Best Practice in Pull Request
There are several ways to setup Git for committers and contributors. Contributors can safely setup Git any way they choose but committers should take extra care since they can push new commits to the master at Apache and various policies there make backing out mistakes problematic. Therefore all but very small changes should go through a PR, even for committers. To keep the commit history clean take note of the use of –squash below when merging into apache/master.
Git setup for Contributors
This describes setup for one local repo and two remotes. It allows you to push the code on your machine to either your Github repo or to git-wip-us.apache.org. You will want to fork github’s apache/incubator-rocketmq to your own account on github, this will enable Pull Requests of your own. Cloning this fork locally will set up “origin” to point to your remote fork on github as the default remote. So if you perform “git push origin master” it will go to github.
To attach to the apache git repo do the following:
git remote add apache https://git-wip-us.apache.org/repos/asf/incubator-rocketmq.git
To check your remote setup git remote -v you should see something like this:
origin https://github.com/your-github-id/incubator-rocketmq.git (fetch)
origin https://github.com/your-github-id/incubator-rocketmq.git (push)
apache https://git-wip-us.apache.org/repos/asf/incubator-rocketmq.git (fetch)
apache https://git-wip-us.apache.org/repos/asf/incubator-rocketmq.git (push)
Now if you want to experiment with a branch everything, by default, points to your github account because ‘origin’ is default. You can work as normal using only github until you are ready to merge with the apache remote. Some conventions will integrate with Apache JIRA ticket numbers.
git checkout -b ROCKETMQ-xxxx #xxxx typically is a JIRA ticket number
Do some work on the branch
git commit -a -m "doing some work"
git push origin ROCKETMQ-xxxx # notice pushing to **origin** not **apache**
Once you are ready to commit to the apache remote you can merge and push them directly or better yet create a PR.
 Since you forked it from Github’s apache/incubator-rocketmq. it will default any PR to go to apache/master.
- Click the green “Compare, review, and create pull request” button.You can edit the to and from for the PR if it isn’t correct. The “base fork” should be apache/incubator-rocketmq unless you are collaborating separately with one of the committers on the list. The “base” will be master. Don’t submit a PR to one of the other branches unless you know what you are doing. The “head fork” will be your forked repo and the “compare” will be your ROCKETMQ-xxxx branch.
- Click the “Create pull request” button and name the request “ROCKETMQ-xxxx” all caps. This will connect the comments of the PR to the mailing list and JIRA comments.
- From now on the PR lives on github’s apache/incubator-rocketmq. You use the commenting UI there.
- If you are looking for a review or sharing with someone else say so in the comments but don’t worry about automated merging of your PR–you will have to do that later. The PR is tied to your branch so you can respond to comments, make fixes, and commit them from your local repo. They will appear on the PR page and be mirrored to Jira and the mailing list.
- When you are satisfied and want to push it to Apache’s remote repo proceed with Merging a PR
How to create a PR (contributors)
Create pull requests: GitHub PR docs.
Pull requests are made to apache/incubator-rocketmq repository on Github. In the Github UI you should pick the master branch to target the PR as described for committers. This will be reviewed and commented on so the merge is not automatic. This can be used for discussing a contributions in progress.
Merging a PR (yours or contributors)
Start with reading GitHub PR merging locally. Remember that pull requests are equivalent to a remote github branch with potentially a multitude of commits. In this case it is recommended to squash remote commit history to have one commit per issue, rather than merging in a multitude of contributor’s commits. In order to do that, as well as close the PR at the same time, it is recommended to use squash commits. Merging pull requests are equivalent to a “pull” of a contributor’s branch:
git checkout master # switch to local master branch
git pull apache master # fast-forward to current remote HEAD
git pull --squash https://github.com/cuser/incubator-rocketmq.git ROCKETMQ-xxxx # merge to master
–squash ensures all PR history is squashed into single commit, and allows committer to use his/her own message. Read git help for merge or pull for more information about –squash option. In this example we assume that the contributor’s Github handle is “cuser” and the PR branch name is “ROCKETMQ-xxxx”. Next, resolve conflicts, if any, or ask a contributor to rebase on top of master, if PR went out of sync.
If you are ready to merge your own (committer’s) PR you probably only need to merge (not pull), since you have a local copy that you’ve been working on. This is the branch that you used to create the PR.
git checkout master # switch to local master branch
git pull apache master # fast-forward to current remote HEAD
git merge --squash ROCKETMQ-xxxx
Remember to run regular patch checks, build with tests enabled, and change CHANGELOG. If everything is fine, you now can commit the squashed request along the lines
git commit --author="contributor_name <contributor_email>" -a -m "ROCKETMQ-XXXX description closes apache/incubator-rocketmq#ZZ"
ROCKETMQ-XXXX is all caps and where ZZ is the pull request number on apache/incubator-rocketmq repository. Including “closes apache/incubator-rocketmq#ZZ” will close the PR automatically. More information is found here GitHub PR closing docs.. Next, push to git-wip-us.apache.org:
git push apache master
(this will require Apache handle credentials). The PR, once pushed, will get mirrored to github. To update your github version push there too:
git push origin master
Note on squashing: Since squash discards remote branch history, repeated PRs from the same remote branch are difficult for merging. The workflow implies that every new PR starts with a new rebased branch. This is more important for contributors to know, rather than for committers, because if new PR is not mergeable, github would warn to begin with. Anyway, watch for dupe PRs (based on same source branches). This is a bad practice.
Closing a PR without committing (for committers)
When we want to reject a PR (close without committing), we can just issue an empty commit on master’s HEAD without merging the PR:
git commit --allow-empty -m "ROCKETMQ-XXXX closes apache/incubator-rocketmq#ZZ *Won't fix*"
git push apache master
that should close PR ZZ on github mirror without merging and any code modifications in the master repository.more detail please refer to RocketMQ PR https://github.com/apache/incubator-rocketmq/pull/15
Apache/github integration features
Read infra blog. Comments and PRs with RocketMQ issue handles should post to mailing lists and JIRA. RocketMQ issue handles must in the form ROCKETMQ-YYYYY (all capitals). Usually it makes sense to file a JIRA issue first, and then create a PR with description
ROCKETMQ-YYYY:
Best Practises
Avoiding accidentally committing private branches to the ASF repo
Its dangerously easy —especially when using IDEs— to accidentally commit changes to the ASF repo, be it direct to the trunk, branch-2 or other standard branch on which you are developing, or to a private branch you had intended to keep on github (or a private repo).
Committers can avoid this by having the directory in which they develop code set up with read only access to the ASF repository on github, without the apache repository added. A separate directory should be set up with write access to the ASF repository as well as read access to your other repositories. Merging operations and pushes back to the ASF repo are done from this directory —so isolated from all local development.
If you accidentally commit a patch to an ASF branch, do not attempt to roll back the branch and force out a new update. Simply commit and push out a new patch revoking the change.
If you do accidentally commit a branch to the ASF repo, the infrastructure team can delete it —but they cannot stop it propagating to github and potentially being visible. Try not to do that.
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HomeAdvisor plans to close Colorado customer service center
by Associated PressCOLORADO SPRINGS, Colo. (AP) — HomeAdvisor has announced plans to close its Colorado Springs customer service center by year’s end and lay off all 229 employees.
The Gazette reported Tuesday that the company that connects homeowners with home improvement contractors will consolidate the Colorado Springs operation with its Golden and Denver offices.
The company opened the Colorado Springs center in April 2015.
HomeAdvisor says those being laid-off include sales consultants, project advisers, customer care representatives, marketing consultants and advisers, managers, and other support personnel.
A company spokeswoman says Colorado Springs employees will be able to seek jobs in the company’s Denver-area offices.
Terminated employees are expected to receive severance packages, job search assistance and outplacement and career counseling.
HomeAdvisor says it plans to retain sales centers in Chicago, New York, Indianapolis, and Olathe, Kansas.
___
Information from: The Gazette, http://www.gazette.com


