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Enjoy the holidays with community fun from the Library

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PIERCE COUNTY, Washington – Gingerbread houses, puppet shows, carolers and crafts await this holiday season at the Pierce County Library System. Gather to celebrate throughout the community with free fun for all ages. &nb...
          

On Stage Fairytales

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As a culminating study of fairytales, third grade students in Jessenia Morales’ Dual Language Program class at Brookhaven Elementary adapted the popular tale of “Little Red Riding Hood” into puppet shows. The puppet shows were performed for K-2 students enrolled in the dual language program and were written and acted out completely in Spanish. Ms. Morales explained that the 14 students worked collaboratively in groups to create their own script, puppets and set. The activity not only entertained school peers, but built language, communication and confidence skills. The District’s Dual Language Magnet Program housed at Brookhaven Elementary School officially opened in September 2018 and now allows all district students beginning in kindergarten the opportunity to learn core subjects in both English and Spanish, becoming bilingual and biliterate through fifth grade.
          

Kids on the Block Visit Brookhaven Elementary Students!

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In honor of Red Ribbon Week and the focus on making healthy choices our students enjoyed a visit from the puppets from Kids on the Block. The puppets helped create an awareness of how to resolve conflict with friends and also explored ways to promote positive peer relationships in school!
          

ТОП 10 ЛУЧШИХ ANDROID ИГР ДЛЯ СМАРТФОНОВ ЗА ДЕКАБРЬ 2019

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Все мы любим играть в игры время от времени. Ведь это отличный способ быстро расслабиться. А ещё более комфортным и удобным является играть в игры на смартфоне. Именно поэтому я собрал для вас топ 10 лучших android игр на смартфоны за декабрь 2019 года. Но перед началом обязательно подпишись, нажми на колокольчик и поставь лайк авансом. Приятного просмотра.
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Holy Watch https://play.google.com/store/apps/details?id=com.ExtraHuman.HolyWatch&hl=ru
INFINITY SOULS https://play.google.com/store/apps/details?id=com.FourFire.InfiniteSoul&hl=ru
Detective Story: Jack's Case https://play.google.com/store/apps/details?id=com.dieselpuppet.detectivestory&hl=ru
Chaos Lords Tactical RPG https://play.google.com/store/apps/details?id=games.dpill.chaoslords&hl=ru
ALPHA https://play.google.com/store/apps/details?id=com.kanamekey.alpha
Anxiety of Alina https://play.google.com/store/apps/details?id=com.vainary.anxietyofalinaprem&hl=ru
Winter Survival:after the last zombie war https://play.google.com/store/apps/details?id=com.wintersurvival.zombie
Adorable Home https://play.google.com/store/apps/details?id=com.hyperbeard.adorablehome&hl=ru
World Robot Boxing 2 https://play.google.com/store/apps/details?id=com.reliancegames.world.robot.boxing.wrb&hl=ru
Ubi's Dimensions https://play.google.com/store/apps/details?id=com.timikogames.ubisdimensions&hl=ru
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Brookhaven Elementary School - Stand Up Stand Out

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The students (K-3) enjoyed a musical program presented by Theater Three, Stand Up! Stand Out! The Bullying Project. The program is aimed at teaching children how to respond to bullying through famous children’s stories. The musical teaches students to take responsibility by standing up and helping others. In one story a character, Peg witnesses the bullying of Nellie and how she comes to terms with her responsibility. Peg, like so many bystanders, is faced with the choice of standing up for Nellie or standing by. The students learn the difference between telling and tattling. Telling is to get someone out of trouble and tattling is to get someone in trouble. In addition to dealing with the theme of bullying the program is also geared to teach young audiences about live theater. The program included both actors, puppets and song to stimulate the students’ imaginations! The program was provided through a grant supported by the South Country Education Foundation!
          

Review | Winter Wonderland in Hyde Park 2019

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My boys were really excited when we told them we were going to Winter Wonderland in Hyde Park in London last weekend. We got there for 10am when it opened and entered via the Red Gate, (the nearest tube is Marble Arch), which is perfect for families as it takes you straight to Santa Land and the Circus Megadome. There are a variety of shows on in the Circus Megadome including a daily performance of the Mr Men and Little Miss puppet show at 11am. It was critically acclaimed at the Edinburgh Fringe Festival this year and we all really enjoyed seeing the characters from Happyland brought to life. My 5 year old especially loved it and is still talking about it days later! There are also several performances of Zippo’s Christmas Circus on in the Megadome throughout the day – we went to the 1pm showing which was absolutely breathtaking! I’m still not sure who was the most impressive act, the man skipping on a unicycle, the acrobats or the incredible tightrope walkers. Not far away from the Megadome is Santa Land which is packed full of festive stalls, rides and games for young children. My boys, (who are […]

The post Review | Winter Wonderland in Hyde Park 2019 appeared first on Mini Travellers - Family Travel & Family Holiday Tips.


          

English National Ballet’s Nutcracker at Liverpool Empire

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Last night we had the enormous pleasure of going to see the English National Ballet’s Nutcracker at the Empire Theatre in Liverpool. I must start by saying I am slightly biased, having done ballet from age 4 – 18, but even those new to Ballet couldn’t help but be blown away by this performance.  For those who haven’t seen the Nutcracker, it’s a beautiful story set on Christmas Eve.  Clara’s family is having a party and all the guests bring presents – one of which is a Nutcracker Doll for Clara.  Unfortunately her brother, Freddie, breaks the doll in his excitement, but Dr Drosselmeyer manages to mend it.  Clara then goes to bed, but has a nightmare where her Nutcracker is attacked by the evil Mouse King.  This sets the scene for all the various dolls and puppets coming to life to perform the most amazing dances concluding with the legendary dance of the Sugar Plum Fairy.  Clara awakes and realises it’s all been a dream. Everything about this production was superb.  The set was delightful, with an outdoor scene of everyone arriving for the party and skating outside.  The ballroom, as always, is decorated beautifully and provides the perfect […]

The post English National Ballet’s Nutcracker at Liverpool Empire appeared first on Mini Travellers - Family Travel & Family Holiday Tips.


          

B-Tree Index Improvements in Postgres 12

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#333 — November 27, 2019

Read on the Web

Postgres Weekly

B-Tree Index Improvements in Postgres 12 — B-tree indexes have been improved in Postgres v12 - this article describes some easily understood examples. It won’t affect most users but there are some performance benefits, particularly for databases stored on media with poor random read performance (e.g. magnetic storage).

Laurenz Albe

12 Common Mistakes and Missed Optimization Opportunities in SQL — A lengthy list of SQL “dos and don’ts” covering topics like timezones, ranges, formatting queries, and unions.

Haki Benita

Multitenancy Options in Postgres — A high-level overview of the Postgres architecture helps provide some contextual understanding of the multitenancy options available with Postgres. Download this white paper to learn more about the three main Postgres multitenancy options.

EnterpriseDB sponsor

How To Get Started with pgBackRest on Postgres 12pgBackRest is a backup and restore tool for Postgres that now takes advantages of some of the new features in Postgres 12. Here’s how to set up and configure it.

Tom Swartz

Deploying and Configuring Postgres with Puppet — Runs through the installation and programming of Puppet modules (Puppet being a popular open source config management and deployment system) for deploying/configuring your databases.

Hugo Dias

Converting from Asynchronous to Synchronous Replication in PostgreSQL — Shows you how to install a PostgreSQL Cluster from scratch and convert the asynchronous replication (default) to a synchronous one.

Sebastian Insausti

An Overview of VACUUM Processing in Postgres

Kumar Rajeev Rastogi

Sum Types for Relational Databases — A look at different ways to encode sum types.

Dmitry Olshansky

Waiting for PostgreSQL 13: Allow Invisible PROMPT2 in psql — This is a really minor thing in the grand scheme of things but psql in Postgres 13 will make prompts a little nicer when entering multi-line queries.

Hubert depesz Lubaczewski

📂 Code and Projects

PGLoader: A Data Loading Tool for Migrating to Postgres — A COPY-based data loading tool that supports both parallelism and can load in data that may be partially erroneous but without stopping (as \copy might).

Dimitri Fontaine

eBook: Best Practices for Optimizing Postgres Query Performance — Learn how to get a 3x performance improvement on your Postgres database and 500x reduced data loaded from disk in this free pganalyze eBook.

pganalyze sponsor

pg_simdjson: An Extension for Parsing JSON using simdjson — This is a prototype/experiment for now but I like seeing things like this out there. This extension uses the high performance simdjson parser to (slightly, so far) outperform Postgres’s native JSON parser.

Dmitry Dolgov

pg_query_state: A Module for Query Progress Monitoring

Postgres Professional

🗓 Upcoming Events

  • 2Q PGCONF 2019 (December 4-5, 2019 in Chicago) — A conference dedicated to exchanging knowledge about the world’s most advanced open source database: PostgreSQL.
  • PgDay SF (January 21, 2020 in San Francisco) — A 1-day, single-track Postgres event.
  • PgConf.Russia (Febuary 3-5, 2020 in Moscow, Russia) — One day of tutorials and two days of talks in three parallel sessions.
  • PGConf India (Febuary 26-28, 2020 in Bengaluru, Maharashtra, India) — A dedicated training day and a multi-track two-day conference.
  • pgDay Paris 2020 (March 26, 2020 in Paris, France) — Learn more about the world’s most advanced open source database among your peers.
  • Swiss PGDay 2020 (June 18-19, 2020 in Switzerland) — A two track conference (one in English, one in German) aimed at the entire Postgres community.

          

Mind Fucked Puppet - Brainwash Mesmerise Mesmerize

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Welcome to Mind Fucked Puppet!   Expect the unexpected, just relax, take in my piercing blue eyes as I guide you into a deep trance and then use psychological tactics to re-enforce your submissive nature towards me. A full video file where I never disappear off the screen and where you'll find yourself glued to your chair begging to submit deeper than you've ever submitted before.  Get mind fucked, become my puppet, click buy now!    WARNING: This file contains a genuine induction that can make you feel drowsy and as such, should not be listened to or watched prior to operating machinery, driving or carrying out any other task which requires your full concentration. 
          

ブラウザは友達!Puppeteerでスクリーンショットを撮ってみよう! 

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こんにちは、フロントエンドエンジニアのザワです。 日常生活で写真を撮るという行為は無きに等しい私ですが、仕事中はスクリーンショットを撮りまくります。今回はPuppeteerというNode.jsライブラリを使ってウェブサイ […]
          

Ep 91: Whalesongs

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Continuing TFTS's interview-obsession, Reverand peas confronts guest Jonah "Th'Mole" Mociun about demonic puppets and astronauts. Jonah discusses his latest album Whatever Your Heart Desires featuring the track Dr. What (featuring Kool Keith). Jonah discusses upcoming UK tours with David Liebe Hart and upcoming releases featuring Chip the Black Boy we listen to 4-Headed Horseman.
          

How Stop Motion Animation Began

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Study the early beginnings of stop-motion filmmaking in just under five minutes with this Vox video looking at the intricate work of Polish-Russian animator Wladyslaw Starewicz, whose early work with dead insect puppets pioneered the art. His later films include The Tale of the Fox (a direct influence on Wes Anderson’s Fantastic Mr. Fox) and […]

The post How Stop Motion Animation Began appeared first on Studio Daily.


          

Entrevistas SWCP: Patrick Comerford

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Patrick Comerford é um ator e artista em efeitos especiais. Com mais de duas décadas de experiência no cinema, televisão, comerciais, teatro e apresentações corporativas, foi um dos artistas principais em animatronic para `The Force Awakens´sendo os seus dois personagens principais, no departamento de criaturas:Grummgar e Bollie Pringle. Ele também foi o operador do GA-97 o dróide de comunicações no castelo da Maz, Strono "Cookie" Tuggs e Quiggold para algumas filmagens individuais. Em `Rogue One´foi o artista facial do Almirante Raddus, o droid na cena de abertura e Bor Gullet.Em Star Wars:Os últimos Jedi, ele fez a animatronic do Trypto Buball.


SWCP: Quais foram as principais dificuldades que você teve para encarnar os personagens de Star Wars?


P.C:  Essa é uma pergunta interessante. Acho que é seguro dizer que grande parte do filme que qualquer membro da equipa faz, é resolver problemas.
Toda a gente tem as suas áreas de responsabilidade.A minha função principal sobre os filmes de Star Wars tem sido como um performer de animatronics - às vezes trabalhando simplesmente com fantoches de personagens (como o Grummgar em Ò Despertar da Força´), mas a maior parte trabalhando como ator de personagens - um notável grupo de homens e mulheres por quem eu tenho o maior respeito.
Cada traje e cada cabeça de animatronic são diferentes. A primeira coisa que eu tenho de fazer é familiarizar-me com cada cabeça individualmente antes de entramos no set.  Há um número diferente de sistemas de controle que temos usado ao longo dos anos e eu tenho de ter a certeza que estou feliz com a maneira de como eles são criados. Todos os artistas de animatronic têm preferências, particularmente quando se trata de realizar o diálogo e às vezes isso pode significar trabalho com um mecânico para ajustar a programação para uma cabeça específica para que você automaticamente saiba que expressão e formato da boca causem uma certa combinação de posições do dedo   mesmo se perder de vista o rosto do personagem quando eles (ou a câmera) estão em movimento. 
Os mecânicos de Star Wars são alguns dos melhores (e mais pacientes!) do mundo. Sem a sua ajuda,o meu trabalho seria muito mais difícil. Às vezes pode haver uma pessoa a manobrar os olhos num controlador, enquanto o outro manobra a boca num controlador diferente, mas na maior parte desse trabalho,eu estou incumbido de cuidar de toda a face. 


A minha primeira responsabilidade é executar todas as expressões faciais, emoções e quando necessário, o diálogo para qualquer criatura que esteja fazendo.Para conseguir isso, o ator que usa o traje e eu discutimos o que eles querem fazer e eu observo cuidadosamente os ensaios com o realizador para certificar-me de que estamos todos em sintonia.
Igualmente importante, é ter a certeza de que o ator trajado está seguro e tem o que ele ou ela precisa fazer para o seu trabalho, mantendo-os informados sobre as filmagens em que estão envolvidos e o ambiente em torno deles, tais como riscos de viagem e mudança de posições da câmera. Eu tenho um microfone que está conectado a um fone de ouvido colado ao artista para que eu possa mantê-lo informado e também passar novas instruções do realizador quando é necessário. Na maior parte, o ator trajado limita a sua visibilidade quando usa uma cabeça de animatronic e há raras ocasiões, tais como com o Almirante Raddus(Rogue One)quando devido aos requisitos de projeto da cabeça, o actor (neste caso o Paul Kasey) não tem absolutamente visibilidade tendo por isso de ficar completamente dependente de informações em tempo real que recebe.Num mundo ideal, você sempre tem uma 'cabeça' de ensaio primeiro para que o actor possa habituar-se a um ritmo e ter uma ideia de como as coisas acontecem - mas uma vez que a cabeça esteja colocada, estes podem mudar e raramente escusam de passar por todo o processo novamente.   
Um típico conjunto de orientação que eu possa dar seria algo como "A Jyn Erso está se a aproximar de ti ás tuas três horas(sentido dos ponteiros do relógio),vira-te e cumprimenta-a em 3-2-1 - agora! " ou "Estás a chegar á escadaria em 3-2-1-desce-2-3 - e estás em baixo".
O Traje de trabalho é cansativo, quente e técnicamente muito exigente. O que alguém como o Paul faz tão bem é fazer tudo parecer natural e sem esforço.É muito mais difícil do que a maioria das pessoas imagina. 


Quando um artista de animatronic faz o diálogo para uma criatura no set nós naturalmente precisamos ver a cara da criatura que estamos a filmar, de preferência com linha de visão devido ao ligeiro atraso num monitor. 
Uma coisa que as pessoas que assistem aos filmes provávelmente não estão cientes,é que isso inevitavelmente nos coloca num lugar completamente diferente para a criatura em si, o que significa que muitas vezes um ator está a conversar com um personagem na frente deles enquanto ouve o manipulador de marionetes dizer as linhas de diálogo a cerca de 30 cm atrás da sua orelha esquerda,o que pode ser um pouco de chocante no início. 


O facto de que eles fazem isso tão naturalmente,é um crédito para o incrível elenco com quem trabalhamos. Acho que a coisa mais importante para todos os marionetistas e artistas é de certificarmo-nos de que fazemos jus á extraordinária quantidade de trabalho que foi ter de criar cada personagem.Isto representa uma vasta pirâmide de habilidade e esforço de todos os membros dos departamentos CFX, roupas e adereços que combinam para criar a criatura que vocês vêm no filme. 
Nos últimos 5 anos eu fui afortunado o bastante por fazer parte de uma equipa que continha um grande número de pessoas extremamente talentosas e trabalhadoras que incorporam tudo o que você gostaria de uma equipa quando você pisa no set.O Neal Scanlan rodeou-se com um grupo muito especial de pessoas e cada um deles trouxe seu"O seu jogo para a mesa". Eu não posso exagerar o nível de profissionalismo, carinho e orgulho que todos colocaram no seu trabalho, muitos dos quais trabalham longas horas nas oficinas por meses a fio e nunca são vistos aos olhos do público. É um sentimento maravilhoso andar pelos sets e saber que tudo o que é pedido a si,é que por mais difícil que as coisas possam ficar,com um departamento como este,não há problema que não se consiga resolver. Acho que tenho o melhor trabalho em Star Wars e quando tens este tipo de apoio,qualquer dificuldade é apenas um desafio á espera de ser realizado.

SWCP: Lembra-se de alguma situação engraçada ou incomum que tenha ocorrido durante as filmagens dos filmes? 

