text:
The Review and Herald
Our Example
Christ's life on earth was meek and lowly. He did not take his place upon a throne as commander of the earth. He attached to his name no high titles, to make his position understood. He took not on him the nature of angels. For our sake he stepped down from his royal throne, and clothed his divinity with humanity. He laid aside his royal robe, his kingly crown, that he might be one with us. He resigned his position as commander in the heavenly courts, and for our sakes became poor, that we through his poverty might be made rich. He hid his glory under the guise of humanity, that his divine, transforming power might touch humanity. RH October 24, 1899, par. 1
While on earth, Christ lived in the home of a peasant. He wore the best garments his parents could provide, but they were the humble garments of the peasants. He walked the rough paths of Nazareth, and climbed the steeps of its hillsides and mountains. In his home he was a constant worker, and left on record a life filled with useful deeds. Had Christ passed his life among the grand and the rich, the world of toilers would have been deprived of the inspiration that the Lord intended they should have. But Christ knew that his work must begin in consecrating the humble trade of the craftsmen who toil for their daily bread. He learned the trade of a carpenter, that he might stamp honest labor as honorable and ennobling to all who work with an eye single to the glory of God. And angels were his attendants; for Christ was just as truly doing his Father's business when toiling at the carpenter's bench, as when working miracles for the multitude. He held his commission and authority from the highest power, the Sovereign of heaven. RH October 24, 1899, par. 2
Christ descended to poverty that he might teach how closely in our daily life we may walk with God. He took human nature that he might be able to sympathize with all hearts. He was capable of sympathizing with all. He could engage in toil, bear his part in sustaining the family in their necessity, become accustomed to weariness, and yet show no impatience. His spirit was never so full of worldly cares as to leave no time nor thought for heavenly things. He often held communion with heaven in song. The men of Nazareth often heard his voice raised in prayer and thanksgiving to God; and those who associated with him, who often complained of their weariness, were cheered by the sweet melody that fell from his lips. RH October 24, 1899, par. 3
Christ knew that it required much patience and spirituality to bring Bible religion into the home life, into the workshop, to bear all the strain of practical life, and yet keep the eye single to the glory of God; and this is where he was a helper. In elevated song he would speak his parables, and carry the minds of his hearers with him. A fragrant influence was diffused to those around him, and they were blessed. His praises seemed to drive away the evil angels, and fill the place with sweet fragrance. He carried the minds of his hearers away from their earthly exile to their future, eternal home. RH October 24, 1899, par. 4
All this has its lesson for us. We also may commune with God in words of holy song. Our house of worship may be very humble, but it is none the less acknowledged by God. If we worship in spirit, and in truth, and in the beauty of holiness, it will be to us the very gate of heaven. As lessons of the wondrous works of God are repeated, and as the heart's gratitude is expressed in prayer and song, angels from heaven take up the strain, and unite in praise and thanksgiving to God. These exercises drive back the power of Satan. They expel murmurings and complainings, and Satan loses ground. RH October 24, 1899, par. 5
God teaches us that we should assemble in his house to cultivate the attributes of perfect love. This will fit the dwellers of earth for the mansions Christ has gone to prepare for those who love him, where, from Sabbath to Sabbath, from one new moon to another, they will assemble in the sanctuary to unite in loftier strains of song, in thanksgiving and praise to him that sitteth upon the throne and to the Lamb forever and ever. RH October 24, 1899, par. 6
Christ would have us realize that our interests are one. A divine Saviour died for all, that all might find in him their divine source. In Christ Jesus we are one. By the utterance of one name, "Our Father," we are lifted to the same rank. We become members of the royal family, children of the heavenly King. His principles of truth bind heart to heart, be they rich or poor, high or low. RH October 24, 1899, par. 7
When the Holy Spirit moves upon human minds, all petty complaints and accusations between man and his fellow man will be put away. The bright beams of the Sun of Righteousness will shine into the chambers of the mind and heart. In our worship of God there will be no distinction between rich and poor, white and black. All prejudice will be melted away. When we approach God, it will be as one brotherhood. We are pilgrims and strangers, bound for a better country, even a heavenly. There all pride, all accusation, all self-deception, will forever have an end. Every mask will be laid aside, and we shall "see him as he is." There our songs will catch the inspiring theme, and praise and thanksgiving will go up to God. RH October 24, 1899, par. 8
The Gospels give us little information in regard to the youth and early manhood of Christ, and because of this it is claimed by some that there is nothing to relate. True, Christ lived the life of a common laborer, but there is much that could be said of that pure, undefiled life. His was a character among characters, which placed in strong contrast holiness and obedience, and unholiness and disobedience. Although he did not enter upon his public ministry until he was nearly thirty years old, he was always doing good. His life was in conformity to the life and character of God. His childhood and manhood ennobled and sanctified every phase of practical life. RH October 24, 1899, par. 9
Christ and the heavenly universe saw that the power of Satan was taking the world captive, that nearly all mankind was under his deceiving power. The gold and silver and precious things of earth possessed a charm for men. To them riches meant power and honor, and they would do any injustice or violence in order to obtain that which they coveted. The fear of the Lord was fast departing from the earth. And the Son of the Highest came to the earth. "Lo, I come," he said, "to do thy will, O God." His arm brought salvation. He began his mission in the lowly walks of life, placing himself where the family of which he was a member required his service. He did not shirk responsibilities, but carried into his labor cheerfulness and tact. He restored every department of human industry as if it were a part of his commission from God. The Commander of heaven became subject to command, but in it all he manifested heartiness and devotion. He was a perfect pattern in every place. RH October 24, 1899, par. 10
Christ passed through all the experiences of his childhood, youth, and manhood without the observance of ceremonial temple worship. He held no office, he assumed no rank. He passed through the experience of infancy, childhood, and manhood without a stain upon his character. He consecrated himself to God that he might benefit and bless others, to show that in every period of life the human agent can do the Master's will. RH October 24, 1899, par. 11
Christ was a physician of the body as well as of the soul. He was minister and missionary and physician. From his childhood he was interested in every phase of human suffering that came under his notice. He could truly say, I came not to be ministered unto, but to minister. In every case of woe he brought relief, his kind words having a healing balm. None could say he had worked a miracle, yet he imparted his virtue to those he saw in suffering and in need. Through the whole thirty years of his private life he was humble, meek, and lowly. He had a living connection with God; for the Spirit of God was upon him, and he gave evidence to all who were acquainted with him that he lived to please, honor, and glorify his Father in the common things of life. RH October 24, 1899, par. 12
Jesus came to the world to live the life which it is for the interest of every being on earth to live,—that of humble obedience. To all, Christ has given a probation, in which to form characters for the mansions he has gone to prepare, and he calls upon all to follow his example. Those who are indeed learners in the school of Christ will not exalt themselves because they are possessors of houses and lands, because the Lord has in his providence lent them his goods to trade upon. There are many who are called prosperous and happy; but let calamity come to them, let them become bankrupt, and what do they do?—They are driven to desperation. They become wild because they have lost their idol, their object of worship; and instead of turning to the true God, they take their own lives. RH October 24, 1899, par. 13
If men are in connection with Christ, they will feel it a very serious responsibility to be in possession of a large revenue. If they have the converting power of God upon their hearts, their earnest inquiry will be, How can I wisely use my Lord's goods? RH October 24, 1899, par. 14
If all would follow Christ in connection with humanity, if they would be faithful in good works, in noble, elevating deeds of kindness and thoughtfulness; if all would follow his example in all the walks of life, binding their life up with the life of Christ, there would be no neglected duties. All men would be clothed with the same importance with which Christ regarded them, and would receive the same attention. Loyalty to an earthly sovereign may leave men poor and debased; but allegiance to the King of heaven will enable them to form characters after the divine similitude. When kingly crowns and honors shall crumble in the dust, to the loyal will be given the crown of life that will never fade away. RH October 24, 1899, par. 15


text:
Arnaldo Villalba Caceres (Ciudad del Este, Paraguay, 10 de mayo de 1980) es un exfutbolista paraguayo que jugaba como centro delantero goleador buen juego aéreo. Ha jugado en países de Perú, Brasil, Indonesia, Colombia, Panamá. Actualmente tiene 36 años

