to go.
Rachel: Um, hum.
Ross: Right.
Rachel: No.
Ross: No, because your not upset.
Rachel: Right.
Ross: About the yelling.
Rachel: Right, and the humiliating.
Ross: Oh, well of course, the humiliating. So, so wee, we're okay.
Rachel: Um, hum.
Ross: We're good.
Rachel: Right.
Ross: Okay. Honey?
Rachel: Yes, Ross. (turns toward him)
Ross: I love you. (goes to kiss her and she turns away.)
Phoebe: (yelling from the bedroom) Get away from that! No! (she comes into the living room carrying the phone) She's just getting dressed.
Chandler: Is it wrong that I was totally aroused by that?
(Joey enters wearing a lot of clothes)
Joey: Okay, buddy-boy. Here it is.
Chandler: Oh my God! That is so not the opposite of taking somebody's underwear!!
Joey: Look at me! I'm Chandler! Could I be wearing any more clothes? Maybe if I wasn't going commando...
Chandler: Oooo-ooh!
Joey: Yeah. Whew, it's hot with all of this stuff on. I ah, I better not do any, I don't know, lunges. (starts doing lunges)
Ross: Okay, okay. Enough, enough with the lunging. No!  I've had it up to here with you two! Neither you can come to the party!
Chandler: Jeez, what a baby.
Joey: Yeah, Ross, way to ruin it. I was just going to get dressed.
Ross: You know what I don't care. The only person I cared about getting dressed, is the one person that says she's not even gonna go. Look Rach, I'm sorry. Okay.  I'm sorry I yelled. I want you there, I need you there. Look, what, what can I do that can show you how much, how much I want you to be there.
Joey: You could drink the fat.
Ross: Hi, welcome, to an adult conversation.
Rachel: No, no, no, now wait, wa, wa, waa-it a minute, wait a minute, wait a minute, wait a minute. That actually, uh, that sounds interesting.
Ross: What?
Rachel: I think you should drink the fat.
Joey: Yaaaay!
Ross: Okay, okay. If that is what it takes to show you how much you mean to me, and how much I want you there. Then that's what I'll do.
Phoebe: Oh, wait, let me get you another glass. That's been sitting out.
Ross: I think this will be fine. Okay, vanilla milkshake, just a vanilla milkshake, with chicken bits floating in it. Cheers. (starts to drink, but Rachel stops him just before he starts drinking)
Rachel: No, no, no, wait! Okay, okay. Don't! I'll go, I'll go!
Ross: You will?!
Rachel: You were really gonna do that, weren't you?
Ross: Well, yeah.
Rachel: You were gonna drink the fat.
Joey: Let's see what else he'll do!
  Monica!
(Joey and Chandler start to leave, Joey is lunging as he is walking)
Chandler: Stop it. Stop it!
(Monica runs into the living room, and starts dialing the phone)
Phoebe: Ross, went to get a cab so we can all... No, wh-what are you doing! No, Monica, no!
Richard:
(on machine) Hi, this is Richard.Machine: You have three new messages.
Monica: Not any more!
Machine: Message erased. To record a message begin speaking at the tone.
Monica: Hi, uh, Richard it's Monica, um, listen I did something kind of crazy tonight, um, maybe I'm getting my period or something, I don't know.  I, I, um, I'm sorry, okay, I, I hope that we can forget the whole thing. Okay, bye.
Machine: Your outgoing message has now been changed.
Monica: Outgoing! Did that say outgoing?! Not, outgoing!!!
Monica: (on machine) "Hi, uh, Richard it's Monica, um, listen I did something kind of crazy tonight, um, maybe I'm getting my period or something, I don't know." Nooo!!
Phoebe: How did you do that?
Monica: I don't know!
Machine: Good-bye.
Monica: Noooo!!!!
Ross: (entering) Okay, okay, okay, I've got two cabs and no people. Go! Go! Go!
Monica: Maybe we could call the phone company. Maybe they could change the message. Maybe they can change his number.
Phoebe: Yeah, after this, I think he'll be doing that himself.
Ross: Rachel!! (she enters) Wow! You, uh, you look, wow!
Rachel: And I still have about five seconds to spare. (kisses him) Okay, that was about seven seconds.
Ross: So we're a little late.
Rachel: Come on. (they start to leave) Oh! And, uh, by the way....
Ross: What?
Rachel: I'm going commando, too.
Ross: Awwww!!!
Closing Credits
[Scene: At the banquet]
Sherman Whitfield: Dr. Geller, Sherman Whitfield, London Institute.
Ross: Wow!
Whitfield: (sits down) Well, I have to tell you, I was quite impressed with your paper on Pre-Cretaceous fossils. Yeah, it confirmed everything that I have written.
Chandler: Excuse me. Hi.
Whitfield: Yes?
Chandler: Well, your kind of sitting in my seat.
Whitfield: What do you mean, your seat?
Chandler: I mean, I was sitting there.

Chandler: But, I never left the room!
Whitfield: But, you left the chair area.
Chandler: All right, that's it, give me your underwear.
End