P.C: Há tantas situações inusitadas e tanto riso no set que é difícil destacar um só.As rodagens feitas na Irlanda para `O Último Jedi´ foram repletas de momentos surreais, desde o cenário massivo da aldeia do zelador que estava colocado nas falésias 122 metros acima do mar, para ver a enorme marioneta da vaca do mar, teve de vir um helicóptero do penhasco e depois de filmar,voou longe através da Baía para o acampamento-base.Sobre o voo de volta para o Reino Unido,o Mark Hamill tendo um bom espírito desportivo,assumiu o papel de hospedeiro... O fanboy em mim nunca vai esquecer o facto de ter recebido uma toalhita húmida pelo Luke Skywalker!


SWCP: Você e o Harrison Barny são os sócios e fundadores da Global  Puppeteering Services.Pode descrever um pouco mais sobre esta empresa? 

P.C: Conheço o Barny desde o meu primeiro trabalho de marionetista trabalhando na série de TV “Spitting Image” (Onde o Brian Herring também começou ao mesmo tempo) temos sido amigos desde aí e tendo trabalhado em filmes, séries de TV e dezenas de comerciais juntos,marionetando tudo, desde cães verdadeiros a sofás,testes de acidentes com manequins,entre outros.Nós fundámos a Global Puppeteering Services como um veículo para trabalharmos juntos em projetos mas na verdade já não existe como uma entidade - embora por razões sentimentais ainda não tenhamos eliminado o website oficial da empresa.

SWCP: Entre as dezenas de criaturas que encarnou durante sua carreira, há algumas das quais você tenha um carinho especial? 


P.C: O Almirante Raddus será sempre especial para mim, em parte por causa do Paul e em parte porque era o primeiro personagem falante do elenco que fiz em Star Wars.Eu e o Nick Kellington divertimo-nos muito com o Snook Uccorfay em `O Último Jedi´ - embora tivesse acabado com apenas um vislumbre fugaz no filme. Eu fiz um monte de trabalhos realmente agradáveis com o Harley Durst no personagem Molloch do filme `Solo.Uma História de Star Wars´, mas apenas alguns dos personagens acabaram no corte final após as refilmagens (dos quais Chris Clarke assumiu e eu não estava disponível nessa altura).Há uma série de grandes coisas no episódio IX que não posso falar, mas que estou animado para ver na tela.
Às vezes, é muito sobre as pessoas com quem estás a trabalhar assim como os próprios personagens.Trabalhando com o Phill Woodfine em `Ferdy the duck´ e em `The Pelicans on Babe: Pig In The City´ foi uma experiência preciosa e trabalhando juntos novamente em Star Wars foi um enorme prazer.(O Phill definitivamente cai na categoria de herói desconhecido.O seu trabalho para o departamento de CFX tem sido consistentemente excelente, como qualquer membro da equipa te diria).
Eu não posso deixar de fora o Chucky e a Glen em `A semente de Chucky´.Don Mancini criou tais personagens alegremente malévolos e trabalhar para o Tony Gardner ao lado de Peter Chevako e o resto da equipa da Alterian foi uma época que recordo com grande carinho. Oh - e há 3 anos eu era o braço direito do primeiro-ministro John Major. (Na série "Spitting Image"...)

SWCP:  E qual foi seu trabalho mais difícil de fazer até agora?

P.C: Na verdade, acho que não tive o que eu chamaria de um trabalho realmente difícil.  Alguns podem representar desafios mais do que outros, mas existem muitas pessoas no mundo que ganham a vida a salvar vidas e a lidar com as condições e circunstâncias que eu nunca tive de fazer. Relembro constantemente a sorte de poder fazer o que faço.

SWCP: Que mensagem você gostaria de enviar aos fãs de Star Wars?


P.C: Tudo o que posso dizer é obrigado por todo o apoio que temos recebido ao longo dos anos - eu próprio sou um fã de Star Wars desde 1977 e cada vez que entro num set é como ser uma criança numa loja de doces.Sou apenas uma diminuta engrenagem numa grande máquina. Espero que as pessoas gostem do que temos feito até agora e eu estou tão animado como qualquer um para ver o episódio IX!
Que a força esteja convosco! 


ENGLISH VERSION:
Patrick Comerford is an actor and special effects artist.With over two decades of experience working in film, television, commercials, theatre and corporate presentations,he was one of the principal animatronic performers for the Creatures Department in The Force Awakens his two main characters were Grummgar and Bollie Pringle. He was also operated GA-97 the communications droid in Maz's castle, Strono "Cookie" Tuggs and Quiggold for some individual shots. On Rogue He was the facial performer for Admiral Raddus, the droid in the opening scene, and Bor Gullet.In Star Wars: Episode VIII The Last Jedi, he did the animatronic performance of Trypto Buball.

SWCP: What were the main difficulties that you had to embody the characters of Star Wars?

P.C: That’s an interesting question. I think it’s true to say that a large part of film making for any crew member is problem solving.
Everyone has their areas of responsibility. My principal function on the Star Wars films has been as an animatronics performer - sometimes working on purely puppet characters (like Grummgar in The Force Awakens), but for the most part working with suit performers - a remarkable group of men and women for whom I have the utmost respect. 


Every suit and every animatronic head is different.The first thing that I have to do is familiarize myself with each individual head before we step on set.  There are a number of different control systems that we have used over the years and I have to make sure that I am happy with the way that they are set up. All animatronic performers have preferences, particularly when it comes to performing dialogue and sometimes this may mean working with a mechanic to tweak the programming for a specific head so that you automatically know what expression and mouth shape a certain combination of finger positions will give you even if you lose sight of the character’s face when they (or the camera) are on the move. 
The mechanics on Star Wars are some of the very best (and most patient!) in the world. Without their help, my work would be a lot more difficult. Sometimes there may be one person performing the eyes on one controller while another performs the mouth on a different controller, but for the most part I am tasked with looking after the whole face.
My first responsibility is to perform all the facial expressions, emotions and where required, the on set dialogue for whichever creature I am doing.  To achieve this, the suit performer and I will discuss what they want to do and I carefully watch rehearsals with the director to make sure that we are all on the same page.

Equally important though, is to make sure that the suit performer is safe and has what he or she needs to do their job by keeping them informed about the shot they are involved in and the environment around them such as trip hazards and changing camera positions. I have a microphone which feeds to an earpiece taped to the performer’s ear so that I can keep them informed and also pass on any new instructions from the director as required. For the most part, the suit performer has limited visibility when wearing an animatronic head and there are rare occasions, such as with Admiral Raddus on Rogue One - when because of the head’s design requirements the suit performer (in this case Paul Kasey) has absolutely no visibility at all so they are completely reliant upon the real time information they are given.  In an ideal world, you always have a ‘heads off’ rehearsal first so that the suit performer can pace out their blocking and have an idea about where things happen - but once the head is on these can change and there is rarely time go through the whole process again. 
A typical set of guidance that I might give would be something like “ Jyn Erso is approaching you from your 3 o’clock, turn and greet her in 3-2-1 - turn.” or “You are coming up on the steps in 3-2-1-down -2-3- and you’re down.) 

Suit work is tiring, hot and technically very demanding. What someone like Paul does so well is to make everything look effortless and natural.  It’s a lot more difficult than most people realize.
When an animatronic performer is doing dialogue for a creature on set we naturally need to see the face of the creature we are performing, preferably with line of sight due to the slight delay on a monitor. 
One thing that people watching the films are probably not aware of is that this inevitably puts us in a completely different place to the creature itself, which means that often an actor is having a conversation with a character in front of them whilst hearing the puppeteer say the lines from twenty feet behind their left ear, which can be a bit of a shock the first time.  The fact that they do this so naturally is a credit to the amazing cast that we work with. I think that the most important thing for all the puppeteers and performers is to make sure we do justice to the extraordinary amount of work that has gone in to creating each and every character that we get to perform. By the time something reaches set, it represents a vast pyramid of endeavour and skill from all the members of the CFX, costume and props departments who combine to create the creature you see on film.

In the last 5 years I have been fortunate enough to be part of a team that contained a multitude of extremely talented and hard working people who embody everything that you would want from a crew when you step on set.  Neal Scanlan surrounded himself with a very special group of people and every one of them brought their ‘A’ game to the table. I cannot overstate the level of professionalism, care and pride that everyone put into their work, many of whom work long hours in the workshops for months on end and are never in the public eye. It is a wonderful feeling to walk on set and know that whatever is thrown at you, however hard things may get, that as a department there is no problem that you can’t solve.
I think I have the best job on Star Wars - and when you have that kind of support, any difficulty is just a challenge waiting to be met.


SWCP: Do you remember of any funny or unusual situation that has occurred during filming the movies?

P.C: There have been so many unusual situations and so much laughter on set and off, that it’s hard to single them out.  The Ireland location shoot for The Last Jedi was full of surreal moments, from the massive cantilevered set of the caretaker village that stuck out from the cliffs 400 feet above the sea, to watching the huge Sea Cow puppet being helicoptered off the cliff after filming and flown away across the bay to base camp.  On the flight back to the UK, Mark Hamill being the good sport that he is, he even took on the role of flight attendant…The fanboy in me will never forget being handed a wet wipe by Luke Skywalker!

SWCP: You and Barny Harrison are the partners and founders of Global Puppeteering Services. Could you tell us a bit more about this company?

P.C: I have known Barny since my first puppeteering job working on the TV series “Spitting Image” (where Brian Herring also started at the same time) We have been friends ever since and have worked on films, TV series and dozens of commercials together puppeteering everything from real dogs to sofas, crash test dummy goats and individual pieces of popcorn.  We formed Global Puppeteering Services as a vehicle to work on projects together but it doesn’t actually exist anymore as an entity - although for sentimental reasons we haven’t got round to taking down the website yet.


SWCP: Among dozens of creatures that you performed during your career, is there some for whom you have a special affection?

P.C: Admiral Raddus will always be special for me, partly because of Paul and partly because it was the first speaking cast character that I did on Star Wars.  Nick Kellington and I had a lot of fun with Snook Uccorfay on The Last Jedi - although it ended up with only a fleeting glimpse in the film. I did a lot of really enjoyable work with Harley Durst on Molloch in Solo, but only some of that ended up in the final cut after the reshoots (for which Chris Clarke took over and I was not available). There are a number of great things in IX that I can’t talk about, but which I am excited about seeing on screen. 

Sometimes it’s as much about the people you are working with as the characters themselves.Performing with Phill Woodfine on Ferdy the duck and the Pelicans on Babe: Pig In The City was a treasured experience and working together again on Star Wars has been such a pleasure.(Phill definitely falls into the category of unsung hero. His work for the CFX department has been consistently outstanding, as any crew member would tell you).
I can’t leave out Chucky and Glen in Seed of Chucky.  Don Mancini created such gleefully malevolent characters and working for Tony Gardner alongside Peter Chevako and the rest of the Alterian team on that was a time I remember with great fondness.Oh - and for 3 years I was Prime Minister John Major’s right hand man. (On Spitting Image…)

SWCP: And what was your most difficult job to do so far?

P.C: In all honesty, I don’t think I have had what I would call a genuinely difficult job.  Some may pose more challenges than others, but there are many people in the world who earn their living saving lives and dealing with conditions and circumstances that I never have to face. I am constantly reminded of just how lucky I have been to do what I do.

SWCP: What message would you like to send for Star Wars fans? 



P.C: All I can really say is thank you for all the support we have received over the years - I’ve been a Star Wars fan myself ever since 1977 and every time I walk on to a set it’s like being a kid in a candy store.  I’m just a tiny cog in a vast machine.
I hope that people like what we’ve been doing so far and I’m as excited as anyone to see Episode IX!
Que a força esteja convosco! 

          

Mailvox: the success dealers

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A former candidate for Congress explains how it works:
Back in [REDACTED], I had been moved to righteous anger to run for political office, Congress, in my [REDACTED] district which was being weakly held by a non-progressive Democrat.  There were a number of Republican contenders, but the local party had picked one of their donors, an unfortunate blockhead with inherited money.  I took exception to this and pulled a Trump-to-Jeb! on the dude at every public engagement, which only earned the ire of the local party for my uppitiness and Ron Pauline views on government.

At a fundraiser dinner, I had a small coterie and the other candidates had theirs, larger and smaller, and I was surprised when a delegation of state Republicans - well known and connected - came over and asked me to join them at their table.  I obliged.  They showered me with compliments - how they liked my style, how I was clearly the one with the brains and ability to win etc - and then asked what path I was taking, where did I want to go: executive branch, senate, state politics, or if Congress was my goal.  I told them Congress was where I felt I could be most useful, and they pulled out a diagram that had my name on [a state organization] for a number of years, then county supervisor, then Congress.  They told me that this was not only the path they envisioned, but the path they could guarantee. Their words. All I had to do was drop out and endorse the blockhead. But he'll lose, I argued, and explained exactly why.  They nodded in agreement and said, we know. That's how we know you'll win here in [REDACTED].

They were offering me a seat in Congress if I played their game, changed my views, endorsed their loser, and then they would rig the system to ensure victory. Not MY victory, but THEIR victory with me as their puppet. I told them no, thank you, I was my own man and I'd rise and fall on that merit. They said the doors were always open and then went to the next table where a woman was also running for the same seat. They showed her a different diagram.  Two years later she was the Republican nominee for US Senate.

God was looking out for me.  But the point is that you are absolutely right - there are people who will buy your soul and they roam about like wolves preying on the ambitious, vain, or naive.
I've personally seen this sort of thing play out in music, media, politics, and publishing. I've heard about it from those who were offered the ticket in Hollywood, both in television and in movies. David Chapelle has spoken openly about the latter... hence Africa. And the modus operandi is always more or less the same. One little knee, one little submission, is all they initially ask of you to give you whatever you want and more.

They are success dealers, and the first hit is almost free....

Keep this in mind if you're tempted to accuse people of being jealous of those who are wealthier, more famous, or more successful. I can only speak for myself, of course, but I'm not jealous of anyone who has taken the ticket. I know the price they are paying and it isn't one that I was willing to pay.
          

Pinocchio's appeal shows no signs of dwindling

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Having appeared for the first time in 1881 in the 'Giornale per i Bambini' ('Newspaper for Children'), the most beloved wooden puppet of all time Pinocchio continues to charm the young and the old alike. The adventures of the puppet whose nose lengthens whenever he tells a lie is likely to be one of the 'stars' of the Christmas 2019 season, with the arrival of a new film by Matteo Garrone, a large exhibition at Florence's Villa Bardini, new editions of the book and awards. Almost two centuries after the birth of Pinocchio's creator Carlo Collodi - pseudonym for the journalist and writer Carlo...

          

Weekly What To Do: Happy Thanksgiving Weekend

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Thanksgiving time! Enjoy a movie with friends and family or just remember the horrible messed-up violence after with Akira.

PLANES, TRAINS AND AUTOMOBILES
Wed, Nov 27, 7:30pm
Aero Theatre 1328 Montana Avenue,
Santa Monica, CA 90403
$

On the road heading home for Thanksgiving, businessman Steve Martin meets an obnoxious chatterbox (John Candy), and the two opposites get stuck together as Murphy’s Law affects every attempt they make to reach their destinations.

SINGIN' IN THE RAIN
Fri, Nov 29, 7:30pm
Aero Theatre 1328 Montana Avenue,
Santa Monica, CA 90403
$

On a short list of the greatest screen musicals ever made, SINGIN' IN THE RAIN began with legendary MGM producer Arthur Freed giving screenwriters Betty Comden and Adolph Green a stack of songs he'd written early in his career (with partner Nacio Herb Brown) - including "Broadway Melody," "You Are My Lucky Star" and the title song - with the simple request to weave a story around the numbers.

Queen Mary Christmas
Select dates starting November 29, 2019 through January 1, 2020
The Queen Mary, 1126 Queens Hwy, Long Beach, CA.,90802

General Admission is $22 for children and $29 for adults. 
+ parking, separate cost

Embark on an immersive holiday adventure through the outdoor North Pole Village for live entertainment, ice skating at the True North Ice Rink, and holiday beverages and treats at the Making Spirits Bright Bar and the rink-side Lodge. Climb aboard the ship to experience a vintage rush of holiday joy and stroll through the tree-lined decks to find Mrs. C reading stories to little ones and Ol’ Saint Nick hosting meet-and-greets in his Captain’s Quarters, amongst strolling performers and more. The Winter Wharf onboard the ship will feature stocking decorating, gingerbread house making, and insta-worthy photo opportunities.


Grand Opening Day!
Friday, November 29, 10:00 AM-5:00 PM
Bob Baker Marionette Theater
4949 York Boulevard Los Angeles, CA, 90042
Free

A ribbon cutting by special guests and opening ceremony will kick off the day at 10am, with puppet shows on the hour beginning at 11am. The six puppet shows throughout the day will celebrate and explore the six decades that the Bob Baker Marionette Theater has been delighting kids of all ages. Surprise guests will introduce each decade and share the stories and history from the Theater over the years. Additional exhibits, activities, and walk-around puppets will occur throughout the day, with historic Bob Baker photography and a virtual reality Bob Baker experience next door at our neighbors, MorYork.

Chopping Mall & Phantom of the Mall in 35mm: Black Friday
Friday, November 29, 7:30 PM – 11 PM
Cinematic Void
6712 Hollywood Blvd, Los Angeles, California 90028
$12
Shopping to you drop as Cinematic Void takes you back to the mall this Black Friday with Chopping Mall (aka Killbots) and Phantom of the Mall: Eric's Revenge, both in 35mm.

SATIRICAL CINEMA: Using Comedy to Undermine Hate
- Free Triple Feature!
Sat, November 30, 2019
3:00 PM – 9:30 PM
Aero Theatre
1328 Montana Avenue
Santa Monica, CA 90403
Free
In THE GREAT DICTATOR, Charlie Chaplin skewers Adolph Hitler. In THE PRODUCERS, Broadway producers Zero Mostel and Gene Wilder hope to stage a flop called “Springtime for Hitler.” In World War II satire JOJO RABBIT, the blind nationalism of a German boy (Roman Griffin Davis) and his imaginary friend, Adolf Hitler (Taika Waititi), is challenged when the boy's mother (Scarlett Johansson) hides a Jewish girl (Thomasin McKenzie) in their attic.