Clubes

Enlaces externos
Ficha en BDFA
Arnaldo Villalba: Un paragua conocido

Personas de Ciudad del Este
Futbolistas de Paraguay
Futbolistas del Sport Boys Association
Futbolistas del Club Alianza Atlético Sullana
Futbolistas del Deportivo Pasto
Futbolistas del Club Deportivo Cobresol FBC

redpajama_set_name: RedPajamaWikipedia


eschulma Wrote: I submitted a premium support ticket, and the response indicated I could check my email. Not the passwords.
Password Ping does not use K-anonymity. This it would be somewhat irresponsible of LP to use them without explicit permission.
The link I shared (which was kind of hard to see thanks to the forum theme) does exactly that - it looks passwords up anonymously on PasswordPing, the service LastPass uses for its security check. This service has K-anonymity, in that it only tells you whether a password has been compromised or not (and whether or not it qualifies as a strong password). It would be trivial for LastPass to use this in the same manner that 1Password uses HIBP's equivalent service. Feed in all of the passwords for all of your sites, and based on the hits that come back, say "your password on this site is compromised." PasswordPing's API wouldn't know which password is for which site, but LastPass obviously would, since it'd have to decrypt each password (on your local machine) and feed it to the API.
Here's the link without any link text, since the forum makes links so difficult to see: https://www.passwordping.com/password-check/. Type "P@ssw0rd" into there, and it'll tell you that it's been compromised in one or more breaches (it doesn't even bother to tell you that it's also a pretty weak password, since it's compromised).
"You're probably also familiar with the LastPass Security Challenge, which identifies compromised passwords (as well as weak, reused and old ones). We also leverage the PasswordPing database when running the Security Challenge."
kungfujoe Wrote: Are you certain about this?
Yes, absolutely. More on this later.
kungfujoe Wrote: I'm not seeing anything in LastPass' explanation of their partnership that explicitly says whether they do or do not check passwords against PasswordPing's database.
A good indicator that they don't. Notice that they do explicitly say that they check emails.
It's quite likely. LastPass has no lack of its "corporate speak" if you've been paying attention, especially to technical details.
For example, even in their "Technical Whitepaper", they don't explicitly mention that they don't encrypt URLs, custom templates, and lots of metadata.
True, but LastPass doesn't use it.
This is not what K-anonymity means.
If you click on "Learn more about this site" and read the details, it's pretty clear that they don't use K-anonymity.
They simply ask for three(!) full(!) hashes of your password (including MD5!!!).
I monitored network traffic to confirm this. Three kinds of full hashes (of my test "password") were indeed in my outgoing traffic!
This is NOT k-anonymity! This is not secure at all, in the sense that it's not "trustless" by any standard.
It would be irresponsible of LastPass to use this service of PasswordPing.
kungfujoe Wrote: You're probably also familiar with the LastPass Security Challenge, which identifies compromised passwords (as well as weak, reused and old ones).
This is standard "corporate talk" which provides vague info and misleads readers.
I've mentioned how this works in my earlier post - LastPass checks if the site was implicated in a data breach, without checking the actual password. They count this as "checking compromised passwords".
Finally, why am I certain that LastPass does not check the actual passwords in our vaults when doing a Security Challenge?
Notice that, during Security Challenge, before LastPass sends your email info to check against PasswordPing's database, they explicitly ask for your permission! There's one extra button to click! This is good!
But they don't ask you anything about sending your passwords info!
Which possibility do you choose to believe? That LastPass sends your passwords' hashes (full hashes! without K-anonymity!) to a third party service without your explicit consent? Or LastPass doesn't send any info of your actual passwords to a third party service, hence not checking your actual passwords?
I monitored network traffic during a Security Challenge. Sure enough, I can see all email addresses (SHA-256 hashed) in my outgoing traffic. But nothing related to my passwords. Hundreds of passwords (hashes or whatever other forms they're in) are hard to miss.
Exactly, hashing passwords vs K-anonymity is NOT the same at all.
Look, I like PasswordPing; I looked at their service before implementing HIBP on our site. HIBP is better, both for the true K+anonymity and that every security researcher out there contributes to that database.
Again, it's free. No reason not to add it along with PasswordPing!
You can find more about the service that LastPass uses to track breaches here: https://blog.lastpass.com/2018/11/prote ... pass.html/.
FlyingHawk Wrote: Finally, why am I certain that LastPass does not check the actual passwords in our vaults when doing a Security Challenge?
Along with: "No passwords or password hashes are ever sent to PasswordPing"
I don't think my support ticket ever even got a reply.
equinox Wrote: I don't think my support ticket ever even got a reply.
You can easily check your ticket history for any replies. See FAQ below.
I've been a LastPass premium user for more than five years. I'm contemplating a switch to 1Password specifically because that service offers HIBP integration. Convince me why I shouldn't make the switch.
I kept getting BS canned replies and kept explaining that it wasn't sufficient until they (said) they would make a feature request to the dev team. Keep it up, the more requests they get the better.


Under the guidance of the Center Director, Professor Ron Linden, the ESC supports the Graduate European Studies Group (GESG) to provide students advice on effective paths for matriculation through graduate school. GESG sessions provide students additional opportunities to consult with ESC Faculty. Previous session topics have included selecting a dissertation subject that will enhance a student's academic career, strategies for requesting letters of recommendation, and approaches to seeking tenure-track positions. For more information please contact Allyson Delnore.


text:
Childbirth & New Mama Class
Categories: Maternity
Event Type:Maternity
For pregnant women and couples, the Family Birth Center offers Childbirth & New Mama classes throughout the year. Each class meets weekly for five weeks and covers the following topics:
What to expect during labor at Gunnison Valley Hospital
Comfort measures for labor pains
Delivery expectations
Medical interventions
Postpartum care of the mother
In addition, classes feature guest speakers who cover a variety of topics including pelvic floor health and doula care. Partners are encouraged to attend. The cost per couple is $50.
For 2022, the class will be offered during the following dates:
Mar. 3 - Mar. 31
May 5 - June 2
July 7 - Aug. 4
Sep. 1 - Sep. 29
Nov. 3 - Dec. 1
If you have any questions, please feel free to contact Kelsey Weaver at kweaver@gvh-colorado.org.
Kelsey Weaver Lactation Consultant (970) 648-7071 kweaver@gvh-colorado.orgPreferred
Feb 2, 2023 6:00pm - 7:30pm
Apr 6, 2023 6:00pm - 7:30pm
Aug 3, 2023 6:00pm - 7:30pm
Oct 5, 2023 6:00pm - 7:30pm

redpajama_set_name: RedPajamaCommonCrawl


text:
State route 280 (SR 280) is a generally south-to-north state highway located in the Atlanta metropolitan area in the west-central part of the U.S. state of Georgia.  It runs from Georgia 139 in western Atlanta to Interstate 75 (I-75) in Marietta.  The road has the odd shape of a shepherd's hook.

Route description

Georgia 280 begins in western Atlanta at an intersection with Georgia 139 (Martin Luther King Jr. Drive), where the roadway continues as Hamilton E. Holmes Drive. The route travels north along Hamilton E. Holmes Drive meeting I-20 at an interchange or exit 52, then continues north to an intersection with U.S. 78/U.S. 278/Georgia 8 (Donald Lee Hollowell Parkway). The route then continues on as James Jackson Parkway, to the Atlanta neighborhood of Riverside, where the route curves to the northwest.  It then crosses the Chattahoochee River into Cobb County, where it is known as South Cobb Drive, and continues northwest until it is an interchange or exit 15 of I-285 in Smyrna, continuing through western portions of Smyrna.

In Fair Oaks, the route has a short concurrency with Georgia 5 at Austell Road.  After arcing to the northeast past Chattahoochee Technical College's main campus, Georgia 5 departs the concurrency at Atlanta Road.  (It is unclear why this arbitrary routing of SR 5 was chosen, since it could simply skip 280 and go directly from Austell Road to Atlanta Road – itself an arbitrary rerouting from the original route through Powder Springs to an equally congested route through Austell.)  Georgia 280 then curves to the southeast, passing through Dobbins Air Reserve Base, and then to the east to an intersection with U.S. 41/Georgia 3 or Cobb Parkway.  There, SR 280 becomes known as Delk Road.  The route heads nearly due east until it meets its northern terminus at I-75, exit 261 (former exit 111) in Marietta, though the roadway continues east as Delk Road.  The road originally ended at Powers Ferry Road, but was extended a block eastward around 1989 to Terrell Mill Road, after a county sales tax was passed to fund it and other projects.

The route has at least four lanes north of Donald Lee Hollowell Pkwy and has six lanes in Marietta and between U.S. 41 and I-75.

Georgia 280 is a major urban arterial, with portions of the route seeing an average annual daily traffic (AADT) of over 30,000 vehicles, especially around Dobbins Air Reserve Base.  It serves as a major commuter route in southern Cobb County and for those traveling to Dobbins Air Reserve Base and the adjacent Lockheed Martin plant in Marietta.

In 2006, the bridge over the Chattahoochee River was rated one of the worst in the state, according to the Federal Highway Administration (FHWA).  The bridge was rebuilt in 2008 by Georgia DOT. This new bridge was dedicated on August 8, 2012, to Georgia State Patrol Trooper First Class Chadwick "Chad" LeCroy, who was killed in the line of duty in December 2010.

History

In northwest Atlanta, Georgia 280 was known as Hightower Road, but was renamed in 1996 to honor Hamilton E. Holmes. The Hightower MARTA station was likewise renamed as Hamilton E. Holmes station. Wayne Williams, suspected perpetrator of the Atlanta murders of 1979-1981, was pulled over by police on the Jackson Parkway Bridge over the Chattahoochee River in 1981: officers were staking out the bridge expecting the killer to dump a body into the river, and his car's presence on the bridge coincided with an officer hearing a loud splash; a body washed up several days later. Williams was convicted of that and one other murder in 1982, but maintains his innocence in those and the other Atlanta murders.