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Facebook Page Sign Up
Listens for sign up on Facebook Page.
Contact Attributes
Facebook ID, Date, Customer ID
Facebook Like
Listens for customer clicking Like.
Contact Attributes
Customer ID, Date, Like Status
Radian6 Keyword Listener
Listening for user specified keywords.
Contact Attributes
Facebook ID, Twitter ID, LinkedIn ID, Pinterest ID
Twitter Follow
Listens for a Twitter follow opt-in.
Contact Attributes
Device ID, Customer ID, Location
Pinterest New Pin
Listens for a user "pinning" an element on a web page.
Contact Attributes
Device ID, Customer ID, Date, URL
Instagram Follow
Listens for an Instagram follow opt-in.
Contact Attributes
Device ID, Customer, Date
Ad Clicked (Social Media)
Listens for an interaction with a social media ad.
Contact Attributes
Device ID, Ad ID, Customer ID, Date
Case Opened
Listens for Salesforce case to be opened.
Contact Attributes
Customer ID, Date, SFDC ID
Lead Converts to Contact
Listens for when a lead is converted to a contact.
Contact Attributes
Customer ID, Date
Closed Opportunity
Listens for a win on a closed opportunity.
Contact Attributes
Customer ID, Date, Account Status
Case Closed
Listens for Salesforce case to be closed.
Contact Attributes
Customer ID, Date, SFDC ID
3 Days Before Reservation
Fires 3 days before reservation start date.
Contact Attributes
Guest ID, Location ID, Date
Welcome to the Argonaut
Listens for guest to enter into the lobby.
Contact Attributes
Mobile ID, Customer ID, Location, Date
Beacon Hotel Arrival
Listens for an entry into the hotel's lobby or entry beacon location.
Contact Attributes
Device ID, Customer ID, Location, Date
Enter Room
Listens for registered gues to enter the room.
Contact Attributes
Customer ID, Location, Hotel ID
Send Message to TV
Fires when hotel guest turns on their room TV.
Contact Attributes
Customer ID, Location, Hotel ID
Send Message to Room Phone
Fires messages and reminders to guest's room phone.
Contact Attributes
Guest ID, Guest Profile, Room Number, Location ID, Date
New Restaurant Reservation
Listens for a hotel restaurant reservation from a registered guest.
Contact Attributes
Guest ID, Room Number, Location, Date
Update Drink Preference
Listens for customer update to drink preference.
Contact Attributes
Customer ID, Preferences, Date
Check Out
Listens for guest to check out of room.
Contact Attributes
Customer ID, Location, Hotel ID
Product Registered
Listens for registration update via API.
Contact Attributes
Product ID, Customer ID, Date
Low Battery
Listens for low battery warning from device.
Contact Attributes
Device ID
Steps 5k
Listens for customer reaching 5,000 steps.
Contact Attributes
Mobile ID, Date, Step Count, Customer ID
Steps 10k
Listens for customer reaching 10,000 steps.
Contact Attributes
Mobile ID, Date, Step Count, Customer ID
Steps 20k
Listens for customer reaching 20,000 steps.
Contact Attributes
Mobile ID, Date, Step Count, Customer ID
Finished Race
Listens for when a runner reaches the goal.
Contact Attributes
Device ID, Customer ID, Location
Fitbit Activity Tracker
Fires when preset activity goal is met.
Contact Attributes
Mobile ID, Location, Date
Geofence
Listens for customer entry or exit from a location.
Contact Attributes
Contact ID, Location
Entered Geofence
Listens for customer entry to a location.
Contact Attributes
Contact ID, Location
Exited Geofence
Listens for customer exit from a location.
Contact Attributes
Contact ID, Location
Beacon Proximity
Listens for devices in proximity of a beacon.
Contact Attributes
Device ID, Location
Send to Target List
Select group of contacts to send to based on a specified date and time.
Contact Attributes
Subscription Status, Age, Location, Product Usage, Opt-in Status
Activation
Listens for a product activation flag via API.
Contact Attributes
Product ID, Customer ID, Date
Anniversary
Listens for an annual customer event, or date relative to it.
Contact Attributes
Anniversary Date
Birthday
Listens for an annual customer event, or date relative to it.
Contact Attributes
Birth Date
1st Time Purchase
Fires after the 1st time purchase to encourage the next purchase.
Contact Attributes
Customer Email, Customer ID, Date, Product ID
SMS Opt-In
Listens for customer opt-in via SMS.
Contact Attributes
Mobile ID, Opt-in Status, Keyword
New Favorite Location
Listens for profile update to a favorite location setting.
Contact Attributes
Customer ID, Location ID
Affinity Change
Complete Purchase
Listens for any purchase
Contact Attributes
Contact ID, Order ID, Product SKU, Date
Abandoned Cart
Listens for shopping cart abandonment.
Contact Attributes
Product ID, Customer ID, Date
Loyalty Program Sign Up
Listens for customer loyalty program registration.
Contact Attributes
Contact ID, Loyalty Status, Date
View Changed
Fires when user sets a new default view.
Contact Attributes
Contact ID, View Status, Date
Content Changed
Listens for content update.
Contact Attributes
Date, File ID, File Status
Email Opened
Listens for an email open event.
Contact Attributes
Contact ID, Email ID, Date
Rate Experience
Listens for customer submitted rating.
Contact Attributes
Customer ID, Product ID, Rating
Ticket Purchase
Listen's for a customer's ticket purchase.
Mobile App Downloaded
Fires when mobile app is downloaded to device.
Contact Attributes
Mobile ID, Date
Mobile App Installed
Fires when the app is installed on a mobile device.
Contact Attributes
Mobile ID, Date
Sign Into App
Listens for user to log into app.
Contact Attributes
Customer ID, App ID, Mobile ID, Date
Contact Change
Listens for a change in contacts.
Contact Attributes
Contact ID, Date
Store Check-In
Listens for rental check-in at location.
Contact Attributes
Customer ID, Store ID, Rental History
Date-Based Attribute Trigger
Listens for a key contact date or relative date to it.
Contact Attributes
Date
Scheduled Date
Listens for a specific date or repeating dates.
Contact Attributes
Date
VIP Customers
Listens for customer data attribute equal to VIP.
Contact Attributes
Customer ID, Subscription Status, Product ID, Opt-in Status
High Value Customers
Listens for customers with attribute equal to high value.
Contact Attributes
Customer ID, Value, Usage
Trial Customers
Listens for customers with attribute equal to trial subscription or trial period.
Contact Attributes
Contact ID, Date
Loyal Customer
Customer has been active for more than 3 years.
Contact Attributes
Contact ID, Date