TALENTED MR. RIPLEY, THE(director/writer: Anthony Minghella; Screenwriter: based on the novel by Patricia Highsmith; cinematographer: John Seale; cast: Matt Damon (Tom Ripley), Gwyneth Paltrow (Marge Sherwood), Jude Law (Dickie Greenleaf), Cate Blanchett (Meredith Logue), Philip Seymour Hoffman (Freddie Miles), Jack Davenport (Peter Smith-Kingsley), James Rebhorn (Herbert Greenleaf ), Sergio Rubini (Inspector Roverini), Philip Baker Hall (Alvin MacCarron), Celia Weston (Aunt Joan), Rosario Fiorello (Fausto ), Stefania Rocca (Silvana), Ivano Marescotti (Colonnello Verrecchia ), Anna Longhi (Signora Buffi), Alessandro Fabrizi (Sergeant Baggio), Lisa Eichhorn (Emily Greenleaf), 1999)
Reviewed by Dennis Schwartz
"The Talented Mr. Ripley" offers another screen adaptation of the Patricia Highsmith novel, the first being Rene Clement's "Purple Noon (59)," a more straight- forward Hitchcock type of film that the French actor Alain Delon couldn't do much with. Then there was Wim Wenders better version, "The American Friend (77)," where Dennis Hopper got into the sinister con man's character and showed how his criminal guilt was related to Germany's postwar guilt. This time, in a grander and more elaborate version, Tom Ripley (Damon) is a closet homosexual and someone capable of killing anyone who interferes with his plans to assume someone else's identity, which makes the crime thriller take on a slightly different meaning from the way Highsmith intended it to be perceived (she also wrote the novel for the great Hitchcock film, "Strangers on a Train"). For her, life had no escapes or false sentimentalities attached to it, it's just a trap that everyone is in and can't get out of, exceptthey can try to make things better for themselves through their cunning ways.
Anthony Minghella (The English Patient) will make the theme of the film into an identity crises problem that Ripley has and allow the film to become a character study about a sociopath who can complacently say about himself, "I always thought it would be better to be a fake somebody than a real nobody." He has removed most of the complicated psychological layers of the character and made Ripley into a seemingly nicer sort of person, the murder he commits is not premeditated as in the novel but comes about when he is provoked beyond what his fragile nature can take.
Ripley is first seen playing the piano in a borrowed Princeton insignia blazer he got from the piano player he replaced at a rooftop reception, and the ambitious NYC men's room attendant with the Ivy League looks is spotted there by Herbert Greenleaf (Rebhorn), the shipping magnate, as he approaches Ripley with the thought that he is a college classmate of his son's and comes from the same upper-class strata, and he therefore makes a snap decision to have Ripley go find his wandering playboy son in Italy and urge him to come home. For his troubles, he will be paid a thousand dollars and expenses.
Minghella paints a picturesque view of how these rich Americans in the late 1950s live as ugly Americans in Europe, as the photography is brilliant, with its array of luminous colors, from Mediterranean places such as San Remo, Palermo, Roma, and Venice. The beautiful scenery,villas, luxurious hotels, and splendid boat rides are just right for getting the audience all excited about taking a look at how the smart-set travel and spend their leisure time. This fits in nicely with the touristy look of the film. But the story, as engrossing as it is, can so easily be forgotten when the film ends.
This is a big budget Miramax film, not an arthouse personal film. Its magnificent look took away any kind of noir intent the novel might have had if the film was done in the pure form it was written in.
The film becomes primarily a character study about Ripley and not a film that is too concerned about filling all the holes it has in its plot, which are enough to sink a ship. Ripley is unsatisfied with his lot in life and takes this once in a lifetime chance to be with the elite. He manages to engage the manipulative and good-looking Dickie (Jude) in the Italian seaside town he is idling away his time in, who seems to act more queer than Ripley but apparently isn't, as he is sexually active with his girlfriend Marge (Gwyneth), someone Ripley tries to befriend. She just seems to be along for the ride- her part is a rather inconsequential one, though it is in the same vein as the tiresome parts she usually stars in, but here we are, at least, spared from seeing tears come down her reddened cheeks. We just see her justifiable petulant anger, as she gives Ripley that knowing bitchy look of disapproval, indicating I know what you did to my Dickie.
Ripley's main intent, will be to concentrate on absorbing himself in Dickie's personality and to try to ingratiate himself with the womanizing and capricious wastrel- a part that Jude does a good job of conveying, as he captures the character's nasty mood swings as well as his goofy flippant side. One of the ways Ripley endears himself to Dickie, is sharing in his love for jazz with him, even though, he is only interested in the music because he knows that Dickie is. This friendship, built on his telling Dickie the reason that his father sent him here, will work out well as long as Dickie finds him amusing, but the relationship soon becomes frayed, as Dickie becomes irritated with some of his homoerotic gestures and grows tired of his lingering presence around him.
When asked by Dickie what his one talent is, Ripley names three- forger, liar, and impersonator. As the creepy young man will use his acquired talents to ingratiate himself to his superiors; he is seen here as being less a scam artist than he is of being someone trying desperately to fit in where he doesn't belong. When he senses he can't be a hanger-on with Dickie or Dickie's crowd anymore, he seizes the moment to kill Dickie and take his identity, as he discovers he has a talent for murder also.
Having already maneuvered his way into Dickie's crowd, but with no great lasting friendships in sight, his two greatest successes being with the textile heiress Meredith Logue (Cate) and the wealthy Peter Smith-Kingsley (Davenport). He met Meredith aboard the ship to Italy, and told her that he is Dickie Greenleaf and managed to get her to think they are kindred spirits and to have her fall pathetically in love with him. She will turn up at odd moments in his travels and be portrayed as the spoiled rich girl who doesn't know what to do with herself. The trick in this relationship, is for Ripley to think quickly on his feet so that she will not know that he is an impostor. His other positive relationship will be a homosexual one, as Peter will know him as Ripley and be used by him to cover his murderous tracks.
The strongest performance in the film comes from Freddie Miles (Philip Seymour Hoffman), as an edgy, playboy friend of Dickie's, who smells out Ripley but just fails to realize how deadly he can be. The scenes with Freddie pushed the envelope wide-open and made the average intelligence that Ripley possessed diminish in his chilling presence. Hoffman's screen presence sparked keen interest in the story and made it seem more powerful when he was onscreen. When he wasn't onscreen, the story wasn't quite as fascinating, which made me wonder if he would have been even more suited to play Ripley than the bland Damon was.
As the story gets violently out-of-hand, the pleasure in the film becomes mostly in watching the obvious lies Ripley tells when confronted by someone who knows that he is not being straight with them and yet he is shown to still manage to think fast on his feet and come up with a fitting story to put them off his trail.
The only question remaining becomes not why Ripley is doing this but whether or not he will get caught. Thereby, the film loses touch with the character who falls too far from the graces of any rationality for social acceptance, who is seen drowning in his own lies and trapped in his own guilt-ridden nature. In the novel, Ripley is more of a long-range scheming sociopath than he is in the film. The new spontaneous twists in the film changes the mood of the story, and makes it more creepy but not more endearing. I think the reason for that, is because the Matt Damon part loses the character's rich rebellious flavor and makes him become less an antihero than viewed as a serial murderer. To fully identify with Ripley would require the viewer losing himself totally in the character and seeing the world only through Ripley's narcissistic eyes, and that is the way Minghella probably wanted one to see the film and understand how Ripley operated. The problem with that, is it simplified all the dark notions of Ripley's character and lightened the burden of the story too much, trying to make it conform with the '90s style of film. As a result, this seductive film comes to a conclusion that failed to live up to the gamesmanship offered throughout most of the story. The film became less meaningful the longer it went on, and it ran for 139- minutes.
REVIEWED ON 12/29/99 GRADE: B
Dennis Schwartz: "Ozus' World Movie Reviews"
http://www.sover.net/~ozus
<EMAIL_ADDRESS>© ALL RIGHTS RESERVED DENNIS SCHWARTZ
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


--- layout: post title: 'Summer must be here because walking into the lab I stumbled upon a murder of #Crows' date: '2012-05-01T17:32:00.001-04:00' author: Bob Sica tags: - people modified_time: '2013-08-02T16:48:43.649-04:00' blogger_id: tag:blogger.com,1999:blog-736339229338318027.post-6163646581308829078 blogger_orig_url: http://blog.purplecrowlidar.ca/2012/05/summer-must-be-here-because-walking.html ---
As the Oxford English Dictionary suggests, “murder” may “perhaps [allude] to the crow’s ... harsh and raucous cry.”Like when I try to get them to get the lidar going!