Major intersections

See also

 Transportation in Atlanta

References

External links

280
Transportation in Fulton County, Georgia
Transportation in Cobb County, Georgia
Roads in Atlanta
Marietta, Georgia


text:
Q: The best practice for multi-thread test to catch race condition I have small rest controller for parking service.
@PostMapping("/entry")
public ResponseEntity<ResponseObject> carEntry(@Valid @RequestBody CarAtParkingGateRequest carAtParkingGateRequest) {
    return parkingService.carEntry(carAtParkingGateRequest);
}

In CarAtParkingGateRequest I am sending pair of ID's - car and parking.
Method parkingService.carEntry looks almost like:
public ResponseEntity<ResponseObject> carEntry(CarAtParkingGateRequest carAtParkingGateRequest) {
    ParkingEntity parking = findParking(carAtParkingGateRequest.getParkingID());
    CarEntity car = carService.findCar(carAtParkingGateRequest.getCarID());

    if (car.getPowerType().equals(PowerType.ELECTRIC) &&
            carRepository.getNumberOfElectricCarsOnParking(parking.getIdParking()) == parking.getNumberOfChargers()) {
        return new ResponseEntity<>(new ResponseObject("Every charger is taken"), HttpStatus.BAD_REQUEST);
    } else if (!car.getPowerType().equals(PowerType.ELECTRIC) &&
            carRepository.getNumberOfNotElectricCarsOnParking(parking.getIdParking()) == parking.getNumberOfParkingSlots()) {
        return new ResponseEntity<>(new ResponseObject("Every slot is taken"), HttpStatus.BAD_REQUEST);
    } else {
        parking.addCar(car);
        return new ResponseEntity<>(
                new ResponseObject("Gate up"), HttpStatus.OK);
    }
}

Now I want to work on race condition and prepare test for it. I think, I have to use 2 threads with different requests which will be starting at the same time, but I do not know exacly how should it looks - how to send 2 requests in the same time for unit case

redpajama_set_name: RedPajamaStackExchange


text:
Statement by Borys Wrzesnewskyj
Borys Wrzesnewskyj on An Act to Authorize the Minister of Finance to Make Certain Payments
In the House of Commons on June 21st, 2005. See this statement in context.
An Act to Authorize the Minister of Finance to Make Certain PaymentsGovernment Orders
June 21st, 2005 / 4:45 p.m.
Borys Wrzesnewskyj Liberal Etobicoke Centre, ON
Mr. Speaker, I would like to question the member opposite on some of the statements he made during his speech. The member used the phrase that the NDP wanted to be players in Parliament. In the last election I thought the Canadian public made it clear that they wanted the minority government to work and that there would have to be cooperation.
What I recollect to have happened and transpired here was the Conservatives were not happy with the role of the leader of the opposition as the leader of the opposition. There were a couple of polls that showed their party ahead and that is when they yanked their support.
What the Conservatives were looking for was a new role. They were willing to sell out their corporate friends. How would he explain the role they played in selling out their friends just for the sake of having their leader become the prime minister?


Recently, a New Jersey federal district court judge refused to certify a class of consumers claiming an orange juice product was mislabeled as "pasteurized." In re: Tropicana Orange Juice Marketing and Sales Practices Litigation, 2018 WL 497071 (D.N.J. Jan. 22, 2018). According to plaintiffs, Tropicana's "Pure Premium" orange juice contained added natural flavoring in violation of FDA pasteurization standards. The court denied the class certification motion because plaintiffs failed to prove that common issues predominated under Rule 23(b)(3) of the Federal Rules of Civil Procedure. Since multiple named plaintiffs testified that they did not even see the word "pasteurized" on the product label, much less rely on it, class certification was put out to pasture.
At the certification stage, the evidence showed that plaintiffs considered various factors when buying orange juice, including price, vitamin content, taste, reduced sugar content and name recognition. However, only one of seven named plaintiffs cited the product being pasteurized as a factor in her purchasing decision. One plaintiff did not recall seeing the word "pasteurized" on the label, and another admitted she did not even look at the label. Additionally, plaintiffs' own survey showed that over twenty percent of respondents would purchase the product even with knowledge it did not conform to the FDA's pasteurization standard, which "suggest[ed] a great variation in how putative subclass members would react to the knowledge that [Tropicana's Pure Premium] did conform to the standard." Id. at *8. On this evidence, the court held that questions of fact predominated over common issues with respect to all of plaintiffs' remaining claims for relief.


text:
De LG Optimus L3 is een smartphone van het Zuid-Koreaanse bedrijf LG. Het toestel is het lowbudgettoestel van de eerste generatie van de 'L-serie', een lijn van smartphones die voor gebruikers met weinig geld een goed design en de recentste software wil bieden. Het toestel is geïntroduceerd tijdens het Mobile World Congress 2012 in Barcelona en komt uit in het zwart en in het wit.

Software
In tegenstelling tot de rest van de L-serie, draait de Optimus L3 niet Googles Android 4.0, maar op versie 2.3. Boven op het besturingssysteem heeft LG zijn eigen interface gelegd, vergelijkbaar met HTC's Sense en Samsungs TouchWiz. De interface legt veel nadruk op de kleur wit. Ook heeft LG het vergrendelingsscherm aangepast. Door naar een bepaalde applicatie toe te slepen, gaat men onmiddellijk naar die applicatie.

Hardware
De smartphone heeft een tft-scherm van 3,2 inch groot met een resolutie van 480 bij 320 pixels. Onder het scherm bevinden zich 3 knoppen, een capacitieve terugknop, de fysieke thuisknop en een capacitieve menuknop. In het toestel zelf bevindt zich een batterij van 1500 mAh en een singlecoreprocessor van 800 MHz. Op de Optimus L3 zit er een camera van 3,15 megapixel op de achterkant.

Referenties

Externe links
 LG E400 Optimus L3
 LGOptimusL3.com

Optimus L3


parser I've tried -- and each tweak I've tried to the given parsers.
of elements that defy simple parsing, IMO.
array in at the element, like "tags" or such.
wanting to further butcher the parser without just writing my own.
very nicely extracted out into the root of the feed as separate elements.
-- typical RSS readers/parsers would butcher the data.
there, but I didn't figure it out before giving up on that path.
Hopefully this gives enough of a picture. I will go answer other email now.
> information than the other feed. Is that true?
>> Mapper, custom parsers, hacking parsers, tweaking mappers, Yahoo!
>> I'm tired of the project, but I have to find a way to get this to work.
>> in there. Again, I'd have to make a custom parser to get in there.
>> ticket, aside from my massive struggles with making my own parser.


When you can draw Kranok Plail Design very well, the next step is to draw the insides and making edgings on Kranok Plail. Most of Kranok Plail Design require 6 - 7 edging on them (you can increase or decrease the edgings accordingly). After Kranok Plail Design is edged, it will look more beautiful and movable like the flame and is in accordance with its name (as explained earlier "plail" means a flame).
2. Draw a curved line within the additional leaf (this part is where Kranok Plail Design comes out) in the small triangle on the left and edge in the design (see example).
3. Draw the curved line from the base of the design. Draw the line continually (if you are not experienced enough, draw the outline by the pencil lightly first), then whip the line up and making the edgings, both in and out, according to the range of the design. Go on making the edgings, in order that it looks like a flame, until you reach the top of the design.
๕. วาดกระหนกเปลว สอดใส้และบากลาย ที่พลิกกลับ ทางด้านซ้าย เช่นเดียวกับบทเรียนที่ผ่านมา วิธีการวาด ใช้เช่นเดียวกับการวาดด้านขวา Then pull the line downward and making edgings along the design (see example). Please notice the direction of the line during making edgings. The line must be in the shape of Kranok Plail Design with Hang Lai Design at the top.
4. Now we have finished making the Insides and the edgings for the Kranok Plail Design. The next step is to do the same with the Kranok Design and the additional leaf. However, the lines used in there parts must be lighter (see example).
5. Draw the Kranok Plail Design, make the insides and the edgings from the reverse side ad indicated in the previous lesson. The instructions are the same as that drawn from the right.
1. Please don't forget that during making edgings and the insides, try to draw it in the outline of Hang Lai Design. This is because if you forget the outline, the Kranok Design will be distorted.
2. If you are not very skilful, please review the previous lessons. If you try heard, you will be successful.
3. As advised before, draw more than 100 designs from both sides. If you are experienced enough, you may draw the up side down design - - as you like it. I guarantee that you will have a chance to use it when you became a professional.