--- title: Enclave gRPC Server Configuration overview: Configuration options for a basic enclave gRPC server. location: https://asylo.dev/docs/reference/proto/grpc/asylo.enclave_server.v1.html layout: protoc-gen-docs redirect_from: /docs/reference/proto/grpc/enclave_server.html number_of_entries: 1 ---
Configuration passed to an enclave gRPC server during initialization.


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|
SVG plot
|
Quadratic Bezier curved line from (x1, y1) control point (x2, y2) to (x3, y3). More...
#include <svg_elements.hpp>
Public Member Functions | |
| qurve_element (double x1, double y1, double x2, double y2, double x3, double y3) | |
| qurve_element (double x1, double y1, double x2, double y2, double x3, double y3, const svg_style &style_info, const std::string &id_name="", const std::string &class_name="", const std::string &clip_name_="") | |
| void | write (std::ostream &os) |
| Write function outputs appropriate SVG commands for a leaf or child element. More... | |
| Public Member Functions inherited from boost::svg::svg_element | |
| svg_element () | |
| svg_element (const svg_style &style, const std::string &id_name="", const std::string &class_name="", const std::string &clip_name="", const text_style &text_style=not_a_text_style) | |
| virtual | ~svg_element () |
| std::string | class_id () |
| void | class_id (const std::string &class_id) |
| std::string | clip_id () |
| void | clip_id (const std::string &id) |
| std::string | id () |
| void | id (const std::string &id) |
| bool | operator!= (const svg_element &lhs) |
| bool | operator== (const svg_element &lhs) |
| svg_style & | style () |
| const svg_style & | style () const |
| void | write_attributes (std::ostream &os) |
Public Attributes | |
| double | x1_ |
| Quadratic curved line from (x1_, y1_) control point (x2_, y2_) to (y3_, y3_). More... | |
| double | x2_ |
| Quadratic curved line from (x1_, y1_) control point (x2_, y2_) to (y3_, y3_). More... | |
| double | x3_ |
| Quadratic curved line from (x1_, y1_) control point (x2_, y2_) to (y3_, y3_). More... | |
| double | y1_ |
| Quadratic curved line from (x1_, y1_) control point (x2_, y2_) to (y3_, y3_). More... | |
| double | y2_ |
| Quadratic curved line from (x1_, y1_) control point (x2_, y2_) to (y3_, y3_). More... | |
| double | y3_ |
| Quadratic curved line from (x1_, y1_) control point (x2_, y2_) to (y3_, y3_). More... | |
| Public Attributes inherited from boost::svg::svg_element | |
| const svg_style | a_svg_style = svg_style(red, blue, 1) |
| svg style that uses black and stroke and fill off. More... | |
| std::string | class_name_ |
| SVG class name, set & get by function class id. More... | |
| std::string | clip_name_ |
| SVG clip path name, set & get by function clip_id. More... | |
| std::string | id_name_ |
| SVG id name, set & get by function id. More... | |
| svg_style | svg_style_ |
Colors fill, stroke, width; set and get by function style() . More... | |
| text_style | text_style_ |
| font family, font-size and font features bold, underline... More... | |
Quadratic Bezier curved line from (x1, y1) control point (x2, y2) to (x3, y3).
Note x2 is the Bezier control point - the curve will not pass thru this point.
|
inline |
< Quadratic curved line constructor (info inherited from parent svg_element class).
|
inline |
< Quadratic curved line constructor, including svg_element info.
|
inlinevirtual |
Write function outputs appropriate SVG commands for a leaf or child element.
output quadratic curved line from (x1_, y1_) control point (x2_, y2_) to (x3_, y3_)
Example:
Implements boost::svg::svg_element.
| double boost::svg::qurve_element::x1_ |
Quadratic curved line from (x1_, y1_) control point (x2_, y2_) to (y3_, y3_).
| double boost::svg::qurve_element::x2_ |
Quadratic curved line from (x1_, y1_) control point (x2_, y2_) to (y3_, y3_).
| double boost::svg::qurve_element::x3_ |
Quadratic curved line from (x1_, y1_) control point (x2_, y2_) to (y3_, y3_).
| double boost::svg::qurve_element::y1_ |
Quadratic curved line from (x1_, y1_) control point (x2_, y2_) to (y3_, y3_).
| double boost::svg::qurve_element::y2_ |
Quadratic curved line from (x1_, y1_) control point (x2_, y2_) to (y3_, y3_).
| double boost::svg::qurve_element::y3_ |
Quadratic curved line from (x1_, y1_) control point (x2_, y2_) to (y3_, y3_).