Anycast is a template for generating HTML pages
We offer professional quality websites at a competitive price. — no hassles


KickJS cloth simulation
Based on
Mosegaards Cloth Simulation Coding Tutorial
(And yes it should be optimized to run on fully on the GPU)


Movie Score Predictor!
Input the following information (Only numbers).
Must fill in all the blanks to get the result
Movie Release Year:
Director Facebook Likes:
Actor 1 Facebook Likes:
Actor 2 Facebook Likes:
Actor 3 Facebook Likes:
Number of Faces on Movie Poster:
Content Rating:
Unrated
G
PG
PG-13
R
NC-17
Budget:
Genre (Select all that apply):
Action
Adventure
Animation
Biography
Comedy
Crime
Documentary
Drama
Family
Fantasy
History
Horror
Music
Musical
Mystery
News
Romance
Sci-Fi
Short
Sport
Thriller
War
Western


#anomalyfinder
melbourne science hackfest 💻🍕🍪📈
Does it happen where it shouldn't?
Error in the record?
Broken equipment?
Missing importnat factor?
Unusual origin?
Whatever it is - it's important.
Start
💁 Vira Koshkina
🤓 Kirill Kliavin
😷 Nick Knowles
🎓 Peter Isaac


reserved for company logo
PIC/S Checklist
Company:
Form Number:
Date Created:
Created By:
Current Step:
Reset
Topic
Question:
OK
NOK
N/A
Introduction
Please provide the following information:
- Company introduction
- Product list
- Latest audit results from authority
- Next schedule for audit
Topic
Question:
OK
NOK
N/A
RM receiving
Visual inspection receipt bay condition.
Do you have SOP to check received materials conditions including container management (e.g. damaged container, check against delivery note, quality, identity, conformity)?


The visitors’ bleachers were upended. The concession stand was crushed by a press box ripped from the bleachers. A sign that hung in the stadium that read “This is Bulldog Country” was found three-fourths of a mile away.
R. Basil Rutter Field was in ruins.
“The place was destroyed,” Rider, a member of the coaching staff for Athens’ junior varsity football team, said. “There was just debris everywhere all over the field, a lot of damage to the roof and the locker room. Just a total mess.”
Rider didn’t see the destruction firsthand. He was coaching the junior varsity football game in Chillicothe that evening.
Just before 7 p.m. on Sept. 16, 2010, an EF2 tornado touched down in The Plains and caused significant damage to Athens High School and its football stadium. The school itself suffered minor roof damage and lost two air conditioning units while the field took most of the damage.
Tornadoes in Appalachian Ohio are exceedingly rare. The last time a tornado touched down in Athens County, Jimmy Carter was still president.
When the sirens started blaring that evening, the Athens High School girl’s soccer team was in the middle of a game. Most people weren’t sure how serious the storm was going to be. The girls’ soccer coach initially told the players to take cover in the press box, assuming it’d blow over and the team could finish its game.
“He realized pretty quick that the storm was bad, and he took them into the fieldhouse,” former Athens High School track and field coach Rick Essex said. “And, of course, the tornado took the press box off. That was a situation that could have been very tragic, had they remained in there.”
Essex remembers talking to one of the eyewitnesses about the storm. The destruction was instantaneous.
Luckily, no one at the high school was injured during the storm. The same couldn’t be said for the stadium. When the damage was assessed, school administrators realized it’d be months before the field would be in any shape to play on.
The Bulldogs were without a field. There was no chance they’d be able to play in their own stadium for the rest of the season. Ohio University stepped in to ensure Athens could still host “home” games, but it wasn’t the same.
“The kids were going through a lot of emotions,” Essex said. “We certainly didn’t want to go through this, but that was the best case scenario we got in terms of being able to play.”
Administration was running in circles. Insurance claims only covered so much for storm damage, and cleanup was a beast of its own. The prospect of a swift recovery from the tornado was murky, and the school still needed funds to fuel its plan for a new and improved stadium.
The school needed help, and luckily for Athens, it was a phone call away. There was a booster club made for this exact moment — Bulldog Blitz.
Bulldog Blitz was started in 2008 by former Athens football players and those who had connections to the current team. It was meant to be a booster club that catered strictly to Athens’ football program and had raised money for the program in the past.
Essex and Rider were charter members, and Essex was serving as the first president of the organization. Athens head coach Ryan Adams was a charter member as well, helping form the organization early in his tenure as coach. Through Adams, the school had a direct line to Bulldog Blitz and vice versa.
“The high school administration had come up with a fundraising plan and wanted to run it through a nonprofit organization,” Rider said. “We would raise the money and then pay the school back for the money they spent on the rebuild and improvement budget.”
This was the moment Bulldog Blitz was made for. This was the organization’s finest hour. The Monday after the storm, the members met in Rider’s insurance office on Richland Avenue and began to scheme.
“We started meeting every Monday night for about seven or eight months,” Rider said. “We would make lists of people in the community we could approach for donations and then divide it up among us. You took five names, went and saw those five people and asked them for money each week.”
After a few weeks, Rider and the other members were knee deep in a list of potential donors. Even more were calling after hearing about the rebuild effort from friends and relatives in the area.
Donations poured in as the months went by. Athens alumni from around the country were contacting Essex and Rider in order to show their alma mater the love it deserved. They got calls from people living over 1,000 miles away.
Two vacation rentals were donated for an auction by an Athens alum who became a real estate manager in Hilton Head. $50,000 worth of stock was gifted to the group by an 83-year-old woman who was living in Boca Raton.
“People were very willing to help rebuild,” Essex said. “It was very emotional for people in this area to have your stadium taken out, and if you look at the numbers of people that have pledged money there (it) is amazing.”
By the end of their fundraising efforts, Bulldog Blitz raised $1.2 million for the stadium rebuild effort, over one-third of the total cost of the project.
And the end result was better than they could’ve hoped for.
On Sept. 2, 2011, the Bulldogs hosted a home game. An actual home game. Football was back in The Plains after almost a year.
A new press box sat above the home bleachers with a sign across it that read “Scott Riggs and Family Stadium R. Basil Rutter Field” after one of the donors. The grass was replaced with turf. A new concession stand sat along a brick wall, engraved with the names of those who donated to the project.
“The amount of time that people put into it was absolutely mind-boggling,” Essex said. “When it was all said and done and we saw it come to fruition, we kinda stepped back and were like, ‘Wow. We really did it.’”
The stadium was packed shoulder to shoulder. Former Athens residents flew in from across the U.S. to see their alma mater’s rebirth. The elderly woman from Boca Raton, Mary Berry, was among them.
One by one, donors who promised $5,000 or more were announced over the loudspeakers and were walked onto the field. Fans cheered for every name. These people, many of whom hadn’t lived in Athens for years, bled their bank accounts in order to give Athens the stadium it deserved.
The Bulldogs routed Dawson-Bryant that night 48-14 with decades worth of alumni watching from the stands. Athens remained undefeated for the rest of the 2011 regular season. It only broke its winning streak after a playoff loss to Jackson in Week 11. It held an .852 winning percentage for the five seasons following the opening of the new stadium. Adams retired in 2018 as the winningest coach in Bulldogs history with a 96-37 record and five playoff appearances.
Essex looks back on the project often. He considered the tornado a turning point for Athens, not just as a football program, but as a community. The sheer volume of the extended Athens community willing to sacrifice its money, time and efforts to rebuild a stadium blew him away. It still does.
“I often look back on it in retrospect,” Essex said. ”It's like you want to leave a mark in your lifetime. As you get older, you appreciate what people do and the efforts they make. The results are there, and it’s a hell of a feeling to know that you were a part of it.”