THE LORD OF THE RINGS Trilogy
Sat, Nov 30, 1:00pm
Egyptian Theatre 6712 Hollywood Boulevard
Hollywood, CA 90028
$15

If your family's not gonna appreciate you a wizard and some tiny half-lings will.





Unique Markets Holiday Pop-Up: DTLA
Nov 30-Dec 1
Hudson Loft
1200 S Hope St
Los Angeles, CA 90015
$15

"Unique Markets is taking over DTLA's historic Hudson Loft for two fabulous floors of holiday shopping! Attendees will have the chance to shop over 100 of the best independent designers and emerging brands while exploring the building's stunning architecture.

Always an immersive experience, there will be festive-freebies such as holiday portraits with Oh Snap Studios, drinks from Califia Farms, Revive Kombucha and Harmless Harvest, and snacks from CLIF Bar. The holiday market will also showcase interactive art and photo experiences, live DJs, free gift-wrapping stations, and screenprinting from Constant Contact, with a special live portrait-drawing experience from Society 6. Come experience the creativity and meet the designers and business owners of your favorite local brands in-person"

LA Kings Holiday Ice
November 30, 2019 - January 12, 2020
LA Live
Individual General Admission (L.A. LIVE): $22
Kids Age 6 and Under: $17
Seniors 62 and over: $17
Military (up to 4 guests) with ID: $17

The annual LA Kings Holiday Ice presented by Coca-Cola brings outdoor ice skating to L.A. LIVE's Xbox Plaza! The LA Kings Holiday Ice Rink presented by Coca-Cola will be open November 30, 2019 - January 12, 2020*. Skate your way into the holiday season! The ice rink is only here for a limited time, so don't miss out on this fun family activity, romantic date night, or a fun way to pass the time before and after a sports game or concert!

Alex Film Society Presents
22nd Annual The Three Stooges
Big Screen Event!
Saturday, November 30, 2019 – 2:00 pm & 8:00 pm
Alex Theatre
216 North Brand Boulevard
Glendale, CA 91203
$17

Celebrating 22 years of Stooge madness, the theme is ‘Fresh Pandemonium’ – featuring shorts we’ve not previously shown in the past 21 years.Stooge family in attendance. Lots of Raffle baskets filled with Stooge goodies from C3 Entertainment.

Screening of anime classic AKIRA (1988)
Sat, Nov 30, 2019, 11:59 PM
Vista Theatre
4473 Sunset Drive
Los Angeles, CA 90027

$12.75 – $99

One of the last chances to see Akira on the big screen. The Akira Special Screening we posted on about a week ago already sold out. Its also makes it your third chance to see Akira in two weeks.


"SPECIAL NOTE: This is part of a Japanese anime series we’re doing for our Winter 2020 season. AKIRA actually gets removed from rep theater circulation on 12/1/19 indefinitely. So if you want to see AKIRA in a movie theater, this may be your last chance for a while"

Jackalope Underground DTLA
Saturday, November 30th & Sunday,
December 1st, 2019 from 11am to 7pm daily
Grand Central Market, DTLA
308 S. Hill Street, Los Angeles CA
Free

Shoppers can expect to find trendsetting indie goods including original fashion and jewelry design, paper goods, innovative home decor and housewares, art, photography, food, plus much more. 

Hollywood Christmas Parade 2019
Sunday, Dec 1, 6 PM
Hollywood Boulevard, along the stree
Free
* Bring a sweater, suppose to be cold that night

It's our own short and sweet parade for Christmas. Spend a few hours checking it out and be bitter it's in no way as big as Macy's. But just chill, because it's still not NYC here. Fun for the whole family and you smack dab in them middle of Hollywood for other sights.


Dark Delicacies 25th Anniversary Party
Sunday, Dec 1, 11 AM – 6 PM
Dark Delicacies
822 N. Hollywood Way, Burbank, California 91505
Not really sure of festiveness.
Kicking off our 25th Anniversary Month! Lots of surprises!Loads of full posters to give-a-way... Drawings for prizes $25 surprise boxes & $15 surprise pails for kids to benefit "Wildlife Care of Southern California"



Dumpling & Associates Pop-Up
Dec 3rd, 2019 - Mar 5th, 2020
Tue - Sun, 11:00 am - 7:00 pm
ROW DTLA 777 Alameda Street
Los Angeles, CA 90021
$25 early bird
$32


Whether a ravioli, a pierogi or a traditional xiaolongbao, dumplings are a religious experience for foodies. Although they are delicious on their own, they are much better with all the “associates” that come with them — think garlic or spicy dipping sauce. Upon entering this 14-room experience, guests will be met with whimsical art installations inspired by traditional dumpling associates. The exhibition will bring you on an interactive journey of how a dumpling comes to be, including the Garlic Swing (think Miley’s Wrecking Ball), the Mr. Dum-bling Bling room and the Dumpling Jacuzzi. The result is a uniquely instagrammable and delicious experience that fully immerses attendees into this culinary canon.

In Fabric
Tuesday, December 3rd, 2:00 P.M.
3131 S. Figueroa Street, Los Angeles, CA 90007
FREE ADMISSION. OPEN TO THE PUBLIC. RSVPs REQUIRED.

A lonely woman (Marianne Jean-Baptiste), recently separated from her husband, visits a bewitching London department store in search of a dress that will transform her life. She’s fitted with a perfectly flattering, artery-red gown—which, in time, will come to unleash a malevolent curse and unstoppable evil, threatening everyone who comes into its path.

From acclaimed horror director Peter Strickland (the singular auteur behind the sumptuous sadomasochistic romance The Duke of Burgundy and auditory giallo-homage Berberian Sound Studio) comes a truly nightmarish film, at turns frightening, seductive, and darkly humorous. Channeling voyeuristic fantasies of high fashion and bloodshed, In Fabric is Strickland’s most twisted and brilliantly original vision yet.
          

Ish Al-Aragoz Festival aims to revive Egypt’s heritage

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The five-day independent festival was dedicated to celebrate 1st anniversary of UNESCO’s recognition of Al-Aragoz, commemorating late veteran puppeteers

The post Ish Al-Aragoz Festival aims to revive Egypt’s heritage appeared first on Daily News Egypt.


          

Pas cher en ligne 2019 Nouveaux produits Chaussure femme Clarks Ladies Pumps 'Glove Puppet' Chaussures plates et ballerines pour femme

 Cache   
Pas cher en ligne 2019 Nouveaux produits Chaussure femme Clarks Ladies Pumps 'Glove Puppet' Chaussures plates et ballerines pour femme

Caractéristiques de l'objet

État :
Neuf avec emballage : Objet neuf, jamais porté, vendu dans l'emballage d'origine (comme la boîte ou la pochette ... En savoir plussur l'état
Style: Pumps
Sole: Man Made Width: Standard (D)
Occasion: Casual UK Shoe Size (Women's): various
Brand: Clarks Upper Material: Leather or Suede leather


acheter
          

Comment on The Puppeteers by philipdoddauthorofangelwar

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Thank you very much.
          

Comment on The Puppeteers by arustamyan

 Cache   
Great write!
          

SCHIFF WITNESS FIONA HILL SLIPS, ADMITS BUMMER WITHHELD MILITARY AID FROM UKRAINE FOR POLITICS

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LIONS REPUBLIC TIP JAR: https://www.paypal.me/bradbishop1.

JOIN LIONS REPUBLIC BLOG HERE: https://lionsrepublicentertain....ment.blogspot.com/?m

JOIN LIONS REPUBLIC ON BITCHUTE HERE: https://www.bitchute.com/channel/9oUqRxDDFM53/

JOIN BACK UP CHANNEL “THE LIONS DEN NEWS” HERE: https://www.youtube.com/channel/UC6u1YxJ9rlxV35QO-

LINK: https://www.puppetstringnews.c....om/blog/schiff-witne
          

Introducing Bubo RSS: An Absurdly Minimalist RSS Feed Reader

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Bubo Reader is a somewhat irrationally minimalist RSS and JSON feed reader you can deploy on Netlify in a few simple steps. I created this one weekend last summer after nostalgically lamenting the demise of Google Reader many years ago. It's named after the silly robot owl from the film Clash of the Titans (1981).

View the demobubo-rss-demo.netlify.com
View the source codegithub.com/georgemandis/bubo-rss

You will find instructions on the project's GitHub page for how to make your own instance of Bubo Reader, update the list of feeds and deploy to Netlify. If you already have interconnected accounts on those two services it's really quite straightforward!

Read on for more information about the original impetus, design goals and thoughts surrounding this project.

What Does "Irrationally Minimalist" Mean?

Many RSS readers—including the former Google Reader—would pull the contents of a post into your feed so you could read everything in one place. Although I completely understand why someone would want to do that, I decided even that introduced too much complexity for my liking.

My goal with Bubo Reader was to be able to see a list of the most recent posts from websites I like in one place with links to read them if I want. That's it. If I want to read something, I'll click through and read it on the publisher's site. If I want to keep track of what I've clicked on and read I can reflect that using the a:visited pseudo selector in my CSS.

I think it's often overlooked how many problems the browser has already solved for us. Sometimes modern web development feels like fighting against the problems we've already solved as we try to build things that pretend they don't live in the browser.

Bubo Reader does not store posts in a database or keep track of what I've read. If an item is no longer available in the site's feed then it no longer appears in Bubo. If I miss something, that's just life. I can live with that.

Design Goals for This Project

Many RSS feed reader services have sprouted up since Google Reader left, but they all do more than I need. All I wanted was something that:

  • Had an absurdly simple interface, relying almost entirely on default HTML/browser behaviors and functionality. I'm using lesser-known HTML like the details and summary elements to hide and reveal content instead of recreating that wheel in JavaScript, for example.

  • Could be themed with CSS or mildly extended using JavaScript. For my personal copy of Bubo Reader I changed the font to use the system-ui font and bumped the font-size a little, but that's mostly it.

  • Didn't worry about pulling in the link's content into the reader interface. I'm happy to read most content on the site it originated from and many feeds only provide a short description of th content as it is. Mostly I wanted a single dashboard to know when new stuff is published and available.

  • Didn't rely on a database to see what I've read or keep an archive of content over time. Again, I found the browser has a way of taking care of this for me. The a:visited pseudo selector is enough indication for me to know whether or not I've already read something.

A Healthier Way to Read Online

I also think this is a healthier way to consume information and news. So much of social media is designed to reward things that hit the dopamine buttons in our brains, manipulate our common, human propensity for anxiety or distrubute outright propaganda.

Refreshing Content

The beauty of running Bubo on Netlify is you can setup a Build Hook to rebuild the site when you want to "refresh" the list of feeds. I'm using IFTTT to trigger rebuilds once an hour, which is a perfectly sane rate to consume information at. You could do the same, or use another service like Zapier, EasyCron, setup a cronjob on your server or even setup a cronjob to run locally on your machine and ping the hook as often as you wish.

What About Authentication?

There is no authenticaton required for Bubo Reader. Netlify does offer Basic Authentication under their Pro plan, which would probably be the easiest solution to implement. You could also utilize their Identity feature to add some authentication. I don't subscribe to any private or sensitive feeds, so at the moment that isn't much of a priority for this project.

Adding New Feeds

Find them in the site's source code and add them to the feeds.json file. This is the trickiest part of this whole setup I suppose, but I'm willing to bet the people who clone projects from GitHub and deploy them to Netlify are okay with editing a little JSON from time to time.

The first version of this project used Puppeteer to extract the feeds from a site. This was actually quite cool, but would hang or fail periodicially. Builds were slow and there was a lot of work making sure things didn't timeout or use too much memory on the tiny server I'd setup. Simply parsing a list of known RSS feeds was much simpler and faster.

It's on my list to look into converting this into a serverless version that could run using Netlify's Functions, but after using my own project for a month I realized it didn't make the thing feel much more usable to me.

In Summary

If you find Bubo Reader useful, interesting or it inspires a project of your own I'd love to hear about it! Again, you'll find the code on GitHub.


          

BWW Review: Sit Back in Your Own Little Chair at RODGERS & HAMMERSTEIN'S CINDERELLA with Footlite Musicals

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Childhood is tied up with memories of favorite fairy tales and the dreams they inspired, which is part of what makes this musical so beloved. Everyone enjoys a chance to be pulled into a fantasy where magic is real and wishes are granted. This production has dashes of whimsy and romance that are sure to enchant children and adults alike into the fairy tale world of RODGERS & HAMMERSTEIN'S CINDERELLA.

Celeste:

I have a soft spot for this musical because I grew up watching both the 1965 TV film version with Lesley Ann Warren and Stuart Damon as Cinderella and the Prince and the TV film version with Brandy Norwood and Paolo Montalban as Cinderella and the Prince (along with a host of other famous actresses and actors). So I came into this production with very high hopes to relive my own glory days of waiting in my own little corner for my prince. I was in luck because this production had all of my favorite musical moments in addition to some tidbits of humor and fun that were not featured in the films.

Both Ella (Lauren Russel) and Prince Topher (Jacob Hardin) did an excellent job. I most enjoyed Russel's performance when she settled into her natural and clear vibrato and stayed away from pop-style slides. She made an enchanting princess. Hardin was a charismatic presence on the stage, the classic charmer to go with Ella's sweet innocence. Marie (Heather Catlow) had such a full and rich voice that brought the Fairy Godmother's presence a beautiful depth and magic.

My remaining praise goes to the characters I thought brought the most fun to the show. I had great fun watching the rivalry of presence, both physically and musically, of Sebastian (Markell Pipkins) and Lord Pinkleton (Chris Jones). They were a bright spot of humor as they did their political dances around the prince and one tried to outdo the other during "The Prince Is Giving a Ball." I also loved the stepsisters, Gabrielle (Tara Cherry) and Charlotte (Kristin Cutler). They particularly shone during the scene of "Stepsisters' Lament," a hilarious number that many a woman can relate to. Not everyone is born looking like the classic perception of a fairy tale princess, but that shouldn't prevent a woman from finding her prince.

The costumes were another part of the production that made it such fun. Samantha Kelly (Head Costumer) did an excellent job leading her costume crew to make the garments functional, fun, and worthy of a fairy tale. Another bit that made the production so enjoyable were the puppets, a collection of woodland creatures. The ensemble members who brought them to life were not listed individually, but I would like to praise them for being another source of whimsy and delight on the stage.

Dylan:

Initially written as a 76-minute television creation in 1957 for Julie Andrews, Rodgers & Hammerstein's CINDERELLA has subsequently navigated its way through numerous changed versions for both the small screen and the stage, each one diverging in some way from the other as though frequently in development. Songs are removed, while new ones are added, including "Now is the Time", taken from South Pacific and given to a new character here. In 2013, Rodgers & Hammerstein's CINDERELLA finally made it to Broadway, appearing as the sum of all the work and amendments made to the piece since the CBS broadcast 1957. And that's what you will have the pleasure of seeing at Footlite Muscials, showing until the 15th of December. It was quite the dazzling spectacle and is more appropriate for family audiences with young princess and princesses of their own.

Everybody knows the story of Cinderella, how the young lady is orphaned, and forced into a lifetime of servitude by an evil stepmother and her two stepsisters. While that is the traditional story, and is basic story arc of what happened in this show, there have been some welcomed updates, aimed at a more modern taste. There are also some major differences to what you think you may see.

An outstanding main cast brought the musical to life. Jill O'Malia gave us a wonderful performance as Madame (who you might know as the Wicked Stepmother), and at certain times, could have easily provoked a few boos and hisses. The leading lady, Lauren Russel, truly came across as the belle of the ball. Her spot-on vocals drifted through Footlite with such confidence that the whole audience was utterly enchanted. Russel also gave the sense that, although the character is mistreated by the step-mother, there is a ferocity just below the surface, and it was a wonderful take on the iconic character.

In truth, the musical possesses a split personality among its magic, hovering somewhere between the old-fashioned and the new. While Cinderella's overall story is, by now, practically indestructible, the changes that the show made to boost the original 76-minutes into a two-hour production was well done.


          

Split Personalities

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Split Personalities
CONDITION:- GREAT
COMPATIBILITY:- ZX SPECTRUM 48K+/128K+ RANGE
FORMAT:- Cassette
CASE/BOX TYPE:- SINGLE CASSETTE

 

 Quick description

Fun puzzle game based on the anarchic uk comedy with puppets from the 80's

 


          

Holiday's

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$69.00

Here a simple table puppet, meaning, arms are only gestured by stitching, wonderful on a fall nature table or for little ones just to hold in their hands.

Her body is sewn from a wonderful recycled wool fabric with embroidery on it and a removable hand embroidered woolen cape, cotton skin, green eyes and curly mohair for hair with a bun at the neck, she stands firmly on a cloth covered wooden base,  ~10" tall.

The price is for her only please!

 

Price: $69.00

          

Mother

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$65.00

Here a simple table puppet, meaning, arms are only gestured by stitching, wonderful on a fall nature table or for little ones just to hold in their hands.

Her body is sewn from recycled wool fabric with little beads sewn onto it and a removable woolen cape, cotton skin, green eyes and curly mohair for hair, she stands firmly on a cloth covered wooden base,  ~9.5" tall.

The price is for her only please!

 

Price: $65.00

          

Mother

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$65.00

Here a simple table puppet, meaning, arms are only gestured by stitching, wonderful on a fall nature table or for little ones just to hold in their hands.

Her body is sewn from recycled wool fabric with little beads sewn onto it and a removable woolen cape, cotton skin, green eyes and mohair for hair with a bun in the neck, she stands firmly on a cloth covered wooden base,  ~10" tall.

The price is for her only please!

 

Price: $65.00

          

Fall Girl

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$28.00

Here a simple table puppet, meaning, arms are only gestured by stitching, wonderful on a fall nature table or for little ones just to hold in their hands.

Her body is sewn from recycled wool fabric, cotton skin, brown eyes and embroidered wool for hair, she stands firmly on a cloth covered wooden base,  ~3.5" tall.