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Students will learn about the interconnected themes of ecology, sustainability, nature experience, creativity, and personal and academic development. They will contextualize their creative and academic inquiries by way of experiences in nature and will broaden their understanding of the relationship between humanity and the natural world.
Read selected cultural, literary, and historical texts and discuss their origin, development, and contemporary relevance
Interpret interdisciplinary natural, creative, and spiritual traditions within the context of ecology and sustainability
Describe the role of natural experience as both an ancient and a current mode of knowledge inquiry
Evaluate diverse perspectives on the relationship between natural experience and creativity
Create interdisciplinary expressive arts projects using strategies developed through experiences in nature
Nature and creativity
Nature as aesthetic experience
Creative and spiritual inspiration in nature
Nature as mentor
Our relationship and lost connection with nature
Impermanence and cycles (astronomical, biological, climatic, cultural, geological, mythological)
Learning to listen in the forest
Embodiment and spirituality in relationship with nature
Ancestral and modern meditation and mindfulness practices in nature
Deep and social ecology
Community engagement and natural experience
Sustainable food
Facilitating creative inquiry, analysis, and evaluation
Developing problem-solving and synthesis skills in relation to history, culture, and the natural world
Practicing the skills required to integrate diverse natural and cultural traditions and to develop a critically informed world view
Developing interdisciplinary thinking skills
Developing greater flexibility in contextualizing and synthesizing information
Participating in discussions on diverse topics
Asking questions to synthesize and evaluate information
Practicing active listening
Participating in diverse academic and natural environments
Responding with clarity, sensitivity, and cultural awareness
Collaborating with other students in enhancing the collective learning experience
Displaying the ability to separate ideas from persons
Offering and receiving appropriate feedback from other students and the instructor
Leading discussions
Co-facilitating group experiences
Establishing and maintaining cooperative relationships with other students
Managing personal contributions within a collaborative environment
Taking responsibility for actions and decisions
Maintaining attitudes of respect and sensitivity toward others
Taking initiative for project topic selections and completions
Showing proficiency in English composition
Showing effective revision and editing skills
Illustrating the ability to read on a wide range of topics
Searching for, synthesizing, and articulating ideas from readings
Using standard reference materials
Showing sensitivity to the multicultural dimensions of the course materials
Developing a multicultural point of view with regard to the course content and to contemporary issues influenced by the course content
Illustrating the capacity to suspend cultural biases so as to fully understand and be informed by the course content
Using a computer
Using the World Wide Web to search for and locate information
Participating in online discussions when required
Exploring diverse cultural, historical, literary, and religious perspectives
Participating in a learning environment of global diversity
Tracing the origin and development of key cultural and global movements
Investigating the diverse and often divergent ways in which cultures understand themselves and the natural environment
Participating in an integrative learning environment that entails a high level of communication, engagement, motivation, and collaboration
Experiencing nature in multiple locales in the Vancouver area
Reading materials from a variety of genres and historical periods
Researching and developing interdisciplinary expressive arts projects
Collaborating with other students on group projects and presentations
Engagement, collaboration, and student facilitation (25 percent). (Facilitation activities might include bushcraft, storytelling, sit spot, nature’s grocery store, nature’s medicine cabinet, the art of animal tracking, mapping, bird language, five-minute fire, nature photography, nutrient cycles, food webs, etc).
Written reflections (25 percent).
Semester-long creative project inspired by nature, ecology, or personal journey (two parts, 25 each).
Ecology Around the Campus
Explore the webs of connection and consider human impacts (positive and negative).
Sciences angle: food webs, invasive species, nutrient cycling, plant ID.
Arts angle: patterns and symmetry, mindfulness.
Boundary Bay (Tides and Transitions)
Explore the in-between places, the estuary and intertidal zones. How do organisms such as the screw snail, lugworm and ghost shrimp survive in this chaotic environment? How do we cope during times of change? Consider the influence of the moon.
Sciences angle: intertidal zone, biodiversity, tides and lunar cycles.
Arts angle: process and product, transitions.
Watershed Park (A Walk/Run in the Woods)
Explore the rich tapestry of the forest. Listen for birdsong. Every tree has a story to tell in its rings, leaves and symbolism. What do they tell us? Stand still, meditate, walk slowly, go for a run. Experience yourself in ecological immersion.
Sciences angle: dendrochronology, bird language, forest ecology (abiotic and biotic factors, indicator species, nurse logs, adaptations, disturbances, etc).
Arts angle: folklore, mythology, aesthetic experience, creativity.
Cougar Creek (The River of Time)
Follow the river and be mindful the the journey. Water is central to life, a simple compound of hydrogen and oxygen and yet amazingly unique in its properties to sustain life.
Sciences angle: limnology (biological, geological, chemical, and physical characteristics of the river), water cycle, water quality (EPT) index.
Arts angle: creative inspiration, reflection, finding purpose.
Delta Nature Reserve (Bogged Down)
Burns Bog is a globally unique ecosystem, and one of the largest undeveloped urban wilderness areas in North America. An immense amount of carbon dioxide is trapped within this raised peat bog. What happens when we get stuck? How can we shift things?
Sciences angle: unique flora and fauna, carbon cycle, climate change, sustainability.
Arts angle: creativity, inspiration, personal growth, myth and culture.
Tynehead Fish Hatchery (Life and Death)
Understand how a hatchery works. Tynehead is run entirely by volunteers. Perhaps have the opportunity to participate in an egg take.
Sciences angle: life cycle (fish), fish biology, sustainability.
Arts angle: life cycle (human), death and birth in creativity and art, connection to food.
Vancouver Aquarium
Explore the fantastic marine environments at the aquarium.
Sciences angle: marine biology, oceanography, evolution, sustainability.
Arts angle: creative inspiration, colour and texture, movement.
Other possible sites
Reifel Bird Sanctuary, Serpentine Fen, bird banding at Colony Farm (Saturdays only), Mountain View Conservation Centre (tours only; unique animals both native and exotic), Campbell Valley Park, Derby Reach Park, Tynehead Park, farmer’s market, walk along power line trail near Kwantlen.
Backup activities (in case of extreme weather)
Visit the biology lab.
In class activities (dialogues, reflections, preparing for group presentations, ecology games, meditation, embodiment).
Beavington, Lee. Common Plants of Greater Vancouver.
Butala, Sharon. The Perfection of the Morning: an Apprenticesehip in Nature.
Emerson, Ralph Waldo. Nature.
Krakauer, Jon. Into the Wild.
Kroodsma, Donald. The Singing Life of Birds: The Art and Science of Listening to Bird Song.
Laird, Ross. A Stone’s Throw: The Enduring Nature of Myth.
Louv, Richard. Last Child in the Woods: Saving Our Children from Nature-Deficit Disorder.
Pojar, Jim & Mackinnon, Andy. Plants of Coastal British Columbia.
Saint-Exupéry, A. Wind, Sand, and Stars.
Thoreau, Henry David. Walden.
Young, Jon, Ellen Haas, & Evan McGown. Coyote’s Guide to Connecting with Nature.