A whistle-stop tour of OAuth 2
A problem shared is a problem halved.
An open standard for authorization delegation 🔐
What about clients that can't store a secret?
Authentication vs Authorisation
Authorisation server returns 400 when the client credentials are invalid...
Developer laziness with client registration
Scope constraint limitations for banking
Flexibility is a strength AND a weakness
Bearer Token Usage (RFC 6750)
Threat Model and Security Considerations (RFC 6819)
Token Introspection (RFC 7662)
Token Revocation (RFC 7009)
Dynamic Client Registration (RFC 7591)
PKCE: Proof Key for Code Exchange (RFC 7636)
OAuth 2.0 isn't going anywhere any time soon
RFCs continue to be produced which is both good and bad
Transactional OAuth or OAuth XYZ is in draft
<EMAIL_ADDRESS>@sephster


Georgia student-photographer hurt in scary collision with player shares photo she took before tackle
by Ryan GaydosA University of Georgia photographer who was hospitalized following a scary collision during the Bulldogs’ game against Auburn over the weekend shared the photo she snapped before she was hit.
Chamberlain Smith, a photography intern for the university’s sports information department, was kneeling down to take a photo late in the second quarter when Georgia running back Brian Herrien accidentally ran her over.

Smith shared an injury update on Instagram, saying the injury was “very scary.”

She then revealed that she did “get the shot.”
Herrien, who was concerned for Smith after the play, responded to the photo.
Smith’s photo received more than 24,500 likes on Twitter and more than 3,500 likes on Instagram.
CLICK HERE FOR MORE SPORTS COVERAGE ON FOXNEWS.COM
Georgia pulled out the victory over Auburn and moved to No. 4 in the latest College Football Playoff rankings.


ALTER SEQUENCE
Section: SQL Commands (7)Updated: 2012-08-14
Index Return to Main Contents
NAME
ALTER SEQUENCE - change the definition of a sequence generatorSYNOPSIS
ALTER SEQUENCE name [ INCREMENT [ BY ] increment ] [ MINVALUE minvalue | NO MINVALUE ] [ MAXVALUE maxvalue | NO MAXVALUE ] [ START [ WITH ] start ] [ RESTART [ [ WITH ] restart ] ] [ CACHE cache ] [ [ NO ] CYCLE ] [ OWNED BY { table.column | NONE } ] ALTER SEQUENCE name OWNER TO new_owner ALTER SEQUENCE name RENAME TO new_name ALTER SEQUENCE name SET SCHEMA new_schema
DESCRIPTION
ALTER SEQUENCE changes the parameters of an existing sequence generator. Any parameters not specifically set in the ALTER SEQUENCE command retain their prior settings.
You must own the sequence to use ALTER SEQUENCE. To change a sequence's schema, you must also have CREATE privilege on the new schema. To alter the owner, you must also be a direct or indirect member of the new owning role, and that role must have CREATE privilege on the sequence's schema. (These restrictions enforce that altering the owner doesn't do anything you couldn't do by dropping and recreating the sequence. However, a superuser can alter ownership of any sequence anyway.)
PARAMETERS
- name
- The name (optionally schema-qualified) of a sequence to be altered.
- increment
- The clause INCREMENT BY increment is optional. A positive value will make an ascending sequence, a negative one a descending sequence. If unspecified, the old increment value will be maintained.
- minvalue
- NO MINVALUE
- The optional clause MINVALUE minvalue determines the minimum value a sequence can generate. If NO MINVALUE is specified, the defaults of 1 and -263-1 for ascending and descending sequences, respectively, will be used. If neither option is specified, the current minimum value will be maintained.
- maxvalue
- NO MAXVALUE
- The optional clause MAXVALUE maxvalue determines the maximum value for the sequence. If NO MAXVALUE is specified, the defaults are 263-1 and -1 for ascending and descending sequences, respectively, will be used. If neither option is specified, the current maximum value will be maintained.
- start
- The optional clause START WITH start changes the recorded start value of the sequence. This has no effect on the current sequence value; it simply sets the value that future ALTER SEQUENCE RESTART commands will use.
- restart
- The optional clause RESTART [ WITH restart ] changes the current value of the sequence. This is equivalent to calling the setval function with is_called = false: the specified value will be returned by the next call of nextval. Writing RESTART with no restart value is equivalent to supplying the start value that was recorded by CREATE SEQUENCE or last set by ALTER SEQUENCE START WITH.
- cache
- The clause CACHE cache enables sequence numbers to be preallocated and stored in memory for faster access. The minimum value is 1 (only one value can be generated at a time, i.e., no cache). If unspecified, the old cache value will be maintained.
- CYCLE
- The optional CYCLE key word can be used to enable the sequence to wrap around when the maxvalue or minvalue has been reached by an ascending or descending sequence respectively. If the limit is reached, the next number generated will be the minvalue or maxvalue, respectively.
- NO CYCLE
- If the optional NO CYCLE key word is specified, any calls to nextval after the sequence has reached its maximum value will return an error. If neither CYCLE or NO CYCLE are specified, the old cycle behavior will be maintained.
- OWNED BY table.column
- OWNED BY NONE
- The OWNED BY option causes the sequence to be associated with a specific table column, such that if that column (or its whole table) is dropped, the sequence will be automatically dropped as well. If specified, this association replaces any previously specified association for the sequence. The specified table must have the same owner and be in the same schema as the sequence. Specifying OWNED BY NONE removes any existing association, making the sequence ``free-standing''.
- new_owner
- The user name of the new owner of the sequence.
- new_name
- The new name for the sequence.
- new_schema
- The new schema for the sequence.
NOTES
To avoid blocking of concurrent transactions that obtain numbers from the same sequence, ALTER SEQUENCE's effects on the sequence generation parameters are never rolled back; those changes take effect immediately and are not reversible. However, the OWNED BY, OWNER TO, RENAME TO, and SET SCHEMA clauses cause ordinary catalog updates that can be rolled back.
ALTER SEQUENCE will not immediately affect nextval results in backends, other than the current one, that have preallocated (cached) sequence values. They will use up all cached values prior to noticing the changed sequence generation parameters. The current backend will be affected immediately.
ALTER SEQUENCE does not affect the currval status for the sequence. (Before PostgreSQL 8.3, it sometimes did.)
For historical reasons, ALTER TABLE can be used with sequences too; but the only variants of ALTER TABLE that are allowed with sequences are equivalent to the forms shown above.
EXAMPLES
Restart a sequence called serial, at 105:
ALTER SEQUENCE serial RESTART WITH 105;
COMPATIBILITY
ALTER SEQUENCE conforms to the SQL standard, except for the START WITH, OWNED BY, OWNER TO, RENAME TO, and SET SCHEMA clauses, which are PostgreSQL extensions.
SEE ALSO
CREATE SEQUENCE [create_sequence(7)], DROP SEQUENCE [drop_sequence(7)]
Index
This document was created by man2html, using the manual pages.
Time: 05:34:14 GMT, December 24, 2015


Here is the simplest form I could think of. We just collect one field named 'firstName'.
The docBase for this form flow is '/myData' so the field will be bound to a node /myData/firstName.
Put a name in and hit 'Finish' to see the XML result.