 

Price: $28.00

          

Grand Mother

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$50.00

Here a simple table puppet, meaning, arms are only gestured by stitching, wonderful on a fall nature table or for little ones just to hold in their hands.

Her body is sewn from recycled cashmere fabric hand embroidery on her removable wool cape, cotton skin, brown eyes and wmohair for hair, she stands firmly on a cloth covered wooden base,  ~6.5" tall.

 

Price: $50.00

          

Fall Girl

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$50.00

Here a simple table puppet, meaning, arms are only gestured by stitching, wonderful on a fall nature table or for little ones just to hold in their hands.

Her body is sewn from recycled wool fabric hand embroidery on her body as well as on her removable wool cape, crochet wool hat, cotton skin, brown eyes and wool fleece for hair, she stands firmly on a cloth covered wooden base,  ~5" tall.

 

Price: $50.00

          

puppetserver2: Eliminar y regenerar certificados en clientes Windows

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La entrada puppetserver2: Eliminar y regenerar certificados en clientes Windows se publicó primero en Algo de Linux.


          

puppetserver2: Configurar Chocolatey para que use un proxy

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La entrada puppetserver2: Configurar Chocolatey para que use un proxy se publicó primero en Algo de Linux.


          

Instalar openssh en Windows mediante Puppet utilizando Chocolatey como proveedor

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La entrada Instalar openssh en Windows mediante Puppet utilizando Chocolatey como proveedor se publicó primero en Algo de Linux.


          

Consultar la configuración del servidor Puppet en versiones 6.x

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La entrada Consultar la configuración del servidor Puppet en versiones 6.x se publicó primero en Algo de Linux.


          

Instalar puppet-agent en Windows mediante Chocolatey

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La entrada Instalar puppet-agent en Windows mediante Chocolatey se publicó primero en Algo de Linux.


          

puppetserver2: Gestionar certificados en el servidor Puppet v6.x

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La entrada puppetserver2: Gestionar certificados en el servidor Puppet v6.x se publicó primero en Algo de Linux.


          

puppetserver2: Instalados módulos de puppetlabs para gestionar sistemas Windows

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La entrada puppetserver2: Instalados módulos de puppetlabs para gestionar sistemas Windows se publicó primero en Algo de Linux.


          

12/2/2019: Satellite, Cable & Digital: Satellite choice

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FAMILY FILM Harvie And The Magic Museum, 5pm, Sky Premiere VIDEO game-game-loving Harvie unlocks the wildest game of all when he breathes life into a toy museum — including its less than friendly puppets. POLLUTION CRISIS Something In The Air,...
          

Engineering: DevOps Cloud Engineer - Richardson, Texas

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DevOps Cloud Engineer Richardson, TX HOW YOU WILL FULFILL YOUR POTENTIAL Our Digital Finance team is bringing together a group of highly skilled technology engineers with a strong desire to change the industry. DevOps principles and utilizing advanced cloud capabilities are fundamental to our strategy of market agility and lean operating principles with a strict focus on quality that meets the demands of digital customers. We are seeking highly collaborative, creative and intellectually curious Cloud Engineers who are passionate about forming and implementing cutting-edge cloud computing capabilities. As a member of the Marcus Cloud team you will champion the advancement of cloud adoption, develop and deploy our cloud architecture and be a leading voice of cloud strategy. Lead the cultural changes necessary for cloud adoption and migration Develop, coordinate and communicate the cloud architecture, migration and adoption across our digital products Automate the provisioning of environments using Ansible, Puppet and other tools Design and develop high-quality automation workflows in the cloud platform Possess strong verbal and written communication skills with the ability to present, persuade and influence peers, vendors and executives Experience migrating platforms to cloud based offerings, such as Amazon's AWS Energetic, self-directed and self-motivated Able to build and sustain long-term relationships across a multitude of stakeholders in a fast paced, multi-directional work environment Exceptional analytical skills with the ability to apply expertise to drive complex, technical and highly commercial solutions SKILLS AND EXPERIENCE WE ARE LOOKING FOR Extensive experience with AWS and AWS native toolsets such as AWS Cloud Formation, AWS EC2, S3, VPCs, Kinesis, Dynamo, SQS, SNS, SWF etc. Extensive experience with automation and configuration management using Puppet, Chef, Ansible, Terraform, Vault, Nomad, Jenkins or similar Strong knowledge with Web Services, API Gateways and application integration development and design Strong background in Linux Strong background in scripting and automation in languages such as Python and Ruby Strong background in cloud operations instrumentation and monitoring of distributed architectures using AppDynamics, Splunk, Nagios or similar Strong background with source control management systems (GIT or Subversion); Build Systems (Maven, Gradle), Code Quality (Sonar), Artifact Repository Manager(Maven), Continuous Integration (Jenkins) Knowledge of relational and non-relational databases Knowledge of containerization Knowledge of agile software development practices and release management Thorough understanding of Cloud Computing: virtualization technologies, Infrastructure as a Service, Platform as a Service and Software as a Service Cloud delivery models and the current competitive landscape. Excellent written and oral communication skills with ability to communicate effectively with technical and non-technical staff Bachelor's degree in Computer Science or higher, and/or equivalent experience ()
          

Justin Urritia added new advert

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New advert We sell cocaine , mdma , 4mmc, mdpv, am2201 ,apvp, 2ci 2ce ,
Buy high quality cocaine , mdma , 4mmc, mdpv, jwh018 , 5meo dmt , 4-Aco-DMT 2CI , 2CP , 2CE , 2CB Mephedrone , methylone


          

Justin Urritia added new advert

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New advert We sell cocaine , mdma , 4mmc, mdpv, am2201 ,apvp, 2ci 2ce ,
Buy high quality cocaine , mdma , 4mmc, mdpv, jwh018 , 5meo dmt , 4-Aco-DMT 2CI , 2CP , 2CE , 2CB Mephedrone , methylone


          

Justin Urritia added new advert

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New advert We sell cocaine , mdma , 4mmc, mdpv, am2201 ,apvp, 2ci 2ce ,
Buy high quality cocaine , mdma , 4mmc, mdpv, jwh018 , 5meo dmt , 4-Aco-DMT 2CI , 2CP , 2CE , 2CB Mephedrone , methylone


          

Justin Urritia added new advert

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New advert Buy high quality cocaine , mdma , 4mmc, mdpv, jwh018 , 5meo
Buy high quality cocaine , mdma , 4mmc, mdpv, jwh018 , 5meo dmt , 4-Aco-DMT 2CI , 2CP , 2CE , 2CB Mephedrone , methylone


          

The Cameraman’s Revenge (1912): The Truly Weird Origin of Modern Stop-Motion Animation

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These days, ever more ambitions computer-animated spectacles seem to arrive in theaters every few weeks. But how many of them capture our imaginations as fully as works of the thoroughly analog art of stop-motion animation? The uncanny effect (and immediately visible labor-intensiveness) of real, physical puppets and objects made to move as if by themselves […]

<i>The Cameraman’s Revenge</i> (1912): The Truly Weird Origin of Modern Stop-Motion Animation is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.


          

12/07/2019 - Waldorf School Holiday Faire & Boutique

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For one day each year, the WSP Los Altos campus transforms into a magical winter wonderland. The joyous mood, creative activities, and welcoming community of people at our faire invite you to celebrate the beginning of the holiday season with us.

Among the many activities to enjoy:
Games and Prizes
Puppet Show
Beeswax Candle Dipping
Handcraft Workshops
Entertainment
Family Activities
Wreath Making
Children’s Gnome Adventure
…and More!

Food from Ce Patli Artisan Foods will be onsite for lunch, from 11 am – 3 pm with many delicious options available.

Holiday Boutique stocked with over 10,000 unique toys, handcrafted items, and books, and special additional shopping hours:
  • Friday, December 6th from 6:00 - 9:00 pm (adult shoppers only please)
  • Saturday, December 7th from 10:00 am - 5:00 pm
Free Parking and Shuttle Service at Antiochian Orthodox Church of the Redeemer‎, 380 Magdalena Avenue, Los Altos Hills. Click here for a map…
  • Families may park at the church and ride over to the Faire in the shuttle vans. If you have children who are legally required to ride in car seats, you must bring your seats for use in the shuttle. You may check your car seat in at the front office for storage during the Faire. 
  • Alternatively, parents may first drop their families at the Los Altos Campus, park at the church, and take the shuttle to the Faire.
  • For parents going solo with children at the Faire, there is limited space at the Los Altos campus parking lot for you.

Our Faire will be happening RAIN or SHINE. See you there!
 
          

Puppet Shows: Henny Penny

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Event date: December 12, 2019
Event Time: 10:30 AM - 11:00 AM
Location:
2501 Coit Road
Plano, TX 75075
Description:
A silly chicken thinks a falling acorn means the sky is falling and she must go tell the king. All ages
          

Brett Roberts' Christmas Puppets

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Event date: December 14, 2019
Event Time: 03:00 PM - 04:00 PM
Location:
2501 Coit Road
Plano, TX 75075
Description:
Packed with puppets, slapstick silliness and a few age-appropriate magic tricks. Guaranteed to make kids smile! Each routine is only a few minutes long – it's fast paced and fun. Limited supplies or space – free tickets required, distributed 30 minutes before the program. All ages
          

SmutPuppet Beautiful Tiny Teen Herda Wisky Compilation Part 1

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none
          

Kingly experience at ChokhiDhani, Jaipur

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Kingly experience at ChokhiDhani, Jaipur A Rajasthani Village themed restaurantA de'light'ful experience: The village is decorated with plenty of lamps placed everywhere including in and around the house, on the bridge, and open places. View from the watchtower. The place is spread around in not less than 10 acres.Various kind of typical folk dance performances keeps on going around: Dance, Puppetry. Drawing Mehandi on hand is an attraction for tourists apart from other paintings and art form.Food is served in traditional style. Normally group of about 20 people seated in a rectangular fashion and bonfire at the center fuelled with pure ghee.Typical thali served initially. More and more food items keep on coming too fast. Food made in lots of ghee.And you can take a photo with Rajasthani headgear.
          

Twelve Days of Front End Testing

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Amy Kapernick sings us through numerous ways of improving the robustness and reliability of our front end code with a comprehensive rundown of ideas, tools, and resources. The girls and boys won’t get any toys until all the tests are passing.


Anyone who’s spoken to me at some point in November may get the impression that I’m a bit of a grinch. But don’t get me wrong, I love Christmas, I love decorating my tree, singing carols, and doing Christmas cooking - in December. So for me to willingly be humming the 12 days of Christmas in October, it’s probably for something that I think is even more important than banning premature Christmas decorations, like front end testing.

On the 12th day of Christmas, my front end dev, she gave to me, 12 testing tools, 11 optimised images, 10 linting rules, 9 semantic headings, 8 types of colour blindness, 7(.0) contrast ratio, 6 front end tests, 5 browser types, 4 types of tests, 3 shaken trees, 2 image types, and a source controlled deployment pipeline.

Twelve Testing Tools

  1. axe does automated accessibility testing. Run as part of your development build, it outputs warnings to your console to let you know what changes you need to make (referencing accessibility guides). You can also specify particular accessibility standard levels that you’d like to test against, eg. best-practice, wcag2a or wcag2aa, or you can pick and choose individual rules that you want to check for (full list of rules you can test with axe).
    Screenshot of a browser console pane open with a list of aXe warnings and errors about accessibility issues.
    aXe Core can be used to automate accessibility testing, and has a range of extensions for different programming languages and frameworks.
  2. BackstopJS runs visual regression tests on your website. Run separately, or as part of your deployment/PR process, you can use it to make sure your code changes aren’t bleeding into other areas of the website. By default, BackstopJS will set you up with a bunch of configuration options by running backstop init in your project to help get you started.
    Screenshot of a BackstopJS report, with screenshots of a webpage shown side by side. There are 3 passes and 3 failures.
    BackstopJS compares screenshots of your website to previous screenshots and compares the visual differences to see what’s changed.
  3. Website Speed Test analyses the performance of your website specifically with respect to images, and the potential size savings if they were optimised.
    Screenshot of the results of a website speed test. It shows that the page has 3.2MB of images, and claims this can be compressed to 183.7KB.
  4. Calibre runs several different types of tests by leveraging Lighthouse. You can run it over your live website through their web app or through the command line, it then monitors your website for performance and accessibility over time, providing metrics and notifications of any changes.
    Screenshot of Calibre app, with a list of performance metrics.
    Calibre provides an easy to use interface and dashboard to test and monitor your website for performance, accessibility and several other areas.
  5. Cypress is for end-to-end testing of your website. When visual regression testing may be a bit much for you, Cypress can help you test and make sure elements are still on the page and visible (even if they’re not pixel for pixel where they were last time).
  6. pa11y is for automated accessibility testing. Run as part of your build process or using their CLI or dashboard, it tests your website against various Web Content Accessibility Guidelines (WCAG) criteria (including visual tests like colour contrast). While axe is run as part of your dev build and gives you an output to the console, it can be combined with pa11y to automate any changes as part of your build process.
  7. whocanuse was created by Corey Ginnivan, and it allows you to view colour combinations as those with colour blindness would (as well as testing other visual deficiencies, and situational vision events), and test the colour contrast ratio based on those colours.
    Screenshot of whocanuse which shows a block of blue, and a list of how that blue is visualised for people with different types of vision.
    Colour contrast assessment of my brand colours, testing them for issues for people with various vision deficiencies, and situational vision events.
  8. Colour Blindness Emulation was created by Kyo Nagashima as an SVG filter to emulate the different types of colour blindness, or if you’re using Gatsby, you can use a plugin based off of gatsby-plugin-colorblind-filters.
  9. Accessible Brand Colors tests all your branding colours against each other (this is great to show designers what combinations they can safely use).
    A visualisation of brand colours and their levels of compliance.
    Accessible Brand Colors tests all colour combinations of background and text colours available from your branding colours, and checks them for compliance levels at various font sizes and weights.
  10. Browser dev tools - Most of the modern browsers have been working hard on the features available in their dev tools:
    • Firefox: Accessibility Inspector, Contrast Ratio testing, Performance monitoring.
    • Chromium: (Chrome, Edge Beta, Brave, Vivaldi, Opera, etc) - Accessibility Inspector, Contrast Ratio testing, Performance Monitoring, Lighthouse Audits (testing performance, best practices, accessibility and more).
    • Edge: Accessibility Inspector, Performance monitoring.
    • Safari: Accessibility Inspector, Performance monitoring.
    A screenshot of the output of browser dev tools, and how they show alerts about low contrast ratio.
    Firefox (left), Chrome, and Edge Beta (right) Dev Tools now analyse contrast ratios in the colour picker. The Chromium-based browsers also show curves on the colour picker to let you know which shades would meet the contrast requirements.
  11. Linc is a continuous delivery platform that makes testing the front end easier by automatically deploying a version of your website for every commit on every branch. One of the biggest hurdles when testing the front end is needing a live version of the site to view and test against. Linc makes sure you always have one.
  12. ESLint and Stylelint check your code for programmatic and stylistic errors, as well as helping keep formatting standard on projects with multiple developers. Adding a linter to your project not only helps you write better code, it can reduce simple errors that might be found during testing time. If you’re not writing JavaScript, there are plenty of alternatives for whatever language you’re writing in.

If you’re trying to run eslint in VS Code, make sure you don’t have the Beautify extension installed, as that will break things.

Eleven Optimised Images

When it comes to performance, images are where we take the biggest hit, with images accounting for over 50% of total transfer size for websites. Many websites are serving excessively large images “just in case”, but there’s actually a native HTML element that allows us to serve different image sizes based on the screen size or serve better image formats when the browser supports it (or both).

<!-- Serving different images based on the width of the screen -->
<picture>
    <source
        srcset="/img/banner_desktop.jpg"
        media="(min-width: 1200px)"
    />
    <source
        srcset="/img/banner_tablet.jpg"
        media="(min-width: 700px)"
    />
    <source
        srcset="/img/banner_mobile.jpg"
        media="(min-width: 300px)"
    />
    <img src="/img/banner_fallback.jpg">
</picture>

<!-- Serving different image formats based on browser compatibility -->
<picture>
    <source
        srcset="/banner.webp"
        type="image/webp"
    />
    <img src="/img/banner_fallback.jpg">
</picture>

Ten Linting Rules

A year ago, I didn’t use linting. It was mostly just me working on projects, and I can code properly right? But these days it’s one of the first things I add to a project as it saves me so much time (and has taught me a few things about JavaScript). Linting is a very personal choice, but there are plenty of customisations to make sure it’s doing what you want, and it’s available in a wide variety of languages (including linting for styling).

// .eslintrc
module.exports = {
    rules: {
        'no-var': 'error',
        'no-unused-vars': 1,
        'arrow-spacing': ['error', { before: true, after: true }],
        indent: ['error', 'tab'],
        'comma-dangle': ['error', 'always'],
        // standard plugin - options
        'standard/object-curly-even-spacing': ['error', 'either'],
        'standard/array-bracket-even-spacing': ['error', 'either'], },
}

// .stylelintrc
{
    "rules": {
        "color-no-invalid-hex": true,
        "indentation": [
            "tab",
            {
                "except": [
                    "value"
                ]
            }
        ],
        "max-empty-lines": 2,
    }
}

Nine Semantic Headings

No, I’m not saying you should use 9 levels of headings, but your webpage should have an appropriate number of semantic headings. When your users are accessing your webpage with a screen reader, they rely on landmarks like headings to tell them about the page. Similarly to how we would scan a page visually, screen readers give users a list of all headings on a page to allow them to scan through the sections and access the information faster.

When there aren’t any headings on a page (or headings are being used for their formatting rather than their semantic meaning), it makes it more difficult for anyone using a screen reader to understand and navigate the page. Make sure that you don’t skip heading levels on your page, and remember, you can always change the formatting on a p tag if you need to have something that looks like a heading but isn’t one.