UK PET
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@import data._ @import helper._ @import play.Environment @import com.typesafe.config.Config @import data.viewModel.PageStatus @import helpers.CallHelper.relative @import org.webjars.play.WebJarsUtil @import fragment._ @(reportForm: Form[ShortFormatPreSentenceReportData], encrypter: String => String)(implicit pageStatuses: Map[Int, PageStatus], webJarsUtil: WebJarsUtil, environment: Environment, configuration: Config) @implicitField = @{ FieldConstructor(govukElements.f) } @proposalHint = {
Have you used the Effective Proposal Framework?
Be aware of the sentencing guidelines and relevant legislation. Remember to refer to the sentencing intentions of the court, if they were made clear.
Be clear how your proposal will manage risk.
Consider the impact of the sentence on the offender.
Consider how the proposed sentence will affect the offender’s family and anyone for whom they have caring responsibilities. Remember, evidence shows that imprisoning mothers significantly impacts on children in their care.
A persuasive proposal for sentence considers the relevance of other options. For example, when deciding between proposals for custody or a high end Community Order, explaining the reasons for the proposal adds to the confidence of sentencers.
When proposing a sentence for a high end Community Order, outlining why the proposal is being made - and explaining why a proposal for custody is not being made - makes the report more persuasive.
Likewise, when custody is not inevitable, being clear why custody is being proposed, and explaining why a Community Order is not manageable, assures the sentencer that options have been considered.
Consider what equality and diversity issues are present and how they can help inform your proposal. Do specific needs such as gender, diversity, maturity make particular sentences more appropriate? For women offenders, ensure that you consider women-specific disposals.
Are there any relevant alternative requirements that the offender is eligible for, but circumstances make them unsuitable?
Remember, your proposal should be commensurate with risk and need. Proposals should not be made for Suspended Sentence Orders, if an offender is manageable in the community, a Community Order should be proposed.
} @popup(reportForm, encrypter, "Proposal", 8) {


{% extends "molly_default/base.html" %}
{% comment %}
This is your base.html. For more information about this file, and changing
it to update the basic template of your site, please read
http://docs.mollyproject.org/dev/getting-started/customising.html#customising-templates
{% endcomment %}


It is critical for traditional surgeons to register with the Eastern Cape department of health to ensure that they have the skills to perform ritual circumcisions.


Class KnownAssemblyAttribute
The attribute which informs the code generator that code should be generated an assembly.
Inheritance
System.Object
KnownAssemblyAttribute
Namespace: Orleans.CodeGeneration
Assembly: Orleans.Core.Abstractions.dll
Syntax
public class KnownAssemblyAttribute : Attribute
Constructors
| Improve this Doc View SourceKnownAssemblyAttribute(String)
Initializes a new instance of KnownAssemblyAttribute.
Declaration
public KnownAssemblyAttribute(string assemblyName)
Parameters
| Type | Name | Description |
|---|---|---|
| System.String | assemblyName | The target assembly name. |
KnownAssemblyAttribute(Type)
Initializes a new instance of KnownAssemblyAttribute.
Declaration
public KnownAssemblyAttribute(Type type)
Parameters
| Type | Name | Description |
|---|---|---|
| Type | type | A type contained by the target assembly. The type itself is not relevant, and it's just a way to inrectly identify the assembly. |
Properties
| Improve this Doc View SourceAssembly
Gets or sets the assembly to include in code generation.
Declaration
public Assembly Assembly { get; set; }
Property Value
| Type | Description |
|---|---|
| Assembly |
TreatTypesAsSerializable
Gets or sets a value indicating whether or not to assume that all types in the specified assembly are serializable.
Declaration
public bool TreatTypesAsSerializable { get; set; }
Property Value
| Type | Description |
|---|---|
| System.Boolean |
Remarks
This is equivalent to specifying KnownTypeAttribute for all types.


HTML CSS JSResult EDIT ON
JavaScript can change table content on the fly
Contact list
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Given name
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DSLocation
public class DSLocation : NSObject
extension DSLocation: DSCompatible
extension DSLocation: CLLocationManagerDelegate
- DSLocation
-
Init DSLocation
Declaration
Swift
override public init()
-
Init DSLocation
Declaration
Swift
public init(_ locationAuthorization: LocationAuthorization)
Parameters
locationMode
LocationMode
-
Location Authorization, 定位 Mode
See moreDeclaration
Swift
enum LocationAuthorization
-
Location Model
See moreDeclaration
Swift
class LocationModel : NSObject
-
Location Change Authorization Callback, 定位授权改变回调
Declaration
Swift
typealias LocationChangeAuthorizationHandler = (_ manager: CLLocationManager, _ status: CLAuthorizationStatus) -> Void
-
Location, Success Callback, 定位成功回调
Declaration
Swift
typealias LocationSuccessHandler = (_ model: LocationModel, _ error: Error?) -> Void
-
Location, Error Callback, 定位失败回调
Declaration
Swift
typealias LocationErrorHandler = (_ manager: CLLocationManager, _ error: Error) -> Void
-
Location, Geocode Error Callback, 获取定位信息失败回调
Declaration
Swift
typealias LocationReverseGeocodeErrorHandler = (_ errorMessage: String?) -> Void
-
CLLocation Delegate 定位授权改变, 调用
Declaration
Swift
public func locationManager(_ manager: CLLocationManager, didChangeAuthorization status: CLAuthorizationStatus)
Parameters
manager
CLLocationManager
status
CLAuthorizationStatus
-
CLLocation Delegate 定位更新，调用
Declaration
Swift
public func locationManager(_ manager: CLLocationManager, didUpdateLocations locations: [CLLocation])
Parameters
manager
CLLocationManager
locations
[CLLocation]
-
CLLocation Delegate, 定位失败，调用
Declaration
Swift
public func locationManager(_ manager: CLLocationManager, didFailWithError error: Error)
Parameters
manager
CLLocationManager
error
Error