What are promotional products? Why do people love them so much? More importantly, how can an integration with this industry help your business? To get started, let me take you back to the beginning, a beginning that without the printing industry would not have happened.
It is 1881 in Coshocton, Ohio. Industry pioneer Jasper Freemont Meek wants to find ways to bring new revenue to his printing business and use his printing presses during their downtime. One day when Meek is outside of his office and watching school children as they walk down the muddy streets to the schoolhouse, he notices a schoolboy drop his books into the mud and got an idea.
An idea that would eventually turn into the $23 billion promotional products industry we know today.
Meek went to Cantwell Shoes, a local merchant, who he was already doing printing business with and asked the business to buy advertising that he could print on school bags. The bags would then be given away to local school children. His sell was that, along with Cantwell's print advertising, the bags would become walking billboards for the company. The gamble paid off and the promotional products industry as we know it was born. "Buy Cantwell Shoes" was displayed across town and not only drove revenue to Cantwell, it created a full-scale printing operation for Meek. Soon, Meek would begin supplementing his printing business with bags, calendars and other promotional items for merchants in the Coshocton area.
The history of promotional products would not have existed without the printing industry. It has been a natural partner to those in print advertising since the industry's infancy. This partnership and the need for the partnership is even more obvious today. Thousands of print businesses are already involved in the promotional products market in some regard. Now, you can be part of this living history!
Seth Barnett is considered an expert on cooperative marketplace success. He is the Vice President of Operations for the international technology company Altitude Group which serves as the tech provider for Think Promo Now. Seth regularly speaks across the country to professionals in various industries about how to engage with and adapt to changing markets and new consumerism. He has appeared in numerous publications across the US and the UK. He holds a Bachelor of Science degree in management, a master's degree in public administration and a master's degree in law.


text:
The Robb Reader: Romero Britto
By Ayesha Khan
Ayesha Khan's Most Recent Stories
Bella on Wheels
Expert Eye: A New Chapter
Bruce Morser
A conversation with the neo-pop artist and children's activist.
Romero Britto's vibrant style and equally colorful personality have helped him become one of the most successful artists of the modern era. His paintings and sculptures—which combine the principles of pop art, cubism, and graffiti—fetch high prices in galleries and at auctions, but his work has long been accessible to all. The 51-year-old Brazilian native and Miami resident has collaborated on projects with Coca-Cola, Disney, the United Nations, Absolut Vodka, and BMW, and his cheery illustrations have graced everything from watches to luggage tags. An outspoken advocate of children's rights and education, Britto has donated numerous works and murals to children's hospitals and charities around the world.
Who are your art heroes?
They range from da Vinci and Michelangelo right to Picasso, Matisse, Keith Haring, and Andy Warhol. All of these were, in their respective times, great catalysts of change and made a huge impact on the art world. I admire Michelangelo's skill as a sculptor. It's hard to believe that a human being was able to create such perfection—and so long ago, when there were not so many tools like we have today. I love the colors used by Matisse, I appreciate the energy of Keith Haring, and I love Andy Warhol's American icons, how he captured them, their egos. It really told the story of a nation. It is only passion, love, and discipline that can make someone create something so spectacular that people adore for generations.
What are some favorites from your art collection?
My collection consists of drawings from Picasso and Matisse, and several great Andy Warhol prints. I still remember the first piece of art that I ever bought—at Le Meurice in Paris. It was a beautiful drawing of my star sign [Libra] by Dalí, and I bought it with all the money I had. It's still one of the most treasured pieces in my collection. Another one of my favorites is a huge 80-by-96-inch piece by Frank Stella.
You also collect watches.
Yes, I have a 1963 Rolex that I bought in London, and it's really special to me because it's from the year that I was born. It was the first luxury watch that I bought myself. I also have this great Andy Warhol watch that he designed for Movado. It's a beautiful piece; it's several watches all glued together, all black-and-white photographs of buildings in New York City. I also have a lovely limited-edition Hublot watch that's made with diamonds and Brazilian emeralds that was given to me by the brand for my contribution to this past FIFA World Cup. I've actually just designed a watch for Hublot that will be launched soon.
Are you a car collector as well?
Yes, one of my favorites is my Bentley that was the last Arnage model to come out of Crewe before the brand was taken over by Volkswagen. Other than that, I have a yellow 1968 Mustang, a Mercedes SL500 from 1989, and a yellow Ferrari 360. Then there is a 2014 Rolls-Royce Ghost.
Tell us about your work with children's charities.
My focus is on education—it can change lives, communities, and countries. One of the initiatives I am involved with in my own country is the World Childhood Foundation founded by Queen Silvia of Sweden, who is half Brazilian. We serve abused, abandoned children, many of whom are street children. As a father, this cause is especially close to my heart. Happy Child is another wonderful organization dedicated to the education of at-risk Brazilian children; they're especially active in my hometown of Recife. I recently created a special collection inspired by the queen's first trip to Recife in 1968, and proceeds went to Happy Child. Here in the U.S., I am very proud to be on the board of Best Buddies International, an organization that teams a volunteer "buddy," or mentor, up with kids who have intellectual and developmental disabilities. Most recently, I hosted a paint party with Best Buddies and Miss Universe contestants. We even created a special-edition print commemorating the occasion, the sales of which will be donated to the Best Buddies foundation.
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With Nelson Mandela's death and his elevation into the pantheon of historical luminaries, "He no longer belongs to us – he belongs to the ages" (Barack Obama, NPR, 12/5/2013) it is easy to lose sight of the chilling history of the struggle against apartheid. Before Mandela became an icon of world peace and reconciliation – in 1993 he was awarded the Nobel peace prize together with Willem de Klerk -, he fought along with many others against the oppressive white South African regime and he paid for it with twenty-seven years of prison. When Mandela was liberated in 1990, celebrities from all the corner of the world flocked to South Africa for a chance to meet with him. His post-apartheid commitment to reconciliation stands in stark contrast to the violence and injustice of apartheid which shaped Mandela's life and his country. Falvey Memorial Library has an array of resources that shed light on apartheid, Boer history, the African National Congress (ANC) and Mandela's life.
Mandela's autobiography, Long Walk to Freedom , as well as many of his speeches and addresses, are available in the library's print collection. Find them through an author search for Nelson Mandela in the library's catalog. A subject search for his name leads the interested reader to a long list of secondary literature about his life and struggle. For a quick introduction to apartheid, consult one of the library's online subject encyclopedias, such as The New Encyclopedia of Africa, The Human Rights Encyclopedia [or the New Dictionary of the History of Ideas.
The library's archival collections give the interested reader access to historical news sources, both national and international. Start with the New York Times, America's newspaper of record, to find the first mention of Nelson Mandela's name in August 1952 in an article that reports on his arrest: "South Africa seizes non-white leaders." The Page View option makes it possible to see the front page of the same issue. A quick look at the lead articles of that day, among them "$1,200,000,000 atom plant to be built in Southern Ohio," puts the article in context. We can also compare coverage in the New York Times with that in the Washington Post. The complete archives of both newspapers are available online.
The Daily Reports of the Foreign Broadcast Information Service (FBIS, 1974-1996) database makes international opinions of events in South Africa available to U.S. readers in translation. FBIS is a U.S. government foreign news reporting and translation service. Among the South African news sources featured in FBIS are The Star (Johannesburg), UMTATA Capital Radio, South Africa's first independent radio station, The Sunday Times (Johannesburg), and the Sowetan, one of the liberation struggle newspapers. Reports about the release of Mandela from prison are grouped together in the FBIS database under the Events tab which features pre-selected news stories on important historical events.
To gain a broader picture of events in South Africa, the reader can browse content from individual news sources, such as the Sowetan, by typing the name of the source into the search field. And don't forget, FBIS also includes transcripts of speeches and interviews.
Last but not least, Mandela, Tambo, and the African National Congress: The Struggle against Apartheid, 1948-1990 : A Documentary Survey includes a wide range of primary sources covering over forty years. Documents range from Mandela's 1951 presidential address to the ANC Youth League, to his court room testimony, to interviews with fellow prisoners and the Harare Declaration (1989). Questions? Contact us and we will help you to navigate the library's print and online collections.


text:
export = LobFileStorage;
declare function LobFileStorage(classKey: number): void;
declare class LobFileStorage {
    constructor(classKey: number);
    classKey_: number;
    lobStorage_: LobStorage;
    tryGetFileInfo(fileKey: number): FileInfo;
    setExtraFileAttributes(fileKey: number, attributes: any): void;
    getExtraFileAttributes(fileKey: number): any;
    findFileByName(fileName: string): FileInfo;
    getFilesSize(fileKeys: number[]): number;
    addFile(fileName: string, content: string | File | MemoryStream): number;
    updateFile(fileKey: number, content: string | File | MemoryStream): void;
}
import LobStorage = require('../database/LobStorage.js');
import FileInfo = require('./FileInfo.js');
import File = require('../io/File.js');
import MemoryStream = require('../io/MemoryStream.js');

redpajama_set_name: RedPajamaGithub


I adore, Italy and Italian food, seeing this has made me hungry for seafood risotto. I love it so much.
That risotto looks so delicious. Makes me want to be on holiday NOW!
I have been commissioned to do a recipe for Ufuud too and I have to say that I am really impressed with the quality of stuff I got sent. The balsamic in particular was really good.
I like your fancy collages Janice. I just tried one in my latest post, but I don't have the artistic eye sadly!
I've always wanted to go to Italy and I STILL haven't been. I loved UFUUD and was really impressed with the range and quality of the produce. I blew most of my allowance on a big wad of Parmesan. The spicy fig mustard sounds delicious.
Thanks Alison, it's such a lovely place and perfect for a honeymoon.
Me too Sus, but then I'd like to go on holiday every day!
Thanks Galina, so many lovely food on that site.
Oh that's good to know Danni, I haven't used my balsamic yet, will look forward to that.
Thanks. You really need to try get to Italy it is such a lovely place, the foods are quite expensive but, as they say, you get what you pay for and I wasn't disappointed with anything.
I always shy away from seafood in risotto and I'm not entirely sure why considering that I LOE paella. This is tempting me to give it a go :) thanks for sharing!
I LOVE Italy and was there just last year in Rome and Florence, the food was JUST amazing. This looks to be a wonderful recipe and I'm sure I's love it as it has seafood in it!