--- layout: 'default' title: 'Home' ---
Providing succinct information on how to work with Drupal WxT for the Web Experience Toolkit!
Drupal is a free and open-source content management framework (CMF) written in PHP and distributed under the GPL. It is used as a back-end system for at least 2.1% of all websites worldwide.
Drupal WxT leverages the WET-BOEW jQuery Framework which is an open source code library for building innovative websites that are accessible, usable, interoperable, mobile-friendly and multilingual.


A restaurant's mobile app for Android
A website made with Python to display my top 5 movie trailers
A PHP library made to interact with Wit.ai library


The COVID-19 pandemic has caused a tectonic shift in the ways our society is structured and operates. One major change is in the setting in which we work: many of us no longer go to the office and are working from home. By some estimates, Work From Home (also referred to as remote work) has doubled if not tripled since the onset of the pandemic. These days, as much as 70 % of employed Americans work remotely for at least part of the week. Here are some of the factors that have changed for those working from home.
As a result of COVID related lockdowns, VPN providers have noticed that North American workers are putting in an average of three extra work hours per day compared to pre-COVID activity levels. Reasons cited for this increase in work hours are the absence of commute, meaning that workers are at their computers earlier, and people staying in during evenings, meaning that they're staying online longer. Interestingly, workers in France, Spain and the UK reported a two hour increase in work hours per day by comparison. Work further extending its tentacles into home life is a significant issue with COVID-related remote work.
Remote work in pandemic times presents a specific, shelter-in-place-related challenge: how do workers with children manage having to work during the day while taking care of and educating their children with schools closed? A PWC survey on lack of productivity in a pandemic mandated WFH setting found that 38 % of respondents cited childcare as thefor their lack of productivity, second only to lack of collaboration with colleagues. The catch with the survey is that it didn't segment respondents by family status, which shows that childcare was the primary reason for a slowdown in productivity for working parents.
For better or worse, the workplace provides many people with a sense of community and belonging. It is unsurprising, then, that remote work can lead to feelings of loneliness and isolation for some. Multiple studies show that around 20 % of respondents identify loneliness and isolation as their biggest struggle with or least favorite aspect of remote work. A further 17 to 20 % identify difficulties with communication and collaboration as their biggest challenge with remote work. Relatedly, 75 % of managers express concern about reduced team cohesiveness, and 70 % are worried about maintaining company culture. WFH has negatively affected workers' sense of connection to one another and community.
The considerable stress of living through a pandemic in conjunction with the impacts of the factors described above can push even the most resilient of people to the breaking point. Employee survey data shows that, sadly, that is just what has been happening. In a study conducted in May, about half of respondents stated they were experiencing symptoms of burnout during remote work. In July, that number rose to 69 %. If that isn't distressing enough, 59 % of those surveyed are taking less time off than before the pandemic and 42 % are not planning on taking any time off. Despite the apparent advantages of remote work, many people are working themselves to the bone.
Despite the drawbacks and difficulties associated with remote work, survey data shows that around 80 % of employers sampled intend to implement flexible remote work policies after the pandemic crisis subsides. Under more "normal" circumstances, more widespread and flexible WFH policies could reasonably be expected to benefit workers and their families.


{% extends 'wl/emails/base_email.html' %} {% block content %} {% if application and application.proxy_applicant %} The Wildlife Licensing return you made on behalf of {{ application.applicant_profile.user.get_full_name }} has been reviewed and requires an amendment before approval. {% else %} Your Wildlife Licensing return has been reviewed and requires an amendment before approval. {% endif %} {% if reason %}
Amendment Reason: {{ reason }}
{% endif %} {% if url %}Click here to edit the return.
Note: If you haven't been on the Wildlife Licensing site recently you might have to login first before using the provided link.
{% endif %} {% endblock %}


--- layout: archive title: Zulip Chat Archive permalink: /stream/113488-general/topic/documentation.20view.html ---
@Gabriel Ebner What happened to the documentation view feature of vscode-lean?
@Patrick Massot I'm a bit busy at the moment so there's nothing new (though it's available in the released version now). In the other thread you suggested that the documentation view should have back/forward buttons and a way to input your own url. I completely agree. (The webview api in vscode is unfortunately really, really stripped down... Not even hyperlinks work by default, we are changing them to vscode commands on the fly....)
@Edward Ayers if you want to look at this, I can give you pointers.
In case anybody has too much free time and wants to give feedback, run "ctrl+shift+p open documentation view" and post your complaints here.
Thanks Gabriel! Did you intend to ping Bryan instead of Ed?
@Jeremy Avigad Did you see that feature?
No, Ed asked me in Amsterdam to please give him work on the vscode extension. But I'm happy about contributions from all sides.
By the way, am I correct in thinking that this was not in the previous release? If not then please forgive me for asking today
I made a release for Ed's translations PR yesterday, that's the first release with the documentation view.
Weird... I did try to check before posting. Sorry
I just tried documentation view. It's great! Here are two comments.
The bigger one: once we move from the table of contents to a specific chapter, as far as I can tell it is impossible to go back to the table of contents without pressing ctrl-shift-P and choosing "open documentation view" again. That makes it less convenient to browse. I don't know the ideal solution here. Maybe the best solution is to assign a keystroke to "open documentation view", so that pressing that would return to the TOC.
The smaller issue: the natural way to play with the text and examples is to split the screen, put the text in the left, and then run the examples in the right. But even when I have a split screen, when I click on the "try it" button, the window opens on the left, and I have to manually move it to the right. Would it be possible to have the window open on the right?
I just tried to use the VScode Lean documentation view in our computer rooms, with no success. Could it be that it tries to access TPIL without using the system-wide proxy setup?
@Edward Ayers @Gabriel Ebner
Yes, I'm pretty sure it doesn't look at proxy settings.
Note that VScode does successfully use the proxy when downloading the Lean extension
Fixing this would be a nice improvement
Did you have to set the http.proxy
in the vscode settings for the extension downloading to work?
Ideally, we could use the system proxy settings that vscode uses itself, but it looks like this is not possible yet: https://github.com/Microsoft/vscode/issues/12588
The http.proxy*
settings are the older (now deprecated) way to set the proxy in vscode (and it is ignored by most of vscode). We could use this setting (but Patrick needs to set it).
I didn't have to set anything to get the extension
@Patrick Massot vscode has two settings for proxies: one is taken directly from the system settings and is used for extension fetching, etc. But this is unfortunately not accessible to extensions (i.e., us).
issues/12588
. Wow -- and I thought we had issues.
When there are 4621 open issues, how do you get people to work on the one you want to be fixed?
in big companies the issues process has to be a lot more formal. There is triage and tagging, periodic review of priorities, and work is often aimed for milestones. Quite often the issues system is the force behind all work - i.e. if you want to change something you should make an issue first, so that the intent is logged and prioritized
so you have people working on the most important things and other people adding and organizing new issues
For a big github project, you can vote on your favorite issues by adding a thumbs up reaction to it; this sometimes helps, depending on the team, but it's just a suggestion
apparently people really want floating windows https://github.com/Microsoft/vscode/issues?q=is%3Aopen+is%3Aissue+sort%3Areactions-%2B1-desc
{% endraw %}Last updated: Apr 24 2020 at 19:02 UTC