<h1>Heading 1 - Page Title</h2>
<p>Traditionally you'll only see one h1 per page as it's the main page title</p>
<h2>Heading 2</h2>
<p>h2 helps to define other sections within the page. h2 must follow h1, but you can also have h2 following another h2.</p>
<h3>Heading 3</h3>
<p>h3 is a sub-section of h2 and follows similar rules to h2. You can have a h3 after h3, but you can't go from h1 to h3.</p>
<h4>Heading 4</h4>
<p>h4 is a sub-section of h3. You get the pattern?</p>

Eight Types of Colour Blindness

Testing colour contrast may not always be enough, as everyone perceives colour differently. Take the below colour combination (ignoring the fact that it doesn’t actually look nice). It has decent colour contrast and would meet the WCAG colour contrast requirements for AA standards – but what if one of your users was red-green colour blind? Would they be able to tell the difference?

http://colorsafe.co/ empowers designers with beautiful and accessible colour palettes based on WCAG Guidelines of text and background contrast ratios.

Red-green colour blindness is the most common form of colour blindness, but there are 8 different types affecting different parts of the colour spectrum, all the way up to complete colour blindness.

Protanopia
Inability to see red end of the colour spectrum.
Protanomaly
Difficulty seeing some shades of red.
Deuteranopia
Inability to see the green portion of the colour spectrum.
Deuteranomaly
Difficulty seeing some shades of green.
Tritanopia
Inability to see blue end of the colour spectrum.
Tritanomaly
Difficulty seeing some shades of blue.
Achromatopsia
Inability to see all parts of the colour spectrum, only able to perceive black, white and shades of grey.
Achromatomaly
Difficulty seeing all parts of the colour spectrum.

Seven (.0) Contrast Ratio

Sufficient colour contrast is perhaps one of the best steps to take for accessibility, as it benefits everyone. Having adequate contrast doesn’t just make the experience better for those with vision impairments, but it also helps those with situational impairments. Have you ever been in the sun and tried to read something on your screen? Whether you can view something when there’s glare could be as easy as making sure there’s enough contrast between the text and its background colour.

The WCAG have defined a contrast ratio of at least 4.5:1 for normal text (18.5px) and 3:1 for large text (24px) to meet AA accessibility standards, but this should be an absolute minimum and isn’t always readable. All four below examples have sufficient contrast to pass AA standards, but you might be hard pressed to read them when there’s glare or you have a dodgy monitor (even more so considering most websites use below 18.5px for their base font size).

Examples of 4.5:1 colour contrast

To meet the AAA standard you need to have a ratio of 7:1 for normal text and 4.5:1 for large text, which should be sufficient for those with 20/80 vision to read.

Six Front End Tests

  1. Adding default axe-core testing to Gatsby:
    //gatsby-config.js
    {
        resolve: 'gatsby-plugin-react-axe',
        options: {},
    },
  2. Running pa11y tests on homepage at various screen sizes:
    // tests/basic-a11y_home.js
    const pa11y = require('pa11y'),
        fs = require('file-system')
    
    runTest()
    
    async function runTest() {
        try {
            const results = await Promise.all([
                pa11y('http://localhost:8000', {
                    standard: 'WCAG2AA',
                    actions: [],
                    screenCapture: `${__dirname}/results/basic-a11y_home_mobile.png`,
                    viewport: {
                        width: 320,
                        height: 480,
                        deviceScaleFactor: 2,
                        isMobile: true,
                    },
                }),
                pa11y('http://localhost:8000', {
                    standard: 'WCAG2AA',
                    actions: [],
                    screenCapture: `${__dirname}/results/basic-a11y_home_desktop.png`,
                    viewport: {
                        width: 1280,
                        height: 1024,
                        deviceScaleFactor: 1,
                        isMobile: false,
                    },
                }),
            ])
    
            fs.writeFile('tests/results/basic-a11y_home.json', JSON.stringify(results), err => {
                console.log(err)
            })
        } catch (err) {
            console.error(err.message)
        }
    }
  3. Running pa11y tests on a blog post template at various screen sizes:
    // tests/basic-a11y_post.js
    const pa11y = require('pa11y'),
        fs = require('file-system')
    
    runTest()
    
    async function runTest() {
        try {
            const results = await Promise.all([
                pa11y('http://localhost:8000/template', {
                    standard: 'WCAG2AA',
                    actions: [],
                    screenCapture: `${__dirname}/results/basic-a11y_post_mobile.png`,
                    viewport: {
                        width: 320,
                        height: 480,
                        deviceScaleFactor: 2,
                        isMobile: true,
                    },
                }),
                pa11y('http://localhost:8000/template', {
                    standard: 'WCAG2AA',
                    actions: [],
                    screenCapture: `${__dirname}/results/basic-a11y_post_desktop.png`,
                    viewport: {
                        width: 1280,
                        height: 1024,
                        deviceScaleFactor: 1,
                        isMobile: false,
                    },
                }),
            ])
    
            fs.writeFile('tests/results/basic-a11y_post.json', JSON.stringify(results), err => {
                console.log(err)
            })
        } catch (err) {
            console.error(err.message)
        }
    }
  4. Running BackstopJS on a homepage and blog post template at various screen sizes:
    // backstop.json
    {
      "id": "backstop_default",
      "viewports": [
        {
          "label": "phone",
          "width": 320,
          "height": 480
        },
        {
          "label": "tablet",
          "width": 1024,
          "height": 768
        },
        {
          "label": "desktop",
          "width": 1280,
          "height": 1024
        }
      ],
      "onBeforeScript": "puppet/onBefore.js",
      "onReadyScript": "puppet/onReady.js",
      "scenarios": [
        {
          "label": "Blog Homepage",
          "url": "http://localhost:8000",
          "delay": 2000,
          "postInteractionWait": 0,
          "expect": 0,
          "misMatchThreshold": 1,
          "requireSameDimensions": true
        },
        {
          "label": "Blog Post",
          "url": "http://localhost:8000/template",
          "delay": 2000,
          "postInteractionWait": 0,
          "expect": 0,
          "misMatchThreshold": 1,
          "requireSameDimensions": true
        }
      ],
      "paths": {
        "bitmaps_reference": "backstop_data/bitmaps_reference",
        "bitmaps_test": "backstop_data/bitmaps_test",
        "engine_scripts": "backstop_data/engine_scripts",
        "html_report": "backstop_data/html_report",
        "ci_report": "backstop_data/ci_report"
      },
      "report": [
        "browser"
      ],
      "engine": "puppeteer",
      "engineOptions": {
        "args": [
          "--no-sandbox"
        ]
      },
      "asyncCaptureLimit": 5,
      "asyncCompareLimit": 50,
      "debug": false,
      "debugWindow": false
    }
  5. Running Cypress tests on the homepage:
    // cypress/integration/basic-test_home.js
    describe('Blog Homepage', () => {
        beforeEach(() => {
            cy.visit('http://localhost:8000')
        })
        it('contains "Amy Goes to Perth" in the title', () => {
            cy.title().should('contain', 'Amy Goes to Perth')
        })
        it('contains posts in feed', () => {
            cy.get('.article-feed').find('article')
        })
        it('all posts contain title', () => {
            cy.get('.article-feed')
                .find('article')
                .get('h2')
        })
    })
  6. Running Cypress tests on a blog post template at various screen sizes:
    // cypress/integration/basic-test_post.js
    
    describe('Blog Post Template', () => {
        beforeEach(() => {
            cy.visit('http://localhost:8000/template')
        })
        it('contains "Amy Goes to Perth" in the title', () => {
            cy.title().should('contain', 'Amy Goes to Perth')
        })
        it('has visible post title', () => {
            cy.get('h1').should('be.visible')
        })
        it('has share icons', () => {
            cy.get('.share-icons a').should('be.visible')
        })
        it('has working share icons', () => {
            cy.get('.share-icons a').click({ multiple: true })
        })
        it('has a visible author profile image', () => {
            cy.get('.author img').should('be.visible')
        })
    })
    
    describe('Mobile Blog Post Template', () => {
        beforeEach(() => {
            cy.viewport('samsung-s10')
            cy.visit('http://localhost:8000/template')
        })
        it('contains "Amy Goes to Perth" in the title', () => {
            cy.title().should('contain', 'Amy Goes to Perth')
        })
        it('has visible post title', () => {
            cy.get('h1').should('be.visible')
        })
        it('has share icons', () => {
            cy.get('.share-icons .share-link').should('be.visible')
        })
        it('has a visible author profile image', () => {
            cy.get('.author img').should('be.visible')
        })
    })

Five Browser Types

Browser testing may be the bane of our existence, but it’s gotten easier, especially when you know the secret:

Not every browser needs to look the same.

Now, this may differ depending on your circumstances, but your website doesn’t have to match pixel for pixel across all browsers. As long as it’s on-brand and is useable across all browsers (this is where a good solid HTML foundation is useful), it’s ok for your site to look a little different between browsers.

While the browsers you test in will differ depending on your user base, the main ones you want to be covering are:

  • Chrome/Chromium
  • Firefox
  • Safari
  • Internet Explorer
  • Edge

Make sure you’re testing these browsers on both desktop and mobile/tablet as well, sometimes their level of support or rendering engine will differ between devices – for example, iOS Chrome uses the Safari rendering engine, so something that works on Android Chrome may not work on iOS Chrome.

Four Types of Test

When it comes to testing the front end, there are a few different areas that we can cover:

  1. Accessibility Testing: doing accessibility testing properly usually involves getting an expert to run through your website, but there are several automated tests that you can run against various standard levels.
  2. Performance Testing: performance testing does technically bleed into the back end as well, but there are plenty of things that can be done from a front end perspective. Making sure the images are optimised, our code is clean and minified, and even optimising fonts using features like the font-display property. No amount of optimising the server and back end will matter if it takes forever for the front end to appear in a browser.
  3. Visual Regression Testing: we’ve all been in the position where changing one line of CSS somewhere has affected another section of the website. Visual regression testing helps prevent that. By using a tool that compares before and after screenshots against one another to flag up what’s changed, you can be sure that style changes won’t bleed into unintended areas of the site.
  4. Browser/device testing: while we all want our users to be running the most recent version of Chrome or Firefox, they may still be using the inbuilt browser on their DVD player – so we need to test various browsers, platforms and devices to make sure that our website can be accessed on whatever device they use.

Three Shaken Trees

Including (and therefore requiring your users to download) things that you’re not using affects the performance of your application. Are you forcing them to download the entire lodash library when you’re only using 2 functions? While a couple of unused lines of code may not seem like a huge performance hit, it can greatly affect users with slower devices or internet connections, as well as cluttering up your code with unused functions and dependencies. This can be set up on your bundler – Webpack and Parcel both have guides for tree shaking, and Gatsby has a plugin to enable it.

Two Image Types

While there are several different types of images, most of the time they fall into one of two categories:

Informative
The image represents/conveys important information that isn’t conveyed by the content surrounding it.
Decorative
The image only adds visual decoration to a page.

From these two categories, we can then determine if we need to provide alternative text for an image. If an image is purely decorative, then we add alt="" to let screen readers know that it’s not important. But if an image is informative, then we need to be supplying a text alternative that describes the picture for anyone who’s using a screen reader or isn’t able to see the image (remember the days when a standard internet connection took a long time to load a page and you saw alt text before an image loaded).

<img src="./nice-picture.jpg" alt="" />
<img src="./important-graphic.png" alt="This is a picture of something important to help add meaning to the text around me" />

If you have a lot of images with missing alt text, look into services that can auto-generate alt text based on image recognition services.

One Source Controlled Deployment Pipeline

While front end tests are harder to automate, running them through a source control and deployment pipeline helps track changes and eliminates issues where “it works on my computer”. Whether you’re running tests as part of the PR process, or simply against every commit that comes through, running tests automatically as part of your process makes every developer’s life easier and helps keep code quality at a high standard.


We already knew that testing was important, and your project can’t be run unless all your unit and integration tests are written (and pass), but often we forget about testing the front end. There are so many different tests we need to be running on the front end, it’s hard to work out what your need to test for and where to start.

Hopefully this has given you a bit of insight to front end testing, and some Christmas cheer to take you into the holidays.


About the author

Amy wears many hats as a freelance developer, business owner and conference addict. She regularly shares her knowledge with her peers and the next generation of developers by mentoring, coaching, teaching and feeding into the tech community in many ways.

Amy can be found volunteering her time with Fenders, ACS, SheCodes (formerly Perth Web Girls) and MusesJS (formerly NodeGirls). She also works as an evangelist for YOW! Conferences, is a Twilio Champion and has been nominated for the WiTWA awards for the last 2 years.

In her spare time Amy shares her knowledge and experience on her blogs and speaking at conferences. She has previously given keynotes at multiple events as well as speaking at several international conferences in the US and Europe.

More articles by Amy


          

Commentaires sur Bienvenue dans l’antre du dino ! par kristinvc60

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Young Heaven - Naked Teens & Young Porn Pictures http://abbeybrooksporn.gigixo.com/?kendal full movie italian porn black puppet porn incess porn family streaming porn free sex porn clips homemade movies
          

Peace Sells...But Who's Buying or Master of Puppets?

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Which thrash metal classic from 1986 do you prefer?
          

Michael Jackson's Glove Stars in Johnny Depp-Produced Musical

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In today's weird news, Johnny Depp is reportedly producing an "unauthorized" musical about Michael Jackson's life — and it's going to be told from the perspective of the musician's iconic sequined glove. According to The Guardian, the stage show will be premiering on January 25, 2020 at the Carl Sagan and Ann Druyan theatre in Los Angeles.

None


The musical is entitled For the Love of a Glove: An Unauthorized Musical Fable About the Life of Michael Jackson, as told by his Glove, and was written by playwright Julien Nitzberg. Though the script was initially written as a biopic, prior to the sexual abuse allegations against the artist, it's since changed its focus.


None


"A major TV network wanted me to write a [Jackson] movie … but the question came up [about] how to deal with the child-abuse allegations," Nitzberg told Page Six. "I said, how's this? Everything MJ has been accused of has actually been caused by his glove, which is actually an alien from outer space [and] feeds on virgin boy blood. They laughed and said, can you do the normal version?" But, Nitzberg decided to decline doing the big pay check that came with doing the "normal version" of the story. He continued, "It was morally kind of repugnant to me to do."

None


Now, the playwright is working with Depp's production company Infinitum Nihil to bring For the Love of a Glove to life. This isn't the first time he's worked with the company, as he's previously written a Tiny Tim biopic for them.

None


Per Page Six, it's a "look into the strange forces that shaped Michael and the scandals that bedeviled his reputation," and everything is narrated by a singing glove. According to the celebrity news site, the actors will be acting alongside life-sized puppets of the Jackson 5, Donny Osmond, Emmanuel Lewis, Corey Feldman and Bubbles the Chimp.

None


People aren't exactly enthused by the idea of the show, but are poking fun at the randomness of this news.





Nobody really asked for this show, but we're getting it anyway. It seems... interesting. Here's to hoping it isn't an amalgamation of problematic things.

None


Photo via Getty


          

Is saying ‘I’d kill for those shoes’ OK? One woman and Sixth Commandment.

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Puppeteer Marilyn Price relies on her Jewish faith to make good choices and live life fully. Part of a series on the Decalogue in modern life.
          

Mia Wasikowska on Judy & Punch and gendered violence: 'How do you break that cycle?'

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The actor’s new film – a feminist take on the puppet show – is a dark revenge tale for the #MeToo age

Mia Wasikowska is distracted. Her eyes flicker between me and the doorway at the boutique cinema where we meet in Sydney, as patrons bustle out. She’s hyperaware of the flurrying chaos; it’s clear she feels more comfortable in the quiet.

“I always find it trippy when I do press at home … I feel almost too relaxed and I’m not in the mode of doing this,” the Canberra-born actor says, waving her hand at the general surroundings. “You know,” she pauses. “It’s nice.”

Continue reading...
          

The Winning Films of the 15th Annual HUMP! Film Festival

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by Dan Savage


The 15th Annual HUMP! Film Festival opened in Seattle, Olympia, Portland, San Francisco, and—for the first time ever—Vancouver, B.C. earlier this month with a brand new slate of 21 amazing films. And after three weeks, dozens of screenings, and thousands of audience ballots cast and counted, we're ready to announce the winners of the 2019 HUMP! Awards!


Since 2004 HUMP! has been the film festival that makes it possible for people to be porn stars for a weekend in a theater without becoming porn stars for eternity on the internet. Although some HUMP! filmmakers and performers choose to release their own films online, most HUMP! filmmakers and performers don't—and we never release HUMP! films online and destroy all of our master copies at the end of the annual tour. Which means at HUMP! audiences get see films and enjoy performers they'll never see or enjoy anywhere else!

image0.jpeg

This year's amazing collection of HUMP! films will tour to over fifty cities over the next year so you still have a chance to catch the festival in 2020! There will also be encore presentations of the this year's festival in Seattle on May 9 and Portland on April 4. You can already order tickets for the 2020 HUMP! Tour and encore presentations at humpfilmfest.com.


Only audiences at the opening HUMP! Festival get to vote for their favorite films and give out the HUMP! Awards. Audience members in Seattle got to hang out and cast their ballots in our swanky new HUMP! Lounge, a pop-up night club where HUMPers could discuss their favorite films over a drink, cast their ballots, and shoot commemorative Hump 2020 Boomerangs. We’re planning on opening the Hump lounge next year for all Seattle shows, not just Friday & Saturday screenings, so we'll see you there!


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And now...


THE 2020 HUMP! AWARDS


BEST KINK ($2,000 Prize): Tell Me What You Like "One woman’s answer to this inquiry leads to an extreme kink scene."
BEST KINK RUNNER UP ($1,000 Prize): Brunch on Bikes "Freshly-fucked foodies get a Special Pancake Delivery."


BEST SEX ($2,000 Prize): Wildfire "Inhibitions are burned to dust while this hedonistic group lusts around the fire."
BEST SEX RUNNER UP ($1,000 Prize): Good Kitty "When the kitten collar comes out, so do the sacred oils and earthly delights in this cunnilingual ceremony."