text:
June 8, 2018 / 10:10 AM
OJ, bourbon, jeans among American goods hit with EU tariffs
Susan McFarland
European Commissioner for Trade Cecilia Malmstrom announced $3.3 billion in tariffs on American goods will take effect July 1. File Photo by Oliver Hoslet/EPA
June 8 (UPI) -- Peanut butter, denim, orange juice, bourbon, motorcycles and cigarettes are a few of the items on a European Union list of American goods now labeled with hefty import taxes.
The taxes go into effect July 1, according to an announcement from the European Commission.
"This is a measured and proportionate response to the unilateral and illegal decision taken by the United States to impose tariffs on European steel and aluminum exports," said Cecilia Malmström, trade commissioner. "What's more, the EU's reaction is fully in line with international trade law. We regret that the United States left us with no other option than to safeguard EU interests."
The tariffs are in reaction to the Trump administration's move last week imposing import taxes on steel and aluminum from the European Union, which also included tariffs on U.S. allies Canada and Mexico.
RELATED Trump to leave G7 summit early amid feud with Trudeau, Macron
Earlier this week, Mexico announced retaliation with fiscal penalties on U.S. exports like pork, steel, cheese and whiskey.
In addition to other moves against American-made products, Mexican officials set tariffs on U.S. pork shoulder and legs at 10 percent, and they will rise to 20 percent by July 5. Experts say that duty could usher in $100 million losses every year for U.S. pork farmers. Those tariffs went into effect Tuesday.
Last month, Canadian Prime Minister Justin Trudeau announced retaliation against Trump's tariffs by imposing $12.8 billion of U.S. imports in what Canada says its strongest trade action since the World War II. The tariffs, which also take effect July 1, will last until the U.S. ends its trade action.
RELATED World Bank: U.S. tariffs could trigger another financial crisis
RELATED Trump levies steel, aluminum tariffs on EU, Canada, Mexico


text:
Q: submenu ( with links ) behind (z index) the main menu image I'm tryng to crete menu with submenus the submenu should be behind the picture of the main menu but with negative z index the links no longer work. Maybe you have other solutions that would be great, please help me.

$(document).ready(function(){
$("#centeredmenu li:has(ul)").hover(function(){
$(this).find("ul").slideDown();},function(){
$(this).find("ul").hide();});});
#centeredmenu {
   list-style:none;
   top:0;
   width:100%;
   height:200px;
   background-color:blue;
   background:url(http://s30.postimg.org/z2m19gfun/Menueleiste.png) ;
   background-repeat:no-repeat;
   background-position:center;
   background-size:100% 100%;

   /* Menu font */
   vertical-align: middle;
   text-align:center;

}
.parent {
            position: relative;
            z-index: initial;
   list-style:none;
        }

.child {
            position: relative;
   display:;
            z-index:-1;
        }

/* Top menu items */
#centeredmenu ul {
   margin:0px;
   padding:0px;
   list-style:none;
   float:right;
   position:relative;
   right:50%;
}

#centeredmenu ul li {
   margin:0px;
   padding:0px;
   float:left;
   width:300px;
   position:relative;
   left:50%;

}
#centeredmenu ul li a {
   display:block;
   text-decoration: none;
   margin:0;
   padding:.8em .6em .4em;
   font-size:1em;
   line-height:1em;

   /* Top menu items font colour */

   color:#fff;
   font-weight: 500;
}

#centeredmenu ul li.active a {
/* Top menu active items font colour */
color:#fff;
font-weight:500;
}
#centeredmenu ul li a:hover {
    /* Top menu items background colour */
 background:;
 /* hover  colour */
text-shadow:#fff 1px 1px 1px;

}
#centeredmenu ul li:hover a,
#centeredmenu ul li.hover a {
/* Top menu items background colour */
 background:;
}

/* Submenu items */

#centeredmenu ul ul li:last-child a {-moz-border-radius: 0px 0px 15px 20px;
-webkit-border-radius: 0px 0px 15px 30px;
border-radius: 0px 0px 5px 10px;
box-shadow: 0 8px 2px -2px #000;
}

#centeredmenu ul ul {
   display:none; /* Sub menus are hiden by default */
   position:absolute;
   top:;
   left:0;
   right:auto; /*resets the right:50% on the parent ul */
   width:100%; /* width of the drop-down menus */

}
#centeredmenu ul ul li {
   left:auto;  /*resets the left:50% on the parent li */
   margin:0; /* Reset the 1px margin from the top menu */
   clear:left;

}
#centeredmenu ul ul li a,
#centeredmenu ul li.active li a,
#centeredmenu ul li:hover ul li a,
#centeredmenu ul li.hover ul li a { /* This line is required for IE 6 and below */
   font-size:0.8em;
   line-height:0.8em;
   font-weight:500; /* resets the bold set for the top level menu items */
   text-align:center;  /* text center */
   color:#fff;
    /* This line is required for IE 6 and below */
   background: rgba(0,0,51);
   /* The Fallback */
   background:rgba(0,0,51,1);
   width:100%;
   /* Top menu items background colour */
}
#centeredmenu ul ul li a:hover,
#centeredmenu ul li.active ul li a:hover,
#centeredmenu ul li:hover ul li a:hover,
#centeredmenu ul li.hover ul li a:hover { /* This line is required for IE 6 and below */
   background:; /* Sub menu items background colour */
    /* hover  colour */
text-shadow:#fff 1px 1px 1px;
}

/* Flip the last submenu so it stays within the page */
#centeredmenu ul ul.last {
   left:auto; /* reset left:0; value */
   right:0; /* Set right value instead */
}

/* Make the sub menus appear on hover */
#centeredmenu ul li:hover ul,
#centeredmenu ul li.hover ul { /* This line is required for IE 6 and below */
   display:block; /* Show the sub menus */
}

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A: Use pointer-events: none; for catching mouse events through background image. See the example
/**
 * main menu background
 */
.menu:before {
    content: "";
    background-color: rgba(0,0,111,0.6);
    z-index: 1;
    position: absolute;
    pointer-events: none;
    width: 100%;
    height: 100px;
}


Whatever the unloading requirements of your operation, A-Ward has a solution to help you do it faster and more cost-effectively. All our unloaders are designed to boost productivity and benefit your bottom line. Our unique MiTiltTM unloader eliminates the need for tilting trailers. For instance, while our innovative raised models save the cost of building an expensive in-ground system. The comprehensive A-Ward range includes simple and affordable unloader units, through to fully-customised technology that is integrated within your plant.
Unloading a range of materials directly into your storage system, at the speed you want. Contamination-free unloading of sensitive or hazardous materials.
How it works: It works in a similar way to the Tilt & Raise, except this unit raises to a set height before tilting secondly. You set the desired height of your fixed tilting point.


text:
Toy Story of Terror! (2013)
2013 #93a
Angus MacLean | 21 mins | streaming (HD) | 16:9 | USA / English
The fourth Toy Story short, Toy Story of Terror! is a made-for-TV Halloween special that nonetheless has all the quality we've come to expect from a Pixar short. (I say "nonetheless" — I've written at length before about my thoughts on the all-but-disappeared divide between TV and film.)
When new-owner Bonnie's mum's mom's car gets a flat, the toys and their owner are forced to spend the night at a roadside motel — the setting for many a horror movie, of course. And indeed there's something suspicious at the motel; something that stalks toys, and snatches them… or worse…
Of Terror winds up a mash-up of horror-trope-spoofery and usual kids' tale Toy Story antics, pretty much divided half-and-half around the midpoint. Which is no bad thing when it's all so much fun. The horror movie stuff early on is a suitable tribute to the genre, packed with atmosphere. Of course it's kid-friendly and so not really scary, but there are plenty of nice references and a solid mystery — in A Horror Movie it could be any kind of monster stalking the toys, but in this (semi-)real world, what's it going to turn out to be? The stand out, perhaps, is English-accented thesp Mr Pricklepants, who trots around describing all the horror movie tropes. It's a top-notch performance from Timothy Dalton.
The second half is more familiar Toy Story stomping ground — indeed, if there's one bum note, it's that the villain and his 'plot' are almost a rehash of Toy Story 2. But hey, if you're going to copy, copy from the best; plus it's not exactly the same, just resonant; and it's only a small part of a successful whole, so it can pass. As this is primarily a kids' film, there's a Moral Message to be learned. I don't really object to that — it fits with the story and tone, and it also serves as character development for Jessie — it just always strikes me, when watching stuff aimed at kids now that I'm a grown up*, how blatant these Messages are when you know they'll have been inserted.
Much to my delight, it moves at a rate of knots. This could easily have been a longer piece, evolving at a steady rate; perhaps not a full feature (not without a few more plot beats at least), but certainly longer. Instead, it goes like the clappers, and I appreciate that. Plus, even though it's only a 20-minute TV special, Pixar have clearly poured all their usual love and attention into the animation. Highlights include a black-and-white horror movie at the start (oh, imagine a full-length Pixar film looking like that!), and an underground section lit by the spooky green glow of Buzz's glow-in-the-dark parts, which is both amusing and effectively eerie. And best of all, the whole thing is genuinely funny. There's a particularly great gag with a Pez dispenser near the end.
Apparently Toy Story of Terror! spent two years in development. While that might seem excessive for a mere under-half-hour animation, the time and effort have paid off handsomely: the result is a thoroughly entertaining short — and one that actually embraces its seasonal theme, rather than forcing it in as an afterthought. Terrific.
Toy Story of Terror! is currently exclusive to Sky Movies in the UK, showing regularly on their channels and available on demand, including via NOW TV.
* technically ^
This entry was posted in 2010s, 2013, 4 stars, Animation, Comedy, Disney, Fantasy, Horror, Short by badblokebob. Bookmark the permalink.


text:
HOT – przeciwpancerny pocisk kierowany wyprodukowany przez francusko-niemieckie konsorcjum Euromissile. Jest produkowany od 1978 r. Według wielu specjalistów jest jednym z najbardziej udanych pocisków kierowanych w swojej klasie. Jest używany przez wiele krajów na całym świecie. Jego skuteczność została potwierdzona w walce.