If your GitHub Enterprise Server instance uses
LDAP Sync with Active Directory LDAP servers, Active Directory LDAP-authenticated users cannot be suspended through
this API. If you attempt to suspend an Active Directory LDAP-authenticated
user through this API, it will return a 403
response.
PUT /users/:username/suspended
You can suspend any user account except your own.
| Name | Type | Description |
|---|---|---|
reason |
string |
The reason the user is being suspended. This message will be logged in
the
audit log. If you don't provide a reason , it will default to
"Suspended via API by SITE_ADMINISTRATOR", where
SITE_ADMINISTRATOR is the person who performed the action.
|
Note that, if you choose not to pass any parameters, you'll need to set
Content-Length
to zero when calling out to this endpoint. For
more information, see "HTTP verbs."
Status: 204 No Content


Build Your CV
Create beautiful, professional resumes in minutes
| Home |
| Help |
| Terms & Privacy policy |
Contact
For all account related and technical queries, please e-mail us. We will get back to you within 2 to 12 hours.
info@buildyoucv.com


What TV channel is Deontay Wilder vs Luis Ortiz on? TV and live stream details
Ortiz is bidding to upset Wilder's plans to rematch Tyson Fury next year by beating the heavyweight world champion
by Martin Domin, https://www.facebook.com/mirrorfightingDeontay Wilder puts his heavyweight world title on the line tonight in his rematch with dangerous Cuban Luis Ortiz.
The pair first met 18 months ago when Ortiz rocked the champion before being stopped in the 10th round.
The challenger has vowed to make Wilder pay for accepting a second fight with him but the champion insists he has learned his lesson and will have his hand raised again.
Should he come through, Wilder will book another sequel, this time with Tyson Fury with whom he fought to a controversial draw last December.
Here is everything you need to know about tonight's fights...
What TV channel is it on?
The fight is being broadcast on Sky Sports in the UK. Sky Sports Action will show the fight with the programme starting at 2am.
After The Bell: Watch Mirror Fighting's new boxing show
Mirror Fighting has launched a new weekly boxing show in association with Betfair in which we analyse the latest big fights, play matchmaker, and preview forthcoming bouts.
Former super-middleweight world champion George Groves provides expert analysis.
To watch the latest show in full, click here.
What time is the fight?
The fight will start at 5am UK time which is 9pm in Las Vegas where the fight is being held. Ring walks are unlikely to take place earlier, even if the undercard fights finish ahead of schedule.
Is there a live stream?
The fight can be streamed via the Sky Go app, either on mobile devices or on the Sky Sports website.
What are the odds?
Wilder 1/6
Ortiz 9/2
Draw 33/1
Who is on the undercard?
Luis Nery vs Emmanuel Rodriguez
Brandon Figueroa vs Julio Ceja
Leo Santa Cruz vs Miguel Flores
Leduan Barthelemy vs Eduardo Ramirez
Viktor Slavinskyi vs Rigoberto Hermosillo
Arnold Alejandro vs Jhon Gemino
Angel Alejandro vs Mark John Yap
Omar Juarez vs Kevin Shacks
Jose Manuel Gomez vs Daniel Placeres
Marsellos Wilder vs Dustin Long
Shon Mondragon vs Juan Centeno
Vito Mielnicki Jr vs Marklin Bailey
Latest news
Tyson Fury has warned Deontay Wilder to avoid any injuries or slip-ups against Luis Ortiz this weekend.
The WBC king defends his strap in a rematch against experienced Cuban Ortiz.
But Fury is more concerned with his own money-spinning second fight with Wilder, pencilled in for February 2020.
Having suffered a nasty cut in his last outing against Otto Wallin, Fury knows the dangers faced in the ring no matter who the opponent.
He has just started training ahead of his Wilder rematch and, whilst out on a run, warned Wilder he must do his bit to keep things on track for the start of next year.
In a video message on Instagram , Fury said: "Just out running, doing a six-miler.
"February 22nd, Las Vegas, I'm coming for you baby. Training hard, training right through Christmas.
"Wilder, don't be taking any days off mush.
"Don't be getting injured in your return fight.
"Get it done and meet me for battle.
"February 22nd, Las Vegas, Nevada, 2020."


Unreal / C++
Character interactions and AI
In Rest ashored we had to create characters that felt somewhat believable when you talked to them, so that the player would want to keep speaking with them to keep them alive. Thanks to us having this unique situation of having input being speech we believed that we could make the bond between player and character extra strong. We had to make the characters dynamic enough to not be predictable so that we would not shatter the immersion. So, we set out to make something that would give the illusion of a personality in the characters.
To give the characters some extra character I made it so that they could refuse to do what you asked them based on their current mood and on their disposition. Furthermore, to make them more alive I added a way for them to do random actions based on there current mood. I made a weighted random action list that could be populated in blueprints to make it more accessible for the designers to add to the responses and actions the characters could do. The characters current mood affects what sort of actions they will and are more likely to do. If the character is very happy it will never punch another character but if they are just content there is a chance that they will do something mischievous but the probability for it is low, instead they are most likely to do a neutral action like walk in a random direction. By having this weighted randomness I could make it so that if they are happy there is no chance they will do something bad and the other way around.
int32 UTTMoodComponent::GetWeightedRandomMoodIndex() { TArray> weightedIndex; float dist = 0; float totalDist = 0; for (size_t i = 0; i < randomEvents.Num(); i++) { dist = FMath::Abs(myMood - randomEvents[i].Mood); if (dist <= randomEventRange) { TPair tempPair; totalDist += (randomEventRange - dist); tempPair.Key = totalDist; tempPair.Value = i; weightedIndex.Add(tempPair); } } float randomValue = FMath::RandRange(0.0, totalDist); for (int i = 0; i < weightedIndex.Num(); i++) { if(randomValue <= weightedIndex[i].Key) return weightedIndex[i].Value; } return 0; }


I am a student of Computer Science. From my childhood I like breaking and building staff. I love both software and hardware. Since my childhood I am curious about how the Information Technology works. From that part I am interested in computer science. I have taken Python courses in coursera. I am interested in Cyber Security, Machine Learning, Artificial Intelligence and Robotics. Actually I am a good self learner and also a quick learner.