BEST HUMOR ($2,000 Prize): Best in Show "Mountains! Bondage! Flash paper! Puppets! Paint! A couple attempts to pack every winning HUMP! trope into their five minute film."
BEST HUMOR RUNNER UP ($1,000 Prize): Just Four Fans Only "When a group of friends decides to film an orgy in a Vegas hotel room, an unexpected participant slips into the mix."


BEST IN SHOW ($10,000 Grand Prize): Best in Show


HUMP! JURY AWARD ($1,000): Lost & Found "After making it through the pain of infertility and miscarriage and finally becoming a parent, a woman goes on a mission of exploration and discovery."


Congrats to the winners and a big thank you to everyone who submitted a film, to everyone who came out to see HUMP! this year, and to all our HUMP! hosts: Betty Wetter in Seattle, Wm. Steven Humphrey and Kate Murphy in Portland, the HUMP! Team in San Francisco, and Hattie Hotpants in Olympia. And HUMP! couldn't happen without HUMP! producer Tracey "Peaches" Cataldo.


SUBMIT A FILM FOR THE 16th ANNUAL HUMP! FILM FESTIVAL

It’s never too early to start working on your HUMP! submission for the 16th Annual HUMP! Film Festival! Go to humpfilmfest.com/submit for more details. Making and submitting a film for HUMP! is fun and easy and there's no fee to enter HUMP! We're also adding new categories and more prize money to the HUMP! Awards for next year! For years people have been asking us to add an award for the most artistic film and so next year, for the first time, we're adding a Most Creative/Artistic ($2000 first place, $1000 runner up) category for HUMP! audiences to vote on. We're also adding two new Jury Awards for Outstanding Performances ($1000 each), bringing the total prize package at HUMP! to $25,000! And all films selected to be in HUMP! get a cut of all ticket sold on the annual HUMP! tour!


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SPLIFF & SLAY

Check out our other new festivals SPLIFF, a film fest by the stoned for the stoned, and SLAY, the Pacific Northwest’s Independent Horror Film Festival.

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The 30 Best Things to Do in Portland This Weekend: Nov 29-Dec 1

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by Mercury EverOut Staff

Well, we're in it now. The home-stretch. Thanksgiving is in the rear-view, Christmas and New Year's is ahead, and in the meantime, the business of packing as much fun as possible into what's left of the year is underway, and this weekend's got a lot to choose from, including a whole comedy festival kicking off, Holiday celebrations lighting up the night, many musical adventures, some SATAN, and more! Hit the links below and plan your weekend accordingly


Jump to: Friday | Saturday | Sunday

Friday, Nov 29

SAINt JHN, Kodie Shane
Saint Jhn first showed up on my radar when he came in crooning alongside Blue Ivy Carter on “Brown Skin Girl,” a stand-out track from Beyoncé’s The Lion King: The Gift. After some further digging, it quickly becomes clear why Yoncé invited the Guyanese-American rapper/singer/songwriter/producer, who grew up splitting time between Brooklyn and Guyana, for the track. Sonically speaking, everything is working on his sophomore full-length, Ghetto Lenny’s Love Songs, from opening track “Wedding Day” to slappable songs like “Trap” featuring Lil Baby, and “Who Do You Blame.” Now he’s touring in support of the project, with Kodie Shane, a Black, queer rapper from Atlanta, as opener. Shane’s recent vibey single “End Like That” should convince you to get to the Hawthorne in a prompt manner. (Fri Nov 29, 8 pm, Hawthorne Theatre, $22-25, all ages) JENNI MOORE

Ha-Ha Harvest Comedy Fest
The Ha Ha Harvest Comedy Festival is bringing a cornucopia of laughs to town this holiday weekend and with a line-up featuring hometown hero Nathan Brannon, LA oddball Ron Lynch, Denver’s Janae Burris and Adam Cayton-Holland, NYC’s Dave Hill, and more, we've got plenty to be thankful for. Boasting a multi-venue format that echoes the Bridgetown Comedy Festival days of yore, you’ll spend the entire weekend hopping between clubs and venues while catching beloved homegrown shows like Pitch, Please!, Minority Retort, and Spec Script, delightful offerings from out-of-towners, along with more traditional stand-up showcases. Visit the event website for a complete list of venues, performers, and shows, along with ticketing info. (Fri-Sun Nov 29-Dec 1, Various Locations, $29-79) CHIPP TERWILLIGER

Amenta Abioto, Noah Simpson Group
I just can’t shut my trap when it comes to Amenta Abioto, whose work is a fluid combination of jazz, hip-hop, soul, and African music. To see her perform live is a real treat—Abioto has been at the top of her game recently, having perfected her soul-stirring vocals, improvised song-construction, and spot-on comedic timing. (Fri Nov 29, 8 pm, Turn! Turn! Turn!, $5-10) JENNI MOORE

Sleepover Club, Dress Forms, Ex-Kids
Everett's Sleepover Club link up with Portland's Dress Forms and Ex-Kids for a Friday-night punk, garage and post-punk bill at No Fun. (Fri Nov 29, 9 pm, No Fun, $5)

Turnover, Men I Trust
Turnover is clearly having some sort of major growth spurt. A few years ago, the Virginia Beach band was part of emo’s new wave, cranking out buzzy pop-punk tunes on a couple of albums released by Run for Cover Records. But on Good Nature, Turnover completes its transition into a dreamy indie pop band, with chiming guitars, laid-back vocals, and gauzy vibes. Often when this kind of thing happens, the artist stays tight-lipped on the reasons, but Turnover is open and honest about the stylistic shift, which it attributes to a wider palette of influences over the past few years: vintage soul and blues, Frank Ocean, electronic, the Beach Boys, bossa nova music, and jazz. (Fri Nov 29, 8 pm, Wonder Ballroom, $25-28) BEN COLEMAN

ZooLights
One of Portland's most beloved holiday traditions returns, transforming the Oregon Zoo into winter wonderland of illuminated, multicolored brilliance, featuring over a million lights creatively arranged throughout the zoo. (Fri Nov 29, 5 pm, Oregon Zoo, $14.95-19.95, through Jan 1 2020)

Starving for Laughs: A Benefit for the Oregon Food Bank
Forget the buying and consuming part of Black Friday, and instead celebrate the laughing and helping part at this holiday comedy stand-up showcase benefitting the Oregon Food Bank, hosted by Jono Gindhart, Bryan Bixby, and Chase Anderson, with sets from Zehava Glazier, Chris Johnson, Cam Strong, Kandyce August, and Will Weldon. (Fri Nov 29, 7:30 pm, Kelly's Olympian, $10)

Snap! Y2K: The Missy Elliott Party
The November installment of the beloved monthly '90/'00s dance night invites you to come down and work off that Thanksgiving hangover with a little help from the sounds of Missy Elliott, along with resident DJ's Freaky Outty, Colin Jones, and Introcut. (Fri Nov 29, 9 pm, Holocene, $6-7)

Portland Trail Blazers vs. Chicago Bulls
When I was a kid, I’d load up EA’s Bulls vs. Blazers and the NBA Playoffs into the ol' Sega Genesis, and I'd rewrite history; Terry Porter always scored 70 points a game, and Michael Jordan won nothing. Hopefully tonight, when the Blazers take on the Chicago Bulls, they can bring a video game to life better than, say… any of the Street Fighter or Mortal Kombat movies. Because yiiiikes. (Fri Nov 29, 7 pm, Moda Center, $27 & Up) BOBBY ROBERTS

Sullivan King, Lick, Grabbitz, Swarm
Los Angeles-based multi-instrumentalist and EDM producer Sullivan King heads back up the coast for the Portland stop on the "Thank You For Raging" Tour. (Fri Nov 29, 7 pm, Roseland, $25)

Shpongle, Android Jones, Kayla Scintilla, VOLO, Luxora Major
Producer Simon Posford and flutist Raja Ram bring their pioneering psybient and psych-infused trance project across the pond to head up a special audio-visual experience in Portland. Android Jones, Kayla Scintilla, VOLO, and Luxora Major round out the proceedings, along with a full array of artisan vendors, stage performers, and more. (Fri Nov 29, 8:15 pm, Crystal Ballroom, $50 & Up)


Saturday, Nov 30

Kikagaku Moyo, Mope Grooves
Psychedelic five-piece Kikagaku Moyo started out busking on the streets of Tokyo in 2012, and now they’re touring the world as one of this decade’s most highly coveted acts. A couple years ago, the band came to town to play a pair of Pickathon sets, and, despite trying my best to make it to their performance at the Galaxy Barn, the venue hit capacity before I (and countless others) could make it inside. So it’s only right that Kikagaku Moyo—whose moniker translates to “geometric patterns” in Japanese—is making another visit to the City of Roses this fall. After all, Portland’s scene of eclectic, psychedelia-loving listeners is exactly the kind of audience the band wanted to engage when they left Japan. (Sat Nov 30, 8:30 pm, Crystal Ballroom, $20-22, all ages) JENNI MOORE

Brian Posehn
The beloved comedian, writer, and actor known for his roles on Mr. Show, W/ Bob and David, The Sarah Silverman Program, and most recently, The Mandalorian (he's the space-Uber driver who gets eaten by a giant ice worm thingy after picking up a fish-faced Horatio Sanz! Spoilers! It's a weird-ass show!) brings his unrivaled charm and wit back to town for a headlining show at Revolution Hall. (Sat Nov 30, 8 pm, Revolution Hall, $25-30, all ages)

Thievery Corporation, Brazilian Girls
An evening of dub, electronica, and trip hop with the Washington, D.C.-based recording artist and DJ collective headed up by Rob Garza and Eric Hilton. (Sat Nov 30, 8:30 pm, Roseland, $42.50-69.50)

The Sisters of Mercy: Divine Sketch Comedy
The Siren Theater is where you go if you want to be blessed by divine sketch comedy minds like the ones counted among The Sisters of Mercy: Shelley McLendon, Laura Sams, Lori Ferraro, Erin Jean O'Regan, and Marie Murphy. Tonight is the last chance to catch this show. Do not live a life absent of witnessing this comedy divinity! (Sat Nov 30, 8 pm, Siren Theater, $10-15)

Mr. Carmack
The rising Honolulu-based producer brings his experimental beats and EDM back to town for an all-ages stop on the "Immersion" Tour. (Sat Nov 30, 9 pm, Hawthorne Theatre, $19-22, all ages)

The Grotto's Christmas Festival of Lights
The Grotto's annual Festival of Lights celebration is a bonafide Portland tradition, transforming the serene grounds into one of the largest Christmas choral festival in the world. Walk a one-quarter mile long light trail, enjoy outdoor caroling, puppet shows, and a live petting zoo, and then take in one of over 190 concerts taking place in the Grotto's chapel. (Sat Nov 30, 5 pm, The Grotto, $6.50-12.50, all ages, through Dec 30)

Jana Crenshaw
Portland Singer/songwriter and theater score composer Jana Crenshaw takes over the Fixin' To for an early, all-ages show and a late-night, 21 & up performance celebrating the release of her latest, Bend & Break, which collects stand-out tracks from her previous three albums. Mic Crenshaw, Blacque Butterfly, Rain Ezra, Daisy Posada, Natalia Uribe, DonnaMation, and students of Ethos Music Center lend their talents to the proceedings. (Sat Nov 30, 12:30 pm & 9 pm, The Fixin' To, $7-10)

RAF, The Reverberations
Portland's RAF brings the sounds of England's mod movement to the Star Theater stage to celebrate the release of their latest album, with like-minded local psych-pop outfit the Reverberations rounding out the proceedings with their own '60s influenced sounds. (Sat Nov 30, 9 pm, Star Theater, $10-15)

La Fête du Macaron
A celebration of the French Macaron, filling the Pix pastry case with a wide variety of flavors. Also includes a contest to get your flavor carried at Pix past the celebration, and something called the "cupcake stomp," which seems like an abomination (why the hell would you want to destroy a perfectly good cupcake) but is supposedly "messy but fun." (Sat Nov 30, 2 pm, Pix/Bar Vivant)

Gloria!
The Portland Choir and Orchestra links up with Big Horn Brass for their annual Christmas concert at the Newmark Theatre, with over 150 performers bringing your favorite holiday classics to life in a wallet- and family-friendly performance. (Sat Nov 30, 2 pm & 7 pm, Newmark Theatre, $15-22)


Sunday, Dec 1

Lisa Prank, Rose Melberg
Seattleites have long sung the praises of their fave one-woman pop punk band, Lisa Prank (singer/songwriter Robin Edwards), and with good reason—her live shows are straight-up FIRE. Mining the fertile ground tilled by the Ramones, Shonen Knife, the Runaways, the Donnas, and various others of the riot grrrl persuasion, Edwards skillfully turns any room inside-out with her masterful expertise on electric guitar and a Roland MC-505 drum machine. Her newest release, Perfect Love Song, is more of the same mosh-pit perfection, guaranteed to jump-start any crowd into pogoing hysterics. Bring a sweat towel, you’ll need it! (Sun Dec 1, 9 pm, Doug Fir, $12-15) WM. STEVEN HUMPHREY

Morbid Angel, Watain, Incantation
Friends, have you accepted Satan into your heart and pledged fealty to the Dark One, embracing his message of materialism, sexual deviancy, and a rejection of the Judeo-Christian myths of yore? I can see some of you are still on the fence about this, unconvinced that a one-way ticket to Hades is the only way forward for all of us. If my message is not persuasive enough, please join me for tonight’s command performance by two of our finest death metal missionaries: Morbid Angel and Watain. The former are still promoting their 2017 album Kingdoms Disdained, a blistering collection that welcomed bassist/vocalist Steve Tucker back into the fold to help spread the gospel of evil. The latter comes to us from our outpost in Sweden to sing to us of sacred damnations and sleepless evils as they bathe us in animal blood. Hail Satan. (Sun Dec 1, 8 pm, Hawthorne Theatre, $30-35, all ages) ROBERT HAM

Breakfast with Santa
The Crystal Ballroom's Breakfast with Santa lets you and your family skip the mall and department store lines, giving you the chance to relax and enjoy a buffet style breakfast and house roasted coffee while waiting for a turn with Santa. It also happens to be one of the hottest tickets in town. (Sun Dec 1, 8:30 am & 11 am, Crystal Ballroom, $13-18, all ages)

Black Nativity
PassinArt presents this staging of Langston Hughes' "gospel song play," reinterpreting and reimagining the Nativity story. (Sun Dec 1, 2 pm, Bethel AME Church, $5-25, all ages)

My Friend Chuck
A live podcast episode of My Friend Chuck, the show about friendship, erotica, dinosaurs (sometimes), and much, much more, starring McKenzie Goodwin and two-time Hugo nominee Dr. Chuck Tingle, author of landmark works like Space Raptor Butt Invasion and Breaking the Fourth Butt: Eight Hot-to-Trot Meta Tinglers. (Sun Dec 1, 8 pm, Dante's, $20)

Olympia Provisions 10 Year Anniversary Party
For those who consider themselves to be fans of fine wine, salty meat, and combining the two at meal times, you might be a fan of Olympia Provisions, even if you've never been there before, and tonight's 10th Anniversary party is a good opportunity to finally go. Admission includes "a plethora of delicious food samples" with a full bar available as well. (Sun Dec 1, 4 pm, Olympia Provisions, $13)

Donte Thomas, King Wess
The latest installment of Sunday Sessions at Rontoms doubles as a music video premiere and release party for "Off White," the latest from Portland hip-hop artist Donte Thomas. Fellow rising local rapper King Wess rounds out the proceedings. (Sun Dec 1, 8 pm, Rontoms, free)

The Jackie & Laurie Show
The comedy podcast starring a pair of veterans in a stand-up scene that isn't particularly easy on women comes to Kickstand for a live episode. (Sun Dec 1, 1 pm, Kickstand Comedy Space, $20-25)

DOA Pro Wrestling: Naughty or Nice?
You haven't really done the holidays right if you don't start them by watching Santa himself come off the top rope with swagger and aplomb. Along with Saint Nick bringing the pain, the December DOA show includes the Portland debuts of Logan Stunt, MV Young, and the amazing Effy. (Sun Dec 1, 1 pm, Harvey's Comedy Club, $15-100, all ages)

Don't forget to check out our Things To Do calendar for even more things to do!

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Renoma to be refurbished again

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 The new concept of interior design of the department store was created in the Maćków design studio. “Located in the very centre of the city, the building was innovative and ahead of its time from the beginning. We will refer to the most luxurious history of the Wertheim department store with a new interior design idea. We will combine modern and historical elements,” announces Zbigniew Maćków, who also managed the architectural work on creating the new Renoma wing in 2005-2009. An active, open to residents space with a view on the Puppet Theatre and Staromiejski Park as well as gardens of original restaurant concepts will be created at pl. Czysty. Globalworth does not provide many details of the project, it is only clear that the first rearrangement work is to start in Q4 2020. “Due to the comfort of our customers, the work will be carried out in several stages, in parts of the building that were previously out of service,” insists Barbara Wójcik, the director of the Renoma department store. “Centres with multifunctional areas and extensive gastronomy are playing an increasingly important role on the market. The number one concept in Poland in this respect is Warsaw's Hala Koszyki, which we own. It combines offices, commerce, modern services, entertainment, original restaurant projects and conference spaces,” commented Anna Merta, the leasing director at Globalworth Poland.

Source: Eurobuild CEE

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Twelve Days of Front End Testing

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Amy Kapernick sings us through numerous ways of improving the robustness and reliability of our front end code with a comprehensive rundown of ideas, tools, and resources. The girls and boys won’t get any toys until all the tests are passing.


Anyone who’s spoken to me at some point in November may get the impression that I’m a bit of a grinch. But don’t get me wrong, I love Christmas, I love decorating my tree, singing carols, and doing Christmas cooking - in December. So for me to willingly be humming the 12 days of Christmas in October, it’s probably for something that I think is even more important than banning premature Christmas decorations, like front end testing.