Podobnie jak jego odpowiednik, BGM-71 TOW (produkcji USA), HOT odpalany jest z tuby, naprowadzany optycznie, kierowany poprzez przewód. System HOT jest również montowany na pojazdach, są też wersje do montażu na śmigłowcach.

HOT-2 pojawił się w 1986 r., posiada większą głowicę bojową, 4-kilometrowy zasięg, oraz prędkość dochodzącą do 900 km/h.

Najnowsza wersja, HOT-3, ma podwójny ładunek HEAT oraz system antyzakłóceniowy. W 1997 roku HOT-3 został wybrany jako główne uzbrojenie dla śmigłowca PAH-2 Tiger we Francji i w Niemczech.

Użytkownicy
 Francja
 Niemcy
 Wielka Brytania
 Syria
 Arabia Saudyjska
 Belgia
 Egipt
 Katar
 Maroko
 Irak
 Hiszpania
 Chiny
 Kamerun
 RPA
 Gabon
 Kuwejt

Lotnicze pociski przeciwpancerne
Przeciwpancerne pociski kierowane
MBDA


Experience Ion Assault, an action-packed arcade-style space adventure with an unprecedented particle physics engine. Fight alone or cooperatively through four different modes and more than 20 exciting levels. Instead of conventional weapons, use the free energy particles that are abundant in space to fend off swarms of aliens.
This page contains co-op info for Ion Assault on the Xbox 360. All information about Ion Assault was correct at the time of posting. Information is subject to change. If you see any errors please email us.


text:
It's You and Me: A New Day is the television soundtrack for series three of the children's television show of the same name, based on the 1978 film Grease. It is sung by actress and singer Sheryl Rubio and features six tracks. The album was first released on September 2, 2009 by Universal Music.

Track listing

Latin American edition

References

2009 soundtrack albums
Television soundtracks


text:
GALAXY Posts on XDA
Samsung Galaxy S to S20: Looking back at Samsung's flagship lineup
Aamir Siddiqui January 12, 2021
The Samsung Galaxy S21 series is right around the corner. Samsung is all geared up to take the wraps off the next generation in its premier flagship lineup, the Galaxy S series. With the eventual fate of the Galaxy Note lineup up in the air, the Galaxy S series becomes the principal driving force of...
Samsung sends out weird "1" Find My Mobile notification to Galaxy users worldwide
Pranob Mehrotra February 20, 2020
Back in July last year, OnePlus sent out suspicious-looking notifications to OnePlus 7 Pro users, leading them to believe that OnePlus may have been hacked. The company quickly clarified that the notifications were just part of internal testing for the Android 10 update and were accidentally sent out to all users. In a statement regarding...
Future Galaxy S20 update may enable 120Hz refresh rate at QHD+ resolution
Kishan Vyas February 19, 2020
High refresh rate displays are all rage nowadays. The feature that was once limited to gaming-oriented phones has been steadily trickling down to more mainstream devices lately. From the top-of-the-line flagship to the affordable mid-range, it's quickly becoming commonplace. One of the latest phones to launch with a high refresh display is Samsung's Galaxy S20...
Samsung Galaxy XCover Pro is a rugged phone with removable battery
Arol Wright January 8, 2020
Samsung's Galaxy line of smartphones is one that is very diverse. Over time, just like any other manufacturers, they've greatly evolved their design language to adapt to current trends. For the most part, though, this design language resembles closely what other smartphone manufacturers keep doing: either glass-aluminum sandwiches or shiny plastic phones that resemble these...
Samsung Galaxy Chromebook has a 4K display and 10th Gen Intel Core i5
The market for high-end Chromebooks is currently small, yet it could be a significant one in the future. Right now, the major player in high-end Chromebooks is Google, makers of Chrome OS, itself. Most Chromebooks on the market feature mid to low range specs and affordable pricing, whereas the Pixelbook and the Pixelbook Go are...
Samsung Galaxy M30s leaked teaser hints at massive 6000mAh battery
Aamir Siddiqui August 28, 2019
Samsung is planning a half-yearly refresh of its A-series and M-series lineup, attaching an "s" suffix to the phones which see improvements in certain areas. Earlier this month, Samsung had announced the Samsung Galaxy A10s, the Samsung Galaxy A30s, and the Samsung Galaxy A50s. Now, a leaked marketing teaser suggests that Samsung is planning a...
aodNotify toggles the AOD when you get a new notification on Samsung Galaxy phones
punyavashist May 28, 2019
There are a few reasons why someone might not want to pick up a Galaxy S10 or other Galaxy phone off the shelf. There are some complaints that the general Android community has about the devices, but one considerable reason for not picking them up, at least for me personally, is the lack of a...
Samsung Galaxy phones reportedly depreciate in value faster than other brands
Aamir Siddiqui March 7, 2019
Value depreciation is a phenomenon that affects all products, causing them to lose value over time even if they aren't used, but especially if they are used. With smartphones, value depreciation is accelerated by the launch of new phones from the same OEM (hardware obsolescence), competing phones from other OEMs, release of new software, as...
Samsung Malaysia used a DSLR photo to advertise the Galaxy A8
George Burduli December 5, 2018
Smartphone cameras are getting better and better. Super precise lenses and other hardware configuration, along with optimized software, can produce some stunning results. Yet, companies sometimes use other devices to promote their camera prowess. Samsung and Huawei were caught doing this earlier this year. Now, imagine discovering your photo on the website of one of...
Samsung Galaxy A8s may be the first phone with an Infinity-O display hole
Arol Wright November 27, 2018
As of recently, Samsung has taken the interesting approach of testing out their most "bleeding-edge" features on their midrange devices. We've recently seen the Samsung Galaxy A7 (2018), a device that features a triple rear camera setup, in the same fashion as the Huawei Mate 20 Pro, the LG V40 ThinQ, and other devices. Then,...
Samsung Galaxy A7 (2018) goes live with a 6-inch Infinity Display and Triple Rear Cameras
Arol Wright September 20, 2018
It's no secret that Samsung has achieved great success with their Galaxy S and Galaxy Note line of smartphones. After all, these phones carry all the bells and whistles you would expect from a phone with its price tag, and Samsung is rarely one to skimp on features. But their midrange phones, namely the Galaxy A...
Samsung Galaxy A7 (2018) leak shows triple rear cameras
Idrees Patel September 19, 2018
Samsung has a broad smartphone portfolio, which can be roughly classified under Galaxy S series (flagship phones), Galaxy A series (mid-range phones), and Galaxy J series (budget phones). Samsung's 2018 flagship announcements are already in the rear mirror with the launches of the Samsung Galaxy S9, Galaxy S9+, and the Samsung Galaxy Note 9. With...