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|
Drake
|
Much of the problem data necessary to account for constraints in dynamical systems refers to particular Jacobian matrices.
These Jacobian matrices arise through the time derivatives of the constraint equations, e.g.:
ġₚ = ∂gₚ/∂q⋅q̇
where we assume that gₚ above is a function only of position (not time) for simplicity. The constraint solver currently operates on generalized velocities, requiring us to leverage the relationship:
q̇ = N(q)⋅v
using the left-invertible matrix N(q) between the time derivative of generalized coordinates and generalized velocities (see quasi_coordinates). This yields the requisite form:
ġₚ = ∂gₚ/∂q⋅N(q)⋅v
Fortunately, adding new constraints defined in the form gₚ(t,q)
does not require considering this distinction using the operator paradigm (see, e.g., N_mult
in ConstraintAccelProblemData and ConstraintVelProblemData). Since the Jacobians are described completely by the equation ġₚ = ∂gₚ/∂q⋅N(q)⋅v + ∂c/∂t
, one can simply evaluate ġₚ - ∂g/∂t
for a given v
; no Jacobian matrix need be formed explicitly.


--- layout: post title: For community free of Trolls categories: - Software Libre - KDE tags: [] status: publish type: post published: true meta: dsq_thread_id: '2663424900' _edit_last: '2' author: login: afiestas email<EMAIL_ADDRESS>display_name: afiestas first_name: Àlex last_name: Fiestas ---
In light of the last comments containing insults and other attacks to members of our community I have decided to make a video blog explaining my thoughts on the issue.
The video contains two separate topics:
Please, watch the whole thing before commenting and I hope we all work together to push away the trolls in our community.
Cheers !


Pinyin keyboard:
- b p m f d t n l z c s zh ch sh r j q x g k h 22
a o e i u ü 6
- a ai an ang ao e en eng i n ng o ong u r 16 (either redundant list of finals)
n ng r 3 (or just finals that aren’t also middle)
1 2 3 4 5 - (- would mean don’t know, don’t care about tone)
note “i” column in table below should perhaps be split to account for the two sounds: bi vs. zhi
or just omit 2nd sound, as it’s redundant: z, c, s, zh, ch, sh, r don’t need the final i
all pinyin syllables are terminated with a tone, which removes ambiguities like xian, zhan, liao
The purpose of this keyboard would be to write pinyin in the minimum amount of taps
Would be interesting to do same / matching with a zhuyin keyboard:
zhuyin order:
bpmf dtnl gkh jqx zh ch sh r zcs
ㄅㄆㄇㄈ ㄉㄊㄋㄌ ㄍㄎㄏ ㄐㄑㄒ ㄓ ㄔ ㄕ ㄖ ㄗㄘㄙ
ㄚㄛㄜㄝ ㄞ ㄟ ㄠ ㄡ ㄢ ㄣ ㄤ ㄥ ㄦ ㄧ ㄨ ㄩ
a o e ê ai ei ao ou an en ang eng er yi,-i wu,-u yu,-ü
pinyin order:
bpmf dtnl zcs zh ch sh r jqx gkh
ㄅㄆㄇㄈ ㄉㄊㄋㄌ ㄗㄘㄙ ㄓ ㄔ ㄕ ㄖ ㄐㄑㄒ ㄍㄎㄏ
ㄚㄛㄜㄝ ㄞ ㄟ ㄠ ㄡ ㄢ ㄣ ㄤ ㄥ ㄦ ㄧ ㄨ ㄩ
a o e ê ai ei ao ou an en ang eng er yi,-i wu,-u yu,-ü
based on a breakdown of these pinyin tables:
east asia student pinyin chart
https://eastasiastudent.net/china/mandarin/pinyin-chart/
which is about the same as Wikipedia's, with initials on top, finals on the side, instead of the reverse:
https://en.wikipedia.org/wiki/Pinyin_table#Overall_table
compare Zhuyin:
https://en.wikipedia.org/wiki/Zhuyin_table


Type Definitions Cycle Type: object Properties: Name Type Description firstIndex number stepsFromStart number length number Source: floyd.js, line 204 Node Type: object Properties: Name Type Description out array Defines out-edges to these path indices. in array Defines in-edges from these path indices. Requires normalization. Source: floyd.js, line 192 Path Type: Array.<Node> Source: floyd.js, line 199


The transfer of packets from a routers incoming links to the appropriate
outbound links at the router. The terms forwarding and switching are
often used interchangably.
Performs the termination of a physical link at a router.
Performs link layer functions needed to interopolate with the link layer at the otherside of the incoming link
Lookup function performed at the input port: forwarding table consulted, determines output port for packet to be forwarded to
Connects routers input ports to output ports.
Completely contained inside router.
stores packets recieved from switching fabric
transmits packets on outgoing link
Executes routing protocols
maintains routing tables and link state information


In order to connect a graph database to Blueprints, the Blueprints property graph interfaces must be implemented. As such, the graph database API and the Blueprints API need to be coupled. Each subsection discusses the various implementations of the Blueprints interfaces maintained by the main Blueprints distribution.
DEPENDENCY NOTE: It is important to note that including a <dependency/>
to Blueprints does not entail all the respective graph database dependencies. The reason for this is that it allows users to include only those graph database implementations they wish for their particular projects (e.g. based on licensing, size, performance, etc.). However, if all dependencies are desired, then the following <dependency/>
can be added to your project’s pom.xml
.
<dependency>
<groupId>com.tinkerpop</groupId>
<artifactId>graphdb-deps-all</artifactId>
<version>0.3</version>
<packaging>pom</packaging>
</dependency>
To tailor to particular implementations, please see the <dependency/>
snippets in the subsections that follow in this documentation.
<repository>
<id>tinkerpop-repository</id>
<name>TinkerPop Maven2 Repository</name>
<url>http://tinkerpop.com/maven2</url>
</repository>


And so - and I can speak from personal experience on this one, having been the guy largely responsible for “Machinima” as a term - one of the most useful things some of the really cool thinkers on the Internet are doing is giving words to concepts that make us money. Because until you’ve got words, it’s very hard to talk about making that thingy, you know, the thing, better.
Hence, funnel.
Funnels are all about how you get other people from where they start out to where they’ve given you the thing you want - in geeky, tiny detail.
Making The Funnel Of Your Show
Let’s look at your web series. What’s the thing you want?
You want fans.
(How many fans is a different question, of course. That goals post really is coming soon).
Now, how do you get them?
Well, if you’re doing at all well, most people start out having never heard of your show. Then, they hear about it somewhere, click through, probably to YouTube. They like what they see. They click to somewhere where they can sign up to get regular updates, and - bingo, fan.