On the 12th day of Christmas, my front end dev, she gave to me, 12 testing tools, 11 optimised images, 10 linting rules, 9 semantic headings, 8 types of colour blindness, 7(.0) contrast ratio, 6 front end tests, 5 browser types, 4 types of tests, 3 shaken trees, 2 image types, and a source controlled deployment pipeline.

Twelve Testing Tools

  1. axe does automated accessibility testing. Run as part of your development build, it outputs warnings to your console to let you know what changes you need to make (referencing accessibility guides). You can also specify particular accessibility standard levels that you’d like to test against, eg. best-practice, wcag2a or wcag2aa, or you can pick and choose individual rules that you want to check for (full list of rules you can test with axe).
    Screenshot of a browser console pane open with a list of aXe warnings and errors about accessibility issues.
    aXe Core can be used to automate accessibility testing, and has a range of extensions for different programming languages and frameworks.
  2. BackstopJS runs visual regression tests on your website. Run separately, or as part of your deployment/PR process, you can use it to make sure your code changes aren’t bleeding into other areas of the website. By default, BackstopJS will set you up with a bunch of configuration options by running backstop init in your project to help get you started.
    Screenshot of a BackstopJS report, with screenshots of a webpage shown side by side. There are 3 passes and 3 failures.
    BackstopJS compares screenshots of your website to previous screenshots and compares the visual differences to see what’s changed.
  3. Website Speed Test analyses the performance of your website specifically with respect to images, and the potential size savings if they were optimised.
    Screenshot of the results of a website speed test. It shows that the page has 3.2MB of images, and claims this can be compressed to 183.7KB.
  4. Calibre runs several different types of tests by leveraging Lighthouse. You can run it over your live website through their web app or through the command line, it then monitors your website for performance and accessibility over time, providing metrics and notifications of any changes.
    Screenshot of Calibre app, with a list of performance metrics.
    Calibre provides an easy to use interface and dashboard to test and monitor your website for performance, accessibility and several other areas.
  5. Cypress is for end-to-end testing of your website. When visual regression testing may be a bit much for you, Cypress can help you test and make sure elements are still on the page and visible (even if they’re not pixel for pixel where they were last time).
  6. pa11y is for automated accessibility testing. Run as part of your build process or using their CLI or dashboard, it tests your website against various Web Content Accessibility Guidelines (WCAG) criteria (including visual tests like colour contrast). While axe is run as part of your dev build and gives you an output to the console, it can be combined with pa11y to automate any changes as part of your build process.
  7. whocanuse was created by Corey Ginnivan, and it allows you to view colour combinations as those with colour blindness would (as well as testing other visual deficiencies, and situational vision events), and test the colour contrast ratio based on those colours.
    Screenshot of whocanuse which shows a block of blue, and a list of how that blue is visualised for people with different types of vision.
    Colour contrast assessment of my brand colours, testing them for issues for people with various vision deficiencies, and situational vision events.
  8. Colour Blindness Emulation was created by Kyo Nagashima as an SVG filter to emulate the different types of colour blindness, or if you’re using Gatsby, you can use a plugin based off of gatsby-plugin-colorblind-filters.
  9. Accessible Brand Colors tests all your branding colours against each other (this is great to show designers what combinations they can safely use).
    A visualisation of brand colours and their levels of compliance.
    Accessible Brand Colors tests all colour combinations of background and text colours available from your branding colours, and checks them for compliance levels at various font sizes and weights.
  10. Browser dev tools - Most of the modern browsers have been working hard on the features available in their dev tools:
    • Firefox: Accessibility Inspector, Contrast Ratio testing, Performance monitoring.
    • Chromium: (Chrome, Edge Beta, Brave, Vivaldi, Opera, etc) - Accessibility Inspector, Contrast Ratio testing, Performance Monitoring, Lighthouse Audits (testing performance, best practices, accessibility and more).
    • Edge: Accessibility Inspector, Performance monitoring.
    • Safari: Accessibility Inspector, Performance monitoring.
    A screenshot of the output of browser dev tools, and how they show alerts about low contrast ratio.
    Firefox (left), Chrome, and Edge Beta (right) Dev Tools now analyse contrast ratios in the colour picker. The Chromium-based browsers also show curves on the colour picker to let you know which shades would meet the contrast requirements.
  11. Linc is a continuous delivery platform that makes testing the front end easier by automatically deploying a version of your website for every commit on every branch. One of the biggest hurdles when testing the front end is needing a live version of the site to view and test against. Linc makes sure you always have one.
  12. ESLint and Stylelint check your code for programmatic and stylistic errors, as well as helping keep formatting standard on projects with multiple developers. Adding a linter to your project not only helps you write better code, it can reduce simple errors that might be found during testing time. If you’re not writing JavaScript, there are plenty of alternatives for whatever language you’re writing in.

If you’re trying to run eslint in VS Code, make sure you don’t have the Beautify extension installed, as that will break things.

Eleven Optimised Images

When it comes to performance, images are where we take the biggest hit, with images accounting for over 50% of total transfer size for websites. Many websites are serving excessively large images “just in case”, but there’s actually a native HTML element that allows us to serve different image sizes based on the screen size or serve better image formats when the browser supports it (or both).

<!-- Serving different images based on the width of the screen -->
<picture>
    <source
        srcset="/img/banner_desktop.jpg"
        media="(min-width: 1200px)"
    />
    <source
        srcset="/img/banner_tablet.jpg"
        media="(min-width: 700px)"
    />
    <source
        srcset="/img/banner_mobile.jpg"
        media="(min-width: 300px)"
    />
    <img src="/img/banner_fallback.jpg">
</picture>

<!-- Serving different image formats based on browser compatibility -->
<picture>
    <source
        srcset="/banner.webp"
        type="image/webp"
    />
    <img src="/img/banner_fallback.jpg">
</picture>

Ten Linting Rules

A year ago, I didn’t use linting. It was mostly just me working on projects, and I can code properly right? But these days it’s one of the first things I add to a project as it saves me so much time (and has taught me a few things about JavaScript). Linting is a very personal choice, but there are plenty of customisations to make sure it’s doing what you want, and it’s available in a wide variety of languages (including linting for styling).

// .eslintrc
module.exports = {
    rules: {
        'no-var': 'error',
        'no-unused-vars': 1,
        'arrow-spacing': ['error', { before: true, after: true }],
        indent: ['error', 'tab'],
        'comma-dangle': ['error', 'always'],
        // standard plugin - options
        'standard/object-curly-even-spacing': ['error', 'either'],
        'standard/array-bracket-even-spacing': ['error', 'either'], },
}

// .stylelintrc
{
    "rules": {
        "color-no-invalid-hex": true,
        "indentation": [
            "tab",
            {
                "except": [
                    "value"
                ]
            }
        ],
        "max-empty-lines": 2,
    }
}

Nine Semantic Headings

No, I’m not saying you should use 9 levels of headings, but your webpage should have an appropriate number of semantic headings. When your users are accessing your webpage with a screen reader, they rely on landmarks like headings to tell them about the page. Similarly to how we would scan a page visually, screen readers give users a list of all headings on a page to allow them to scan through the sections and access the information faster.

When there aren’t any headings on a page (or headings are being used for their formatting rather than their semantic meaning), it makes it more difficult for anyone using a screen reader to understand and navigate the page. Make sure that you don’t skip heading levels on your page, and remember, you can always change the formatting on a p tag if you need to have something that looks like a heading but isn’t one.

<h1>Heading 1 - Page Title</h2>
<p>Traditionally you'll only see one h1 per page as it's the main page title</p>
<h2>Heading 2</h2>
<p>h2 helps to define other sections within the page. h2 must follow h1, but you can also have h2 following another h2.</p>
<h3>Heading 3</h3>
<p>h3 is a sub-section of h2 and follows similar rules to h2. You can have a h3 after h3, but you can't go from h1 to h3.</p>
<h4>Heading 4</h4>
<p>h4 is a sub-section of h3. You get the pattern?</p>

Eight Types of Colour Blindness

Testing colour contrast may not always be enough, as everyone perceives colour differently. Take the below colour combination (ignoring the fact that it doesn’t actually look nice). It has decent colour contrast and would meet the WCAG colour contrast requirements for AA standards – but what if one of your users was red-green colour blind? Would they be able to tell the difference?

http://colorsafe.co/ empowers designers with beautiful and accessible colour palettes based on WCAG Guidelines of text and background contrast ratios.

Red-green colour blindness is the most common form of colour blindness, but there are 8 different types affecting different parts of the colour spectrum, all the way up to complete colour blindness.

Protanopia
Inability to see red end of the colour spectrum.
Protanomaly
Difficulty seeing some shades of red.
Deuteranopia
Inability to see the green portion of the colour spectrum.
Deuteranomaly
Difficulty seeing some shades of green.
Tritanopia
Inability to see blue end of the colour spectrum.
Tritanomaly
Difficulty seeing some shades of blue.
Achromatopsia
Inability to see all parts of the colour spectrum, only able to perceive black, white and shades of grey.
Achromatomaly
Difficulty seeing all parts of the colour spectrum.

Seven (.0) Contrast Ratio

Sufficient colour contrast is perhaps one of the best steps to take for accessibility, as it benefits everyone. Having adequate contrast doesn’t just make the experience better for those with vision impairments, but it also helps those with situational impairments. Have you ever been in the sun and tried to read something on your screen? Whether you can view something when there’s glare could be as easy as making sure there’s enough contrast between the text and its background colour.

The WCAG have defined a contrast ratio of at least 4.5:1 for normal text (18.5px) and 3:1 for large text (24px) to meet AA accessibility standards, but this should be an absolute minimum and isn’t always readable. All four below examples have sufficient contrast to pass AA standards, but you might be hard pressed to read them when there’s glare or you have a dodgy monitor (even more so considering most websites use below 18.5px for their base font size).

Examples of 4.5:1 colour contrast

To meet the AAA standard you need to have a ratio of 7:1 for normal text and 4.5:1 for large text, which should be sufficient for those with 20/80 vision to read.

Six Front End Tests

  1. Adding default axe-core testing to Gatsby:
    //gatsby-config.js
    {
        resolve: 'gatsby-plugin-react-axe',
        options: {},
    },
  2. Running pa11y tests on homepage at various screen sizes:
    // tests/basic-a11y_home.js
    const pa11y = require('pa11y'),
        fs = require('file-system')
    
    runTest()
    
    async function runTest() {
        try {
            const results = await Promise.all([
                pa11y('http://localhost:8000', {
                    standard: 'WCAG2AA',
                    actions: [],
                    screenCapture: `${__dirname}/results/basic-a11y_home_mobile.png`,
                    viewport: {
                        width: 320,
                        height: 480,
                        deviceScaleFactor: 2,
                        isMobile: true,
                    },
                }),
                pa11y('http://localhost:8000', {
                    standard: 'WCAG2AA',
                    actions: [],
                    screenCapture: `${__dirname}/results/basic-a11y_home_desktop.png`,
                    viewport: {
                        width: 1280,
                        height: 1024,
                        deviceScaleFactor: 1,
                        isMobile: false,
                    },
                }),
            ])
    
            fs.writeFile('tests/results/basic-a11y_home.json', JSON.stringify(results), err => {
                console.log(err)
            })
        } catch (err) {
            console.error(err.message)
        }
    }
  3. Running pa11y tests on a blog post template at various screen sizes:
    // tests/basic-a11y_post.js
    const pa11y = require('pa11y'),
        fs = require('file-system')
    
    runTest()
    
    async function runTest() {
        try {
            const results = await Promise.all([
                pa11y('http://localhost:8000/template', {
                    standard: 'WCAG2AA',
                    actions: [],
                    screenCapture: `${__dirname}/results/basic-a11y_post_mobile.png`,
                    viewport: {
                        width: 320,
                        height: 480,
                        deviceScaleFactor: 2,
                        isMobile: true,
                    },
                }),
                pa11y('http://localhost:8000/template', {
                    standard: 'WCAG2AA',
                    actions: [],
                    screenCapture: `${__dirname}/results/basic-a11y_post_desktop.png`,
                    viewport: {
                        width: 1280,
                        height: 1024,
                        deviceScaleFactor: 1,
                        isMobile: false,
                    },
                }),
            ])
    
            fs.writeFile('tests/results/basic-a11y_post.json', JSON.stringify(results), err => {
                console.log(err)
            })
        } catch (err) {
            console.error(err.message)
        }
    }
  4. Running BackstopJS on a homepage and blog post template at various screen sizes:
    // backstop.json
    {
      "id": "backstop_default",
      "viewports": [
        {
          "label": "phone",
          "width": 320,
          "height": 480
        },
        {
          "label": "tablet",
          "width": 1024,
          "height": 768
        },
        {
          "label": "desktop",
          "width": 1280,
          "height": 1024
        }
      ],
      "onBeforeScript": "puppet/onBefore.js",
      "onReadyScript": "puppet/onReady.js",
      "scenarios": [
        {
          "label": "Blog Homepage",
          "url": "http://localhost:8000",
          "delay": 2000,
          "postInteractionWait": 0,
          "expect": 0,
          "misMatchThreshold": 1,
          "requireSameDimensions": true
        },
        {
          "label": "Blog Post",
          "url": "http://localhost:8000/template",
          "delay": 2000,
          "postInteractionWait": 0,
          "expect": 0,
          "misMatchThreshold": 1,
          "requireSameDimensions": true
        }
      ],
      "paths": {
        "bitmaps_reference": "backstop_data/bitmaps_reference",
        "bitmaps_test": "backstop_data/bitmaps_test",
        "engine_scripts": "backstop_data/engine_scripts",
        "html_report": "backstop_data/html_report",
        "ci_report": "backstop_data/ci_report"
      },
      "report": [
        "browser"
      ],
      "engine": "puppeteer",
      "engineOptions": {
        "args": [
          "--no-sandbox"
        ]
      },
      "asyncCaptureLimit": 5,
      "asyncCompareLimit": 50,
      "debug": false,
      "debugWindow": false
    }
  5. Running Cypress tests on the homepage:
    // cypress/integration/basic-test_home.js
    describe('Blog Homepage', () => {
        beforeEach(() => {
            cy.visit('http://localhost:8000')
        })
        it('contains "Amy Goes to Perth" in the title', () => {
            cy.title().should('contain', 'Amy Goes to Perth')
        })
        it('contains posts in feed', () => {
            cy.get('.article-feed').find('article')
        })
        it('all posts contain title', () => {
            cy.get('.article-feed')
                .find('article')
                .get('h2')
        })
    })
  6. Running Cypress tests on a blog post template at various screen sizes:
    // cypress/integration/basic-test_post.js
    
    describe('Blog Post Template', () => {
        beforeEach(() => {
            cy.visit('http://localhost:8000/template')
        })
        it('contains "Amy Goes to Perth" in the title', () => {
            cy.title().should('contain', 'Amy Goes to Perth')
        })
        it('has visible post title', () => {
            cy.get('h1').should('be.visible')
        })
        it('has share icons', () => {
            cy.get('.share-icons a').should('be.visible')
        })
        it('has working share icons', () => {
            cy.get('.share-icons a').click({ multiple: true })
        })
        it('has a visible author profile image', () => {
            cy.get('.author img').should('be.visible')
        })
    })
    
    describe('Mobile Blog Post Template', () => {
        beforeEach(() => {
            cy.viewport('samsung-s10')
            cy.visit('http://localhost:8000/template')
        })
        it('contains "Amy Goes to Perth" in the title', () => {
            cy.title().should('contain', 'Amy Goes to Perth')
        })
        it('has visible post title', () => {
            cy.get('h1').should('be.visible')
        })
        it('has share icons', () => {
            cy.get('.share-icons .share-link').should('be.visible')
        })
        it('has a visible author profile image', () => {
            cy.get('.author img').should('be.visible')
        })
    })

Five Browser Types

Browser testing may be the bane of our existence, but it’s gotten easier, especially when you know the secret:

Not every browser needs to look the same.

Now, this may differ depending on your circumstances, but your website doesn’t have to match pixel for pixel across all browsers. As long as it’s on-brand and is useable across all browsers (this is where a good solid HTML foundation is useful), it’s ok for your site to look a little different between browsers.

While the browsers you test in will differ depending on your user base, the main ones you want to be covering are:

  • Chrome/Chromium
  • Firefox
  • Safari
  • Internet Explorer
  • Edge

Make sure you’re testing these browsers on both desktop and mobile/tablet as well, sometimes their level of support or rendering engine will differ between devices – for example, iOS Chrome uses the Safari rendering engine, so something that works on Android Chrome may not work on iOS Chrome.

Four Types of Test

When it comes to testing the front end, there are a few different areas that we can cover:

  1. Accessibility Testing: doing accessibility testing properly usually involves getting an expert to run through your website, but there are several automated tests that you can run against various standard levels.
  2. Performance Testing: performance testing does technically bleed into the back end as well, but there are plenty of things that can be done from a front end perspective. Making sure the images are optimised, our code is clean and minified, and even optimising fonts using features like the font-display property. No amount of optimising the server and back end will matter if it takes forever for the front end to appear in a browser.
  3. Visual Regression Testing: we’ve all been in the position where changing one line of CSS somewhere has affected another section of the website. Visual regression testing helps prevent that. By using a tool that compares before and after screenshots against one another to flag up what’s changed, you can be sure that style changes won’t bleed into unintended areas of the site.
  4. Browser/device testing: while we all want our users to be running the most recent version of Chrome or Firefox, they may still be using the inbuilt browser on their DVD player – so we need to test various browsers, platforms and devices to make sure that our website can be accessed on whatever device they use.

Three Shaken Trees

Including (and therefore requiring your users to download) things that you’re not using affects the performance of your application. Are you forcing them to download the entire lodash library when you’re only using 2 functions? While a couple of unused lines of code may not seem like a huge performance hit, it can greatly affect users with slower devices or internet connections, as well as cluttering up your code with unused functions and dependencies. This can be set up on your bundler – Webpack and Parcel both have guides for tree shaking, and Gatsby has a plugin to enable it.