text:
Just Call It Music: Hans Zimmer Takes His Scores on Tour
By Joshua M. Miller | July 7, 2017 | 2:24pm
Photo: Suzanne Teresa Movies Features Hans Zimmer
If you've watched a lot of blockbuster-type movies in the last few decades, chances are you've experienced the music of German-born composer Hans Zimmer. He's scored over 120 films—from those of The Dark Knight Trilogy to Gladiator—in various genres; next up is Christopher Nolan's Dunkirk.
However, about three years ago, Zimmer decided to step out from behind the screen and perform his music in front of audiences around the world. Earlier this year he played his first U.S. concerts, including a much raved-about performance at Coachella.
Zimmer's live performance features two distinct sections: The first showcases some of Zimmer's classic movie scores, including those for The Lion King and Pirates of the Caribbean, while the second part re-imagines versions of music from films like The Dark Knight and Inception. The latter often includes special guest musicians, invited to join Zimmer and his bandmates.
The composer recently wrapped up a European tour, and will return to the states for a month-long stint, starting July 13 in Dallas, before crisscrossing the country and finishing in Santa Barbara on August 13.
Paste recently caught up with Zimmer by phone from his final European stop in Milan to discuss what's it like taking his music on the road and what keeps him going after all these years.
Paste Magazine: Earlier this year you expressed your amazement at how the Coachella set went. How are you feeling about the live show now?
Hans Zimmer: Still amazed. [There]'s a big difference between doing a movie as opposed to the live show—every show is different. The problem, of course, is that I have a band that is very musically ambitious and adventurous. So, you never quite know what you're going to get every night. They're spending their time at the edge of the abyss, with myself hanging on for dear life. Like "Are we going to make it through the next track?" So, it's not getting boring, if that's what you mean.
Paste : You've mentioned in the video promo for your MasterClass sessions that with your music you're basically having a conversation with your audience. How does that convert to the live setting?
Zimmer: It's the truest version of that statement. Because real time is very different from hiding behind the screen during things. It's not in real time. You react obviously to what your audience is putting out. So, in a peculiar way, it's almost like playing a duet. It's between the audience and you. The audience is absolutely part of the performance. Basically, it's a completely different way for me to look at music.
Paste : You also said that, "If somebody tells you that there's a rule, break it, that's the only thing that moves things forward." Can you expand on that statement?
Zimmer: It's not so much breaking [rules] as opposed to constantly evolving things and moving boundaries aside and building bridges. The constant idea is to invent and never stand still. In a funny way, you have to be virtually completely passé and oblivious that there are any rules. The most fun I've had—I haven't really thought about it most times—was starting a score and going, "Well there is a set way of doing this." Even just harmonically and just with music. There are certain rules. Let's figure out what the biggest no-no is and just see if we can make something really beautiful or great or exciting out of that. So as soon as someone tells me a rule, I somehow feel challenged by that to go prove them wrong.
Like playing film music at a festival like Coachella. Even I had my doubts, let's be honest. But you know what I suddenly figured out? One of the rules that we all live by, including myself, was there are different forms of music—there's rock music, there's pop rock and heavy metal, and then there's film music. [But] it's all [just] music. It doesn't matter [what genre it is]. I think the audience was surprised. But I think I was more surprised than the audience, quite honestly. I think the audience came to Coachella with more faith in what I was going to do than I was having about the whole thing. And it turned out it was just music. It was like any other music. It was either good music or bad music. It takes you on a journey or it doesn't. If anything good came out of Coachella, [it] was to stop putting film music into its own little pigeonhole of a box. Just call it music.
Paste: Do you hope you're a trendsetter for composers with touring like you are currently?
Zimmer: No, I don't hope to be a trendsetter for anybody. I want everyone else to be their very own trendsetter. My friend is going to go out and do some shows. But they'll be very different from mine. That's sort of the great thing. You need to go and do something that everyone told you shouldn't do. And you either pull it off or you don't pull it off. In that case, it was a successful experiment [for me]. I don't want to be a trendsetter because I love that other people are [touring] in a completely different way. I would never want to take away from the pleasure of seeing a John Williams concert, who does it in a completely different way.
Part of the problem with [being a] trendsetter is you try to be relevant. Or slightly ahead of the curve. And trendsetters have a nasty habit of trends growing boring and unfashionable and the trend dying very quickly. I've never tried to be a trendsetter or fashionable in any way. I just stick to writing my music that I like enough, and that I was hoping other people would like a lot too.
Paste: Are there songs that are tougher to translate to the live stage than others?
Zimmer: I think in one way or another I can make them all translate. Yes, I'm slowly starting to think about what's the next thing we're going to do. But I'm doing it very cautiously and very carefully, because I have to be mindful that I don't get distracted from the task. Which is to make every night of this show count with the music that I've picked. But I have a few ideas of what the next thing could be and how it could be completely different. I mean, I do have enough material in my back catalog to make something interesting happen.
Paste: You've had some guest musicians join you on tour. Who are some of your favorites?
Zimmer: Obviously Pharrell [Williams]. Coincidently, they're musicians, but I've had friends join me on tour. Which is really great fun. Pharrell came and did something at Coachella. I have a very strong connection with [him] because of Gladiator. Johnny Marr had to sit in for his son because his son had food poisoning on Father's Day. So it was sort of a perfect Father's Day event, that the father had to play for his son. It was in Liverpool, so that was in good territory as well.
Trevor Hall and I had the first video on MTV, ["Video Killed the Radio Star."] We finally performed it live for the first time in Frankfurt. We enjoyed it so much that we did it two more times in London.
And I've been a huge fan of this French violinist Didier Lockwood for years. We were in Paris and the violinist for my orchestra sent me an e-mail saying, "Oh my God, Didier Lockwood is playing a gig tonight." I thought I could do one better. And I phoned him up and invited him to come out and do our show. That was a complete blast. Especially because I could make a great violinist in my band very happy.
So it's a bit like that. You get to a town and suddenly go, "Who do I know?" We are very good at working out things in ten minutes during the soundcheck. Just let anarchy rule and see what happens. With Pharrell, we had absolutely no rehearsal. We just went on stage and did it.
Paste: How do you keep yourself motivated in coming up with fresh ideas for film scores these days?
Zimmer: Because I love it. I always loved it. I've loved music as far back as I can remember. I've loved storytelling and film, and the excitement of a director telling me a story. It's not a job, you know. How to keep motivated doing the thing you love doing the most? It's exciting and new. If you just looked at the stuff with Ridley Scott, Thelma and Louise felt completely different than Gladiator, felt different from Black Hawk Down, felt completely different from Hannibal. Part of the motivation is that I get to tell different stories in styles that are unfamiliar to me.
What keeps me motivated is what keeps me hungry to learn something. Or keep surrounding myself with musicians who are constantly kicking my ass with their musicianship. You have to remember, I'm a composer, not a performer. So a lot of the music was written for people who play much better than I do. So I've been the one there learning how to play my own stuff, which I've written for virtuosos. And some of it they do a lot better than me.
Paste: Have you been working on any film scores during your downtime on tour?
Zimmer: I can't do both. I finished Dunkirk literally one day into the tour. But you can't do both. You just have to commit your body and soul to what you're doing at any one point. And right now, I'm 100 percent committed to these shows. Because my job is to go out there and hopefully provide a certain measure of experience to the audience, to give them something that they didn't have [before]. And we're certainly not phoning it in. It's a true commitment.
Paste: Speaking of Dunkirk, how did you try to differentiate that score from other war film scores?
Zimmer: I'm not going to talk about Dunkirk. We have a very good habit of never talking about a movie until it's out. Even Interstellar, I didn't even release the score until it was already out for two weeks. I wanted people to come to it fresh. So yes, obviously I have differentiated it from Thin Red Line and Black Hawk Down. But go see it and go figure it out. Otherwise, what is the point of me telling you and taking away the possibility of you having the surprise of being excited about something that you didn't expect? In an interview, the best I could possibly do is give a snippet of something, like a snippet of a sentence that was a year in my life.
Paste: What does it mean to have your fingerprints on so many corners of film and pop culture?
Zimmer: I was lucky. It means I was lucky that people offered me good stories to work on and I got to work with great musicians. I feel lucky that people booked interest in me to elevate their stories. I mean it's as simple as that. It's been an extraordinary life of being able to work with that many musicians and that many filmmakers. And it means having had conversations with audience[s] that now I actually get to look in the eye. So it's interesting to find out if any of this even resonated. By me going out there and taking the images away, and not showing any film clips at all, that's really the dare. Will the music stand up on its own two feet? And you're catching me on the last show in Europe and unless I make [a] complete mess of it tonight, we've gotten through Europe and Australia and New Zealand and a bit of America in one piece. And actually managed to do a fairly good show. But what does it mean? It means that I didn't waste my life.
More from Hans Zimmer
Giveaway: Win a Copy of the True Romance Original Motion Picture Score on VinylBy Lizzie MannoJanuary 29, 2018 | 6:00pm
Radiohead and Hans Zimmer Collaborate for Planet Earth: Blue Planet IIBy Lisa NguyenSeptember 15, 2017 | 2:59pm
Hans Zimmer Expands Tour, Adding 19 North American DatesBy E.C. Flamming April 3, 2017 | 5:08pm
Watch Tyler, the Creator Get a "Nod of Approval" from Hans Zimmer in Cherry Bomb Documentary ClipBy E.C. Flamming January 18, 2017 | 4:14pm
Hans Zimmer to Bring His Movie Score Concerts to the U.S. for the First Time in 2017By Cameron WadeNovember 28, 2016 | 3:42pm
Incubus Talks Deftones, Teenage Success, and the Influence of Hans ZimmerBy Lauren KruczykOctober 26, 2015 | 4:10pm
10 Pop Musicians Gone ComposersBy Luke LarsenSeptember 30, 2011 | 8:15am
Windows, Time and the Things to Come in Mia Hansen-Løve's Films By Anna McKibbin January 31, 2023 | 10:00am
Zero Effect, a Cool Movie about an Uncool Private Eye, Introduced Jake Kasdan 25 Years Ago By Craig D. Lindsey January 30, 2023 | 12:30pm
30 Years Ago, Joe Dante's Matinee Explained the Wonder and Terror of Cinema By Jesse Hassenger January 29, 2023 | 10:00am
10 Years Ago, Movie 43 Set a New Low for Bad Sketch Comedy By Jim Vorel and Kenneth Lowe January 25, 2023 | 10:00am
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Don't take this the wrong way. I'm not reprimanding you or telling you to live in fantasy-land. However, I am hearing more and more that VoIP Sales professionals are getting hammered on price by the big companies like Vonage, 8×8 and RingCentral. When I talk to a new Pitch prospect, a company like yours, I often hear that they offer 'unlimited at $14.99'. Frankly, it makes me cringe.
You see, chances are you're not really going to be able to compete on price and remain profitable. Many entrepreneurs make the mistake of focusing on markup versus margin. Don't fall into that trap, but, even more importantly, stop selling on price!
Price is a perceived value. When is the last time you bought the lowest price sushi? Right. CEOs don't really want the lowest price communications solutions, either, just like they didn't go for the lowest price office suite or the lowest price computers or the lowest price employees. What they want is for their teams to communicate effectively and efficiently both internally and with their customers, vendors, and prospects. In fact, add this question to your Discovery list of questions: "Ms./Mr. CEO, would you say getting your team to communicate more effectively and efficiently is pretty important to your success?" You can follow that up with a question or two about how they are NOT communicating effectively today.
Anyway, the key for your sales team is to focus on your value proposition and key differentiators – how are able to deliver real value to your customers in a way that nobody else, especially the big boys, can? That is your key to staying away from the price conversation.
Create an amazing customer experience during the implementation, with MACDs, with your account management team.
Build truly unique solutions specifically for your verticals, using your existing licenses. Instead of telling them you'll offer X basic seats and Y advanced seats, offer them X Executive Seats, Y Administrative Seats, and Z Remote Worker seats — something like that.
Ask yourself, "Is there one service or solution I could offer that would really get them excited about our service [and away from price]?" Then, get your team together and start talking about how you can build that out. Even if it seems impossible, talk it out. Think way outside of the box. Ask your customers. Whatever you come up with, you may find it's more doable that you think.
Finally, yes, price is part of the whole equation, and you'll have to address it. But keep the low price in your pocket (okay, don't say something cheesy like, "I know price is important, but let's just put that aside for now." — don't do that.) But, keep the price negotiation for the end and focus on the solution first. Once you've designed something that wow's the heck out of them, price won't be as big an issue, especially because your competitors won't be able to touch it.
We'll talk about negotiation strategies soon.