Look, look, an infographic!
Those are all your steps. Someone who’s a fan has come in at the top, and has gone through each of them in turn, and hasn’t been put off. And that’s the difference between the 200,000 people who theoretically saw your mention on Reddit, and the 150 people who are still regularly watching on Episode 15: the other 199,850 dropped out at some point during your funnel.
Maybe 5% of the people who saw the Reddit headline clicked. Maybe 3% of those people subscribed to your YouTube channel. Maybe 20% of those checked out the next episode. And so on. And that’s how you got 150 fans.
And here’s the magic bit.
The Magic Bit
If you can improve one of those funnel stages - any one - you’re going to get more fans at the end.
Rather than looking at “How do we get more fans?” or “If we’re funnier we will get more fans”, you can take a real hard look at how your fans go from “watching on YouTube” to “watching the next episode”, for example. And you can craft a little mini-funnel for that:
Arrive on YouTube
v
Don’t click away in first 30 seconds.
v
Get to the end of the episode
v
click through to your channel page
v
click the subscribe button
v
Notice and care about the “next episode” mail YouTube sends out
v
click through on that link
Now, you look at each sub-element on the list.
How long does it take the episode to start? Maybe you could cut your credits at the front by 15 seconds?
Have a “highlights” reel at the front?
Maybe they’re getting through the first 30 seconds, but dropping out after that? (YouTube Insights can tell you that.) Try a tighter-edited version and see how that works out.
Maybe they’re getting through to the end of the episode, but then they can’t easily figure out how to subscribe? Add a big-ass annotation.
And here’s the beauty of the entire process: if all you do is add an annotation to the end of the video, and that makes people who get to the end 50% more likely to subscribe to your YT channel, and everything else stays the same…
You’ve just gone from 150 fans to 225 fans in 5 minutes.
All by sitting there and looking very, very carefully at your funnel. Now, if you can find another three things that you can easily increase by 50%…