These are hard times for dreamers.
Posted by Jason.
September 28th, 1997. It is exactly 11am. At the funfair, near the ghost train, the marshmallow twister is twisting. Meanwhile, on a bench in Villette Square, Félix Lerbier learns there are more links in his brain than atoms in the universe. Meanwhile, at the Sacré Coeur, the nuns are practising their backhand.


skytree
Businessmodel of Skytree
Customer Segments
Skytree has a niche market business model, with a specialized customer segment. The company’s offering is targeted at enterprises that need to process and analyze complex sets of data.
Value Proposition
Skytree offers four primary value propositions: price, convenience, performance, and brand/status.
The company offers two single-user desktop versions of its software for free: Skytree GUI & Python SDK and Skytree CLI. They are for systems with up to 100 million data elements and are downloadable on its website. It generates revenues through the Enterprise version.
The company offers convenience by making its platform easy to incorporate into customers’ existing infrastructure. Beyond this, it simplifies usage of the system through heavy automation. Its AutoModel technology makes it easy for users to build machine learning models by automating parameter and algorithm selection. Also, its self-documenting models log all datasets, data splits, transformations, algorithms, and results for future access.
The company’s solution utilizes highly scalable, deeply optimized algorithms that enable it to conduct analytics in-memory and enhance performance. Fewer math steps result in what Skytree calls the “fastest machine learning software on the market”. It estimates that the solution quickens machine learning processes by as much as 150 times the speed offered by open source options.
The company has established a strong brand in a relatively short time. It is considered by many to be the leader in machine learning tools for enterprises. It has many prominent corporations as clients, including American Express, eBay, Honda, Panasonic, PayPal, Samsung, Thomson Reuters, and UPS.
Channels
Skytree’s main channel is its website, through which it obtains most customers. The company’s direct sales team also reaches out to enterprises for interest in its products. Skytree further promotes its offering through its social media pages and participation in industry seminars and conferences.
Customer Relationships
Skytree’s customer relationship is primarily of a self-service nature. Customers utilize the service through the main platform while having limited interaction with employees. The company’s website features an extensive “Resources” section that includes “Quick Start” guides, user guides, white papers, case studies, data sheets, analyst reports, videos, and webinars. That said, there is a personal assistance component in the form of phone and e-mail support.
Key Activities
Skytree’s business model entails producing and enhancing its software product for customers.
Key Partners
Skytree operates the Skytree Partner Program, through which it works with organizations to expand and promote its offerings, as well as advocate for machine learning in general. The program has four main types of partnerships:
Alliances – Skytree helps organizations support and sell its software. They have the option of building applications on top of the platform for a more powerful solution. Specific partners include Hudson Data, BrainPad, LG CNS, Carahsoft, Contexti, Sharpe Engineering, and Big Data Partnership.
Technology – Skytree works with top technology firms to ensure its products have interoperability and compatibility with complementary solutions in the analytics world. Specific partners include Cloudera, Hortonworks, MAPR, Amazon Web Services, IBM, Databricks, Tableau Software, Esri Partner Network, and Cisco.
Original Equipment Manufacturers – Skytree works with OEMs to integrate its platform into their offerings. OEMs receive training on the product as part of Skytree Academy as well as opportunities to co-brand and co-market with the company.
Academic – Skytree works with top academic institutions to promote the field of data science as a profession. The company grants the entities usage of its platform, access to its training curriculum, and guest lectures from Skytree industry experts.
Key Resources
Skytree’s main resource is its proprietary software platform. It also depends on many important human resources. Its engineering staff, 92% of whom are Ph.Ds, produces and enhances the platform. It also has a team of academic experts that includes Professors David Patterson, Michael Jordan, and James Demmel of the University of California, Berkeley, as well as Professor Pat Hanrahan of Stanford University. Lastly, as a relatively new start-up it has relied heavily on funding from outside parties, raising $20.5 million from eight investors as of April 2013.
Cost Structure
Skytree has a cost-driven structure, aiming to minimize expenses through significant automation and low-price value propositions. Its biggest cost driver is likely research and development, a fixed cost. Other major drivers are in the areas of sales/marketing and customer support/operations, also fixed costs.
Revenue Streams
Skytree has one revenue stream: the price it charges to purchase its software, which starts at $2,999 and increases based on the amount of data elements involved. Sales staff must be contacted for more detailed pricing information.