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text:
The real thing: Coca Cola European Partners' Joe Franses unpacks the drinks giant's net zero agenda
How China could shift from coal to green energy in 2020s to hit climate goals
Political palm oil
A still from the Rang-tan advert by Iceland
@James_BG
Was Clearcast right to ban Iceland's advert highlighting the impacts of palm oil? The answer is complicated - and political
Last week a tweet from Claire Lehman, editor of the libertarian-leaning magazine Quillette, went viral. "Having hundreds of people explaining to me on Twitter that everything from sex to nature to beauty is "political" makes me realise that Western civilisation really hasn't come up with a viable alternative to religion, yet," she wrote. "Until we do, politics will be the opiate of the masses."
Having hundreds of people explaining to me on Twitter that everything from sex to nature to beauty is "political" makes me realise that Western civilisation really hasn't come up with a viable alternative to religion, yet. Until we do, politics will be the opiate of the masses.
No hugging, no learning
2020: A year of crisis, crossroads, and alternative histories
The Energy White Paper and the nuclear stand-off
— Claire Lehmann (@clairlemon) November 7, 2018
There's a lot to unpack there, but I think my first question would be, 'are you seriously suggesting religion isn't 'political'?"
It was the German philosopher and novelist Thomas Mann - who would no doubt have some interesting thoughts to share on Lehman and her peers in the so-called 'intellectual dark web' - who famously declared that "everything is political". He was right, of course, everything is political - even palm oil.
As Lehman was sparking a Twitter spat over the nature of religion and politics a more mundane, but arguably no less important social media row was kicking off over the decision to block Iceland from broadcasting a Christmas ad highlighting its decision to end the use of palm oil in its own-brand products, on the grounds it had breached rules governing political advertising.
You've no doubt seen the advert by now - it has already totted up nearly 90,000 retweets from Iceland's Twitter account, and more than 3.3 million views on Iceland's YouTube account. But if have missed it you should really check it out, it's quite something, in the grand modern tradition of Christmas supermarket ads no heartstring goes untagged, but this time the message at the heart of the film is one of searing environmental awareness.
You won't see our Christmas advert on TV this year, because it was banned. But we want to share Rang-tan's story with you… 🎄 🐒
Will you help us share the story?https://t.co/P8H61t6lWu
— Iceland Foods ❄ (@IcelandFoods) November 9, 2018
You've also probably made a snap judgement on whether Clearcast, the agency that clears adverts for commercial broadcast, was right to block the advert or not. But again, as everything is political, there's a lot to unpack here.
The first thing to note is Clearcast's rationale for blocking the ad, which thanks to some opaque initial lines from the agency was only clarified late on Friday. It confirmed that its concerns did "not extend to the content or message of the ad", but the fact the original film was made by Greenpeace meant the ad was deemed to breach the rule stating that "an advertisement contravenes the prohibition on political advertising if it is: An advertisement which is inserted by or on behalf of a body whose objects are wholly or mainly of a political nature".
But was the film really "on behalf of" Greenpeace when it has been modified to make it clear that it is an advertisement for Iceland, who presumably Greenpeace is not actively endorsing? Should it not be judged on its merits as a film in its own right, regardless of its authorship? Is Iceland simply not doing what every company that advertises tries to do: sell more of its product using the best available messaging? The only difference is this time the messaging is focused on environmental credentials rather than taste or cost or convenience, and the content is provided by a famously creative NGO rather than an extortionately expensive ad agency.
Moreover, are Greenpeace's aims "wholly or mainly of a political nature"? It is certainly not party political, nor should it be. But it is obviously political in the broader sense. The organisation famously lobbies and protests for political change, but then so too does virtually every company that advertises. Are all those adverts from fossil fuel majors that dog whistle about the energy security benefits they bring not political? What about all those gambling ads with their 'When the fun stops, stop' logo? For me those are a pretty blatant plea for politicians not to regulate the industry, as much as they are a public health message. What of those charity ads that highlight environmental or humanitarian crises? They are not exactly apolitical, are they? And how about those prestige ads that cut in footage of historic figures with their inspiring and unequivocally political straplines?
Then again, there is also the need to be careful what you wish for. If a corporate could re-badge a film from an environmental campaign group, could another firm re-badge some libertarian agit-prop from their favourite shadily funded 'think tank'? In the long run is it in everyone's interests for the regulators to err on the side of caution when it comes to any form of political advertising?
Did Iceland know the ad would be blocked, as some have alleged, and was simply looking to spin this as a viral social media story? I very much doubt it, on the grounds the ad would have had a wider impact and generated just as much controversy if it had been able to be broadcast. Think about it, you want the ad to reach the X Factor audience, not the professionally woke and angry on Twitter. And then once it has achieved that and generated a few inevitable complaints and contrarian Spectator articles arguing cutting down forests is actually A Good Thing you'd get the online controversy just the same.
Questions, questions. And that is before we even get into the similarly vexed topic of whether Iceland's decision to stop using palm oil is helpful or not. Privately and publicly advocates of sustainable palm oil have responded to the controversy by arguing that simply stopping using palm oil is not much a solution to the current deforestation, and could simply lead to increased demand for other forms of vegetable oil that have their own environmental impacts. The counter argument is that forest cover is still being lost at a shocking rate and sustainable certified palm oil has become a fig leaf for Western companies to feel good about themselves, while global demand for unsustainable palm oil continues to soar.
This complex debate is further complicated by the fact that both sides can make a compelling case. Like the divestment debate there is no clear-cut right answer. There is value in engaging suppliers to improve their behaviour, just as there is value in attempting to publicly deny the worst offenders a license to operate. Each company will have to make their own decision on what works best for them. Either way, the results will be political.
Where do all these questions leave us? More than a little confused, to be honest.
If the advert really was banned because of Greenpeace's involvement then perhaps Iceland should simply remake the ad frame for frame, like that terrible Psycho remake, and resubmit it for when their own brand range goes fully palm oil free next year. Or perhaps they should now go all in and make a truly hard-hitting Christmas ad to highlight palm oil's impact. A Christmas Dinner scene: granny bites into a biscuit, jump cut to a chainsaw felling an ancient tree.
More broadly, Clearcast's clarification on why the ad was blocked is extremely welcome. As more and more companies move to promote their environmental credentials and more and more customers want to hear about them, it is vital to quash the idea that environmental messages are so political they constitute a breach of the rules. Although, you also get the sense these rules are going to be severely tested in the coming years. The idea you can neatly bracket the likes of Greenpeace as too political and the world's advertising industry and the corporate giants that use it as apolitical is going to be greeted with increasing incredulity by Millennial consumers to whom the interconnected nature of environmental impacts and commercial consumption are second nature.
As George Orwell - someone who would also have plenty of interesting thoughts to share about the self-styled 'Intellectual Dark Web' - once observed, "the opinion that art should have nothing to do with politics is itself a political attitude". He could have been talking about an advert on palm oil.
This article first appeared as part of the BusinessGreen Overnight Briefing newsletter, which is available to all BusinessGreen subscribers.
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