That’s not a euphemism.
_Are you all excited about your funnel now? Fnar. For more posts that combine guerilla showrunning tips with things that sound kinda dirty (and that super-helpful “goals for your show” post), add our RSS feed to your feed reader to get ‘em fired straight at you. _
Read more →
Gantt charts.
You’ve heard of them, right?
Enormous great wall-planner things, listing every single thing that you’ve got to do on your Masterwork Project, all with neat time schedules, and lists of what depends on what, and colour coding that Means Important Stuff, and…
Aii. My head hurts just thinking about it.
Do you spend a lot of time feeling guilty about not having a Big Master Plan for your series?
Not having Everything You Need To Do carefully mapped out and controlled? Did you try having one, but felt like you spent all your time updating it?
I’ve spent a lot of time fiddling around with everything from Agile Development to Big-Ass Gantt Charts for planning and managing my guerilla shows.
The conclusion I came to at the end of the day?
You just don’t need to know everything you think you need to know.
(But you do need to know some other things.)
How to project plan in 10 minutes with time for coffee
When I’m planning, I’ve generally got about 3 things on my to-do list. Not 65, not 247, not 6 on my @RightTheFuckNow list, with another 25 on my @ComputerIfI’mNotSurfingPorn list and 435 on my @TheWholeRestOfTheWorldAarghDaylight list.
(Yeah, I tried Getting Things Done. It works, but man, you spend a lot of time on the Getting and not so much on the Doing).
So how does that work? Well, I look at the current series project, and figure out the thing that I need to do next that will most help the project and will take about 2-3 hours. If I’m planning tasks larger than that, I’m thinking too large.
Don’t write “Edit entire episode”, unless your episode’s 2 minutes long. If it’s 15 minutes, write “Edit Scene 1” instead.
Then I figure out the thing after that. Stick them both on your to-do list.
The trick here, of course, is to figure out what the thing that will most help your project is. Normally I’ll think about 5 or 10 potential things I could do next (Choose music? Re-edit? Colour grade? Call musicians? Take some lightbox shots?), then stop for a sec.
I have a drink of coffee, and ask if there’s any way I can avoid doing each of them, and what will happen if I do.
Choose music? Any way I can get someone else to do that? Or just get a musician in? Colour grade? What’ll the episode look like if I don’t?
Once I’ve done that, I just pick the thing that I need to do that will, in my opinion, advance the project the most. Don’t sweat this too much - you either know or you don’t. If you don’t, choose, get it wrong, learn.
Stick it on the to-do list.
Now do the same with the thing after that.
OK, you’re done. That’s your to-do list. Go do it. When you’ve done it, make another one.
(You might notice there’s only two items on that list, wheras I said I’d generally have 3. That’s because I tend to split series up into two sides - marketing and production - and have a to-do list running for both, with one or two items on each.)
The Psychology Of The Whole Thing
If your to-do list’s longer than you can expect to get done today, from my experience, you’re doing it wrong.
The longer your list, the more disheartening it is to see an endless pile of uncompleted tasks. The more time you’ll spend sitting there choosing what to work on. The more time you’ll spend working on stuff that’s easy rather than stuff that’s important.
If “Call famous actor” is item #15 of 47, well, let’s be honest. You’ll avoid doing that scary task for months.
If it’s Item #2 and you’ve already done #1 - you’ve got no other choices. You’re doing it. And then you’ll feel great afterward.
In addition, humans tend to think we’re much better at predicting outcomes than we actually are. Looooooong to-do lists are predicated on the belief that we can predict what our series is going to need two, three, four, twelve weeks in advance. But the fact is that the situation’s constantly changing.
What you’re going to need for your next episode might totally change next week when you realise that’s the episode that’s going to get a front-of-YouTube feature if you can get it to them a week earlier than you’d planned.
That’s how the psychology works. Great, innit?
But How Don’t You Drop Stuff?
But surely you’ll end up skipping vital things, forgetting to call people back, missing key tasks?
Not really. For starters, unlike something like computer programming, making an audio-visual program’s a pretty linear task.
But of course there are a few.
So, for starters, I keep a second list alongside my main one, which is a complete list of everything that I’m expecting from other people, or they’re expecting from me. Direction for my animator, a review for the guy doing a re-edit for me, a reply from the big blogger I’m pestering for a feature.
Keep that updated every time anything changes - every time you promise someone something or they promise you something - and refer to it when you’re putting your to-do list together.
Second, every month or so it’s worth doing a slightly more complete look at your project. Start from your end goal (which I’ll talk about in another post - suffice it to say that your end goal is almost never “Finish the episode”, but is more like “Get 150 positive comments on the episode”).
Now, work backward and think about the major blocks of work you’ll have to do - promotion, uploading, editing, grading, shooting, and so on. For each of them, think about what elements you’ll need to have in place in advance, and what delays you could hit. Don’t worry about the fine detail, though - just visualise doing it, and then think about stuff that will take time.
For example, when you’re promoting you need to think about lead times for magazines and TV programs (months, often), which means you’ll need to be contacting them well in advance (and will also need your film finished way before you release it, but that’s also a topic for another time).
Go through the lot, and make a list of stuff that needs to get done well in advance for each segment, and roughly how much in advance it’ll need to get done.
Keep that with your “people who owe me stuff” list and, again, refer to it when you put your to-do list together.
But it’s not very precise, and you’ll drop stuff!
True.
You’ll do that if you have a Master To-Do List too.
It’s very easy to forget something important in a 100-item list.
And you’ll also over-plan - you’ll do what I did only last year, for example, and attempt to organise recruitment for actors when, as it turns out, you won’t need them for another year because you need to go through another two animatic drafts.
You’re going to drop stuff and screw up either way. You’re going to end up with delays, confusion, missed stuff - that’s the joy of being a producer.
But if you keep everything simple, at least you won’t have to update all 1,527 items on your To-Do List every time it happens.
_Did you find this post useful? I’ve got more articles on actually Getting The Darn Show Made coming soon - seriously, they’re on my To-Do list and everything. Add our RSS feed to your feed reader to get ‘em fired straight at you.
To-Do picture by [email protected]
Read more →
I have a secret fear about you, dear reader, and this site. I’m worried that you clicked over here because you thought it was a blog written by an actual gorilla, who also makes shows.
So, yeah, not so much with the silverback here. All I can offer you is some great tips for grabbing new readers for your Internet TV show.
Luckily, I have a few right here.
Do one of these right now - I mean “before coffee” type of right now - and you’ll have seriously buffed your show.
1. Buff up your images.
Do your standard show images kick serious arse? Still images are probably your best bet, particularly in the Social Media Age, for attracting new readers - but they need to absolutely kick butt to do so. You could stress over your images for ages, choose what you think is the perfect shot - but playing a numbers game, both on the shots and the opinions, will win every time. And it’s easier.
Grab the video editor of your choice and flick through your most visually impressive episode, and take shots of anything that could potentially look good as a still image. Don’t be too picky, and don’t dither - if you think “hmm”, then snap it now and chuck it later.
Then rake through those images - you should have a whole bunch of them - at a large thumbnail size. You’re looking for images that make you go “ooh!”. Don’t overthink it, again - just stick anything that jumps out at you into a new folder.Keep going until you’ve chosen 8 or so.
Now, grab those, level and colour-correct them in your photo editing package of choice, and stick all of them online somewhere, then ask your friends - on Facebook, Twitter, Livejournal, whatever - to give you opinions on which are the best ones. Add your existing stills in there for good measure.
And wait. You can have that coffee now.
Chances are, you’ll end up with one or two shots - often totally unexpected ones - that people rate at least as highly as your current publicity images, if not much higher. Add ‘em to your current publicity rota, or replace it with the new ones if they’re testing much better. As the show creator, my experience is that it’s impossible to tell what shots people will go mad over - on BloodSpell, our most-used shot was from such an early episode that I wouldn’t have mentioned it by choice if it hadn’t kept getting picked up by the press.
2. Make Sure Your Next Script Hits The Ground Running
I just wandered in off the Internet equivalent of the street. I’m bored. I’m killing time. I’m going to watch maybe 30 seconds of your show.
In that time, have you delivered something so awesome that it grabs my nuts in a vice and physically prevents me from leaving my computer until I have watched everything you’ve ever made?
If not, you’re losing out on viewers. A lot of viewers. It’s very easy to get into the cycle of only catering for our existing viewers, or at least expecting people to wait a few minutes for the show’s Cool Stuff, but if you can put in the extra effort to move at least a bit of the Cool up front - even if it’s in the form of a Top Gear-style “In this show…” intro - you’ll harvest all the casual viewers whose Internet-addled attention spans would otherwise Never Be Yours.
So go do that now. Tweak your next script, or fiddle with your edit, and you can easily increase your stickiness, just by playing with the order in which you deliver the Cool.
3. Query up a Better Elevator Pitch
Ok, you know that you need to be able to describe your show to potential new viewers, right? And you’ve probably even got one that you use.
Quick test: When you use that tagline on Facebook, do you get a lot of click-throughs? Comments saying “awesome!”? Likes?
 Mostly. So you need a better way to describe your show.
 Now, you’re excited enough about the damn show that you’re willing to put the effort in to making it, so the stuff you think is cool about it is likely to be … extensive.
 What you need to know is simple: what’s sufficiently cool about your show that people would want to watch it?
Grab some friends who watch your show, or grab them and make them watch the show. Then ask them how they’d recommend the show to a friend.  It’ll miss half the key points of the show. You’ll hate it.
And that’s a pretty good sign that’s the pitch you want to use. Potential viewers don’t want to know about all the in-jokes about the Stig in Top Gear. They don’t want to know about the personalities of the presenters. They just want to know that it’s a car show where they got a nun to drive a monster truck.
_Liked this stuff? Not too scared by the extended gorilla joke? I’ve got more articles on how to grab and keep new viewers coming soon - add our RSS feed to your feed reader to get ‘em fired straight at you.
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Hello, and thanks for stopping by to check out Guerilla Showrunner. Over the next year I hope to be blogging about just about anything related to running a TV-style show, whether that be factual, comedy, drama or whatever, on a guerilla budget.
I’m not talking about vidcasting here - you folks have your own blogs, and they’re very cool. I’m talking something bigger. Whether you’re aiming to compete with Joss Whedon (with something like my own BloodSpell) or Top Gear (with, say, Kamikaze Cookery) - computers and the Internet have enabled us to compete with pop stars, with newspapers, with filmmakers, and now, finally, with TV showrunners.
As it says above, I’m not really up and running yet. So thanks for stopping by, and feel free to note the RSS feed or whatever, but it’ll probably be a month or so before this thing really kicks off.
To quote someone who’s a huge inspiration to me and this blog, “Onward and upward!“
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