--- title: 'Visualizing Blood Bowl Tournament rosters' author: "Gertjan Verhoeven" date: '2023-02-27' summary: "Yet another Blood Bowl post! This one is to warm up to the upcoming World Cup, analyzing variation in Tournament Roster choices." slug: blood-bowl-eurobowl-rosters draft: no categories: - Blood Bowl - Clustering - Statistics tags: - R - hclust - heatmap baseurl: https://gsverhoeven.github.io header: image: headers/bb_heatmap_banner.png preview: no ---
(Photo by Erik Cats)
Yet another Blood Bowl post! This one is to warm up to the upcoming World Cup, analyzing variation in Roster choices by top coaches. For the uninitiated: In my spare time I like to play Blood Bowl, a chess-like board game where two teams play a match of fantasy football. It is set in the Warhammer universe, with teams populated by Orcs, Dwarves, Elves etc. See my previous blog posts on Blood Bowl for more background and stats. To get an estimate of the player base: a popular Blood Bowl channel on Youtube called “Bonehead podcast” currently has some 16K subscribers.
So the cool thing of Blood Bowl is that it has a highly competitive Tournament scene. With the ultimate tournament of course being the World Cup! The previous World Cup was held in 2019 in Dornbirn, Austria, and attracted 1400 coaches. This year the World Cup is hosted by Spain, and at least as many coaches are expected in Alicante to battle it out.
Blood Bowl tournaments typically come with a “Rule pack”. This describes which teams are allowed, how much gold coaches have to buy players, and how much skills can be allotted to players to improve their ball handling, or ability to knock other players down.
It turns out that the World Cup is pretty similar to the Eurobowl ruleset, so we can learn from the Eurobowl rosters to prepare for the World Cup. Bad roster choices will put you at a disadvantage even before the actual game has started. So let’s check out what the pro’s are using!
Blood Bowl can also be played online. Here we focus on FUMBBL.com, consisting of a Game client (a Java app), linked to a website that performs match making, calculates rankings, provides a forum for discussions etc.
There are many things great with respect to FUMBBL. Here I like to mention three key elements that allow for this post:
Last November, Eurobowl took place in Malta. To get an impression check this vid on Youtube. A few months before Eurobowl 2022, the Nuffle Amorical Football (NAF) organized an online Tournament “Road to Malta” on FUMBBL to warm up to this event. The Online Tournament used the exact same ruleset as the Eurobowl itself, and the Rulepack for the 2023 World cup is highly similar.
The rulepack for the Road to Malta can be found here.
This blog post’s main goal is to share the analysis results. Check my Github for the technical stuff (R/Python web scraping and visualization of FUMBBL data).
I’ll discuss the most popular races, and leave the rest for the interested reader. I created a PDF rosterbook containing all 29 different races that participated in the tournament. For each race I made a plot (a clustered heatmap) displaying the roster as a colorcoded matrix, where teams that are similar (based on a cost weighted similarity score) are put side by side. To give some information about the performance of the various builds, I added the tournament points scored behind the coach name.
Of course, roster build is only one factor influencing tournament results, with skill being much more important, so we have to keep that in mind. Occasionaly, I’ll compare with the Eurobowl rosters and their performance, for this I use the great Tableau resource compiled by Mike Davies.
The Road to Malta tournament featured 46 teams of 4 coaches each, supplying a total of 184 rosters for our analysis. Here we focus on the top 10 most popular teams:
The two most popular teams with 16 rosters each were Underworld Denizens and High Elf.
We start with Underworld Denizens. Even after the nerf to UW by GW in November 2021 they kept their popularity. And 10 out of 16 rosters include a star player! All rosters pick the full allowance of Blitzer, Thrower, Runner and three clan rats. From the plot below, we see that the Morg plus Troll build was most popular, but that there were various other “Big guy + star player” builds, with the big guy being either a Troll or the Rat Ogre, and the star player being either Varag, Glart, or Kreek.
Surprisingly, there are no Hakflem builds ! This might be due to the additional skill cost, although Morg too had an additional skill cost, leaving only a single skill left, that was unanimously used to gain an extra re-roll by putting the leader
skill on the thrower.
The roster with the best performance (by Sandune) was the Varag plus Troll build.
UW shared the top spot for most popular team with High Elves. High Elf’s recent popularity is likely related to their low tier placement, for this tournament it was Tier 4. This allowed for 8 primary skills and 1 secondary skill (or 6 primary skills and 2 secondary skills), on a 12 player line up. From the rosters, it appears that there are two roster variants popular. Both variants have the same lineup wrt players (2 blitzers, 3 catcher, 1 thrower). Coaches either choose three rerolls without an apo, or two rerolls with apo. The two-reroll builds all use leader to compensate for the “missing” reroll.
The best performing roster here was by Hartl78, who fielded a Sneaky Git/ Dirty player lineman, a most unelvish thing to do :) For the World cup, High elves moved from Tier 4 to Tier 2, so performance of the team will likely suffer.
Necro was in tier 2, allowing for seven primary skills. All rosters went for this skill pack. Skill wise, well, a lot of guard and block! For Necro, there where three variants popular:
Performance-wise, no clear differences to be seen.
The Shambling Undead rosters are all surprisingly similar:
The only noticable variation is whether to complement that lineup with 5 zombies, 4 zombies plus 1 skeleton, or 3 zombies plus 2 skeletons. Performance wise there is little to guide that last judgement, as all three variants performed similar.
All coaches selected the skill pack with 6 primary skills. Skill wise, there appears to be strong consensus: dodge on the blitzers, block and wrestle on the Witch Elves, and if you pick a runner put leader on it for that extra reroll.
There is some variation in the positional choices, we can distinguish three builds:
No clear performance differences between the three builds.
For chaos dwarves, the big question is whether to take a minotaur or not. The teams without minotaur did slightly worse. Without a minotaur, the full set of five hobgoblins can be fielded, as well as an additional reroll and apothecary. Skill wise, we can see that the three rosters with sure hands on a hobgoblin underperformed, suggesting that this skill choice is subtoptimal here. We can see that the most common skill allocation is to put block on the bull centaurs and guard on the dwarf blockers.
Interestingly, the highest scoring build by Liam has an uncommon skill choice, with guard on the bull centaurs and two blockers with Mighty Blow.
Skaven did very well during the Eurobowl, with three Skaven teams in the top 10 best performing coaches. Two of those coaches also participated in Road to Malta, Olivierdulac and Sokratez (Tank).
First the commonalities: All rosters have the Rat ogre (Block or Juggernaut) and at least three gutter runners, of which one has strip ball. For Skaven I highlighted three variants:
For lizardmen coaches life is simple. 6 saurusses, 5 skinks, krox and an apo. Put block on all saurusses, done. That leaves time to bicker on about bigger questions in life, such a whether or not to swap one regular skink for a Chameleon skink :) Just as with all the previous roster variants, performance wise there is no clear winner. Some coaches swap one to three blocks for other skills such as guard, tackle or wrestle.
Orcs also did very well in Malta, with three teams in the top 10. The orcs show some serious roster variation! Agreed, all rosters take four blitzers with mighty blow and tackle, and four big uns with block and guard, but apart from that we see rosters with and without the Troll, with and without an apo, with and without a Thrower, and with varying amounts of goblins. Interestingly, the most exotic roster, with three goblins, and no thrower, performed best here.
Wood elf coaches always take the treeman, two wardancers, and at least two catchers. Typical skills choices are one wardancer with tackle, and one wardancer with strip ball.
As the wood elf players are expensive, to get at least 2 rerolls requires a lineup with only 11 players. Variation is in the number of catchers (2-4) and taking a thrower, versus taking ordinary linemen. On one end, we see rosters that take all four catchers and a thrower, with only three linemen. At the other end, we see rosters that take only two catchers and a thrower, or three catchers, and take five linemen. This allows for three rerolls or two rerolls and an apothecary.
For now my curiosity on roster variation has been satisfied, and I really looking forward to playing more and learning the finesses of this great game. The World cup in Alicante will be my first international tournament, hope to see you all there!


NEXT
Description
End a FOR loop.
Results
Compiles the branch back to a FOR statement after incrementing var by the STEP value of the FOR loop.
Example
; loop through all the indices of a loop, skipping every other one for x = 0 to 99 step 2 ; quit the loop if x > 50 if x > 50 then x = 99 next
Back to Keywords


NHL
Road to Playoffs
West: Washington, Pittsburgh, Columbus
East: Chicago
Probablities: Hockey Reference | ESPN | Sports Club Stats
KHL Playoffs
Currently in the Conference Finals
West: SKA vs. Lokomotiv
East: Metallurg vs. Ak Bars
CHL Playoffs
NHL
Road to Playoffs
West: Washington, Pittsburgh, Columbus
East: Chicago
Probablities: Hockey Reference | ESPN | Sports Club Stats
KHL Playoffs
Currently in the Conference Finals
West: SKA vs. Lokomotiv
East: Metallurg vs. Ak Bars
CHL Playoffs