Two Image Types

While there are several different types of images, most of the time they fall into one of two categories:

Informative
The image represents/conveys important information that isn’t conveyed by the content surrounding it.
Decorative
The image only adds visual decoration to a page.

From these two categories, we can then determine if we need to provide alternative text for an image. If an image is purely decorative, then we add alt="" to let screen readers know that it’s not important. But if an image is informative, then we need to be supplying a text alternative that describes the picture for anyone who’s using a screen reader or isn’t able to see the image (remember the days when a standard internet connection took a long time to load a page and you saw alt text before an image loaded).

<img src="./nice-picture.jpg" alt="" />
<img src="./important-graphic.png" alt="This is a picture of something important to help add meaning to the text around me" />

If you have a lot of images with missing alt text, look into services that can auto-generate alt text based on image recognition services.

One Source Controlled Deployment Pipeline

While front end tests are harder to automate, running them through a source control and deployment pipeline helps track changes and eliminates issues where “it works on my computer”. Whether you’re running tests as part of the PR process, or simply against every commit that comes through, running tests automatically as part of your process makes every developer’s life easier and helps keep code quality at a high standard.


We already knew that testing was important, and your project can’t be run unless all your unit and integration tests are written (and pass), but often we forget about testing the front end. There are so many different tests we need to be running on the front end, it’s hard to work out what your need to test for and where to start.

Hopefully this has given you a bit of insight to front end testing, and some Christmas cheer to take you into the holidays.


About the author

Amy wears many hats as a freelance developer, business owner and conference addict. She regularly shares her knowledge with her peers and the next generation of developers by mentoring, coaching, teaching and feeding into the tech community in many ways.

Amy can be found volunteering her time with Fenders, ACS, SheCodes (formerly Perth Web Girls) and MusesJS (formerly NodeGirls). She also works as an evangelist for YOW! Conferences, is a Twilio Champion and has been nominated for the WiTWA awards for the last 2 years.

In her spare time Amy shares her knowledge and experience on her blogs and speaking at conferences. She has previously given keynotes at multiple events as well as speaking at several international conferences in the US and Europe.

More articles by Amy


          

Comment on Nebraska politics – November 2019 by It verges on insane what wingers are now willing to lie about

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They lie about the craziest things - things that take zero effort to disprove. Things like this tweet, from the little Nazi Prince - <blockquote> Charlie Kirk @charliekirk11 · 20h Incredible: President Trump made an unannounced trip to Afghanistan to visit our troops No press No photo ops Just there to support our brave men and women in uniform I’m thankful for our troops today and I’m thankful for a president who is too</blockquote> No Press?! No Photo Ops?! REALLY - Charlie!! Is that why Trumps arrival to airstrip, his exiting the plane, his entering the SUV, his then exiting the SUV, his walking into the Air Base, his greeting at the Air Base, his extended period of posing with the troops while 870,000 camera flashes lit up the room, his shaking hands with the troops, his chatting with the troops (constant camera flashes) his waving goodbye to the troops, his entering the SUV and departing back to the plane for his return trio home - IS ALL CAPTURED ON FILM - FROM NUMEROUS CAMERAS/ANGLES - EACH AND EVERY ANGLE RUNNING ON A LOOP - 24/7 on Fox and other networks!!! Is <i>THAT</i> your idea of "No Press", "No Photo Ops" ??!! You see, in winger world, this was a noble gesture by the president - just a quiet, under the radar visit - no cameras, no photo ops, no political pandering - simply Donald Trump, spending some quiet time sharing a meal with the troops. This brazen lying should come as no surprise. After all, this is the Administration and the president who had previously addressed a group of veterans thusly - July 24, 2018, Philadelphia Enquirer - <b>Trump to veterans: Don’t believe what you’re reading or seeing</b> <blockquote>At a Veterans of Foreign Wars Convention in Kansas City, Mo., on Tuesday, President Trump told veterans and guests that they shouldn't believe what they're reading about his administration or seeing on the news. "Just remember, what you are seeing and what you are reading is not what's happening," Trump said.</blockquote> Winger World has devolved into a wholly fictitious alternate reality where black is white, hot is cold and lies are truth. A world where Donald Trump is somehow the second coming of George Washington and Abe Lincoln, all rolled into one - not the gangland criminal, pu##y grabbing, draft dodging, money laundering, tax dodging, ally extorting, Putin puppet and soon to be impeached, irrefutably worst president in modern, if not all, history.
          

Engineering: DevOps Cloud Engineer - Richardson, Texas

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DevOps Cloud Engineer Richardson, TX HOW YOU WILL FULFILL YOUR POTENTIAL Our Digital Finance team is bringing together a group of highly skilled technology engineers with a strong desire to change the industry. DevOps principles and utilizing advanced cloud capabilities are fundamental to our strategy of market agility and lean operating principles with a strict focus on quality that meets the demands of digital customers. We are seeking highly collaborative, creative and intellectually curious Cloud Engineers who are passionate about forming and implementing cutting-edge cloud computing capabilities. As a member of the Marcus Cloud team you will champion the advancement of cloud adoption, develop and deploy our cloud architecture and be a leading voice of cloud strategy. Lead the cultural changes necessary for cloud adoption and migration Develop, coordinate and communicate the cloud architecture, migration and adoption across our digital products Automate the provisioning of environments using Ansible, Puppet and other tools Design and develop high-quality automation workflows in the cloud platform Possess strong verbal and written communication skills with the ability to present, persuade and influence peers, vendors and executives Experience migrating platforms to cloud based offerings, such as Amazon's AWS Energetic, self-directed and self-motivated Able to build and sustain long-term relationships across a multitude of stakeholders in a fast paced, multi-directional work environment Exceptional analytical skills with the ability to apply expertise to drive complex, technical and highly commercial solutions SKILLS AND EXPERIENCE WE ARE LOOKING FOR Extensive experience with AWS and AWS native toolsets such as AWS Cloud Formation, AWS EC2, S3, VPCs, Kinesis, Dynamo, SQS, SNS, SWF etc. Extensive experience with automation and configuration management using Puppet, Chef, Ansible, Terraform, Vault, Nomad, Jenkins or similar Strong knowledge with Web Services, API Gateways and application integration development and design Strong background in Linux Strong background in scripting and automation in languages such as Python and Ruby Strong background in cloud operations instrumentation and monitoring of distributed architectures using AppDynamics, Splunk, Nagios or similar Strong background with source control management systems (GIT or Subversion); Build Systems (Maven, Gradle), Code Quality (Sonar), Artifact Repository Manager(Maven), Continuous Integration (Jenkins) Knowledge of relational and non-relational databases Knowledge of containerization Knowledge of agile software development practices and release management Thorough understanding of Cloud Computing: virtualization technologies, Infrastructure as a Service, Platform as a Service and Software as a Service Cloud delivery models and the current competitive landscape. Excellent written and oral communication skills with ability to communicate effectively with technical and non-technical staff Bachelor's degree in Computer Science or higher, and/or equivalent experience ()
          

When The Deep State Bullied Reagan’s Foreign Policy Chief

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Ted Galen Carpenter

The testimony of several witnesses during the current impeachment hearings in the House of Representatives highlighted one important and ominous point. Ambassador William B. Taylor, Deputy Assistant Secretary of State George P. Kent, and others made it clear that they did not object merely to President Trump’s controversial phone call with Ukrainian President Volodymyr Zelensky in which Trump appeared to seek a quid pro quo. No, they saw Trump’s entire Ukraine policy as insufficiently hardline and therefore unacceptable.

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Indeed, Taylor and Kent seemed to think it was improper for the president to change any aspect of a staunchly supportive U.S. policy toward Kiev and a correspondingly hostile policy toward Russia. Far from being loyal subordinates executing the White House’s vision, they opposed the president’s approach and anointed themselves as guardians of appropriate policy.

Unfortunately, such behavior on the part of foreign policy careerists is far from new; it has merely become more pervasive and brazen during the Trump years. This is indicative of what Trump’s supporters—and others—contend is a campaign by the “deep state,” meaning career officials in the foreign policy bureaucracy and the intelligence agencies, to undermine the president’s foreign policy. Defenders of Taylor, Kent, and other Trump opponents within the foreign policy apparatus either praise them as patriotic dissenters or scoff at the notion that a deep state even exists.

It is extraordinarily naïve to assert that powerful bureaucracies and their key personnel do not protect their institutional interests, push policies in directions they prefer, and attempt to dilute, delay, or defeat initiatives they oppose. Such behavior is a long-standing characteristic of entrenched institutions.

An episode from Ronald Reagan’s presidency illustrates how the CIA seeks to manipulate policy. The agency’s target was Secretary of State George Shultz, who was then applying the Reagan Doctrine and providing U.S. aid to anti-communist rebels in the Third World. Shultz was the chief intellectual architect of the Reagan Doctrine, which he presented in detail during a February 1985 speech to the Commonwealth Club in San Francisco. But that intellectual pedigree did not shield him from attempted policy sabotage.

Despite his overall enthusiasm for the Reagan Doctrine in places such as Afghanistan, Nicaragua, and Angola, Shultz drew the line at supporting some particularly unsavory alleged freedom fighters. He was especially wary of the anti-communist insurgency in Mozambique led by the Resistencia National Mozambicana, or RENAMO. Shultz recalled that when it came to implementing the Reagan Doctrine, “I took care to know who and what the United States was funding.” He stressed that “I steadfastly insisted that we refuse to give backing to the atrocity-prone RENAMO.”

Shultz fretted that “President Reagan could be led to agree with the proposition that all freedom fighters,” even RENAMO, “deserved unquestioned support.” CIA director William Casey and other hardliners within the Agency, the secretary of state lamented, were more than happy to lead the compliant president in that direction, even if it meant undermining Shultz and other senior policymakers who favored a more moderate approach. Indeed, the State Department found its diplomatic initiatives subjected to repeated bureaucratic subversion. Not only did proponents of aid to RENAMO within the CIA misrepresent the behavior and ideological nature of the insurgent force, they wildly exaggerated its battlefield successes and the extent of support it enjoyed from the people of Mozambique. Shultz noted that in late 1985, briefers from the CIA “were showing their audiences in the administration and Congress a map of Mozambique to indicate—falsely—that RENAMO controlled virtually the entire country.”

The CIA’s sabotage was not confined to policy regarding Mozambique. Later that decade, during delicate negotiations to achieve a ceasefire and subsequent accord between Angola’s government and insurgent leader Jonas Savimbi, Shultz fumed that (emphasis added) “right-wing staffers from Congress, fueled by information from the CIA, were meddling—visiting Savimbi, trying to convince him that [Assistant Secretary of State Chester] Crocker and I would sell him out.”

Such behavior should debunk the notion that the CIA and other bureaucratic careerists are merely obedient public servants dedicated to executing policies that elected officials and their high-level political appointees have adopted. Such operatives have their own policy preferences, and they are not shy about pushing them, nor do they hesitate to impede or undermine policies they dislike.

Perhaps even more troubling, deep state personnel in the CIA, Pentagon, and State Department seem to have a distinct bias in favor of highly activist policies. CIA analysts and briefers regarded even the principal architect of the Reagan Doctrine as insufficiently committed in southern Africa. There is a noticeable parallel to the current bureaucratic opposition to Trump’s handling of Ukraine and Russia. The allegation that Trump has abandoned Kiev and pursues an appeasement policy toward Russia is absurd. His support for Kiev has actually been far more substantial than the approach the Obama administration adopted. Yet even that harder line is apparently not hard enough for establishment career diplomats and their allies.

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Treating such saboteurs as heroic patriots is both obscene and dangerous. The honorable course for subordinates who disagree with a president’s policies is to resign and then express criticism. Adopting a termite strategy while working in a presidential administration is profoundly unethical. For Congress and the media to praise bureaucratic subversion is horridly myopic. The last thing defenders of a democratic republic should do is to encourage unelected—and in the case of the intelligence agencies, deeply secretive—bureaucrats to pursue their own rogue policy agendas.


          

This Year, I Am Thankful for… the Women of Supermarionation

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This Year, I Am Thankful for… the Women of Supermarionation

With Thanksgiving fast approaching, we often find ourselves becoming more introspective, reflecting on the people and things for which we are thankful. As we at Fanbase Press celebrate fandoms, this year, the Fanbase Press staff and contributors have chosen to honor their favorite fandoms, characters, or other elements of geekdom for which they are thankful, and how those areas of geekiness have shaped their lives and values.

In the UK throughout the 1960s, Gerry and Sylvia Anderson produced a series of science fiction TV shows aimed at younger viewers using puppets, specifically marionettes—Stingray, Thunderbirds, and Captain Scarlet to name a few—and although the marionettes’ strings were evident and facial expression was limited in the beginning, after further development the strings grew thinner and stronger, and lip movements became electronically synchronized with pre-recorded dialogue, hence Gerry Anderson’s trademarked Supermarionation.
 
This was hard "sci-fi" for kids. Flying cars, spaceships, space travel, aliens, piranha fish submersibles, rockets, tunnel borers, futuristic (at the time) espionage and global terrorism, future-tech gone disastrously awry, and villains that the James Bond franchise would be proud of. Some of the later shows grew very dark and morally ambiguous, too: Captain Scarlet, for example, crossing swords with the Mysterons, against whom we’d fired the first shot.
 
And while the 1960s were evolving into a place where women couldn’t do this or that—too weak, too distracting—these shows offered a different view, where men and women were working together (Imagine that!) on a variety of tasks, on land, in the air, and in space.
 
First and foremost, Sylvia Anderson deserves a major hat-tip. Co-creator, co-writer, co-producer, and responsible for character development and costumes within the shows, she also provided the voices for Thunderbirds’ Lady Penelope and Fireball XL5’s Doctor Venus. And although critics argue that most of the initial female characters are stereotypically white, blond, and big-eyed, by the time we arrive at Captain Scarlet, its all-women team of fighter pilots is multi-national and could easily pass the Bechdel Test.
 



Photocredit: ITV/Rex
 
In Fireball XL5, Doctor Venus has five years of space adventure under her belt and is a doctor of space medicine. A full member of the ship’s crew, she is frequently in the midst of the action on behalf of the World Space Patrol, occasionally with stethoscope in hand, helping to save the day.
 
In Stingray, and despite their romantic inclinations being focused on the same guy (Troy Tempest, naturally), Lieutenant Atlanta Shore and Pacifican mermaid Marina still maintain a firm friendship, and as members of the World Aquanaut Security Patrol (WASP), keep the oceans safe from Titan and his fleet of Terror Fish. At the beginning of every show, we’re told, “Anything can happen in the next half hour!” It can, and does, and the women are always in the thick of it.
 


 
Thunderbirds is perhaps the most famous of the Supermarionation shows and possesses its very own Scarlet Pimpernel in the form of Lady Penelope Creighton-Ward, International Rescue’s London agent. Poised and unflappable, she (and her safe-cracking butler, Parker) thwarts many a villain throughout the series, invariably getting her hands dirty while hiding behind an aristocratic and socialite façade.
 


 
Finally, in Captain Scarlet's “war of nerves” against the Mysterons, Spectrum’s Cloudbase is defended by a multi-national squadron of women fighter pilots—code names Melody, Destiny, Harmony, Symphony, and Rhapsody Angel. This is a much darker show, but instead of remaining in the background while their male counterparts are shot, blown up, and buried, over and over, the women are on the front lines, similarly under threat.
 


 
Like a lot of older shows, they’re probably dated by now and will certainly have their flaws, but they undoubtedly inspired this little girl back in the day, by offering me a world of can-do, rather than can’t. During this Thanksgiving, I shall raise a glass: To the women of Supermarionation!




          

“Part of a Larger Story”: Borders, Connections and Gabriela Galup’s Immersive Art

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“Within ourselves, we know many things,” performing artist Gabriela Galup observes. It is not always necessary to grasp concepts intellectually: to touch, feel, and share impressions can create understandings that are just as valid. Galup first explored art as communication through painting and dance, but then discovered the interactive value of puppetry. Based in Tucson–where... Read More
          

Ponte di Legno-Tonale, inverno di neve e di ghiaccio

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Lo sci è già al top grazie a questo autunno "bianco"e la stagione nel comprensorio Ponte di Legno-Tonale è ricca di novità. 

La stagione invernale nel comprensorio Pontedilegno-Tonale è già iniziata da qualche settimana, ma sabato 7 dicembre ci sarà la cerimonia ufficiale di apertura. Dalle 17 in piazza XXVII settembre, si terrà il Winter Opening Party con ospite Nek e la presentazione di tutte le novità della stagione. Quel giorno sfileranno anche le auto storiche della Coppa delle Alpi.

Inverno di ghiaccio

Sul ghiacciaio del Presena torna l'Ice Music FestivalDal 4 gennaio oltre 50 appuntamenti con la musica rock, pop e classica eseguiti con 16 strumenti di ghiaccio all'interno di un teatro-igloo da 300 posti realizzato dall'artista americano Tim Linhart

La domenica si terranno anche degli spettacoli teatrali, realizzati in collaborazione con il museo delle Scienze di Trento, Muse, musicati dal vivo con gli strumenti di ghiaccio, per illustrare in modo originale l'impatto dei cambiamenti climatici sul territorio alpino. Gli spettacoli si alterneranno con l'Ice Puppets Show, evento in prima mondiale. Protagoniste le marionette di ghiaccio che saranno animate dal puparo siciliano Mimmo Cuticchio.

Sempre di ghiaccio le sculture realizzate da Ivan Mariotti, che accoglieranno i visitatori all'arrivo della cabinovia Paradiso

Sospesi nel vuoto con la railzip 

Quest'inverno inaugura anche la railzip con un tracciato di oltre un chilometro dall'area della partenza della seggiovia Casola a quella della seggiovia Valbione. Si "volerà" sopra boschi e piste ammirando uno splendido panorama. 





          

Shawna's Jerk Puppet

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Release Year: 2019
Cast: Shawna Leneé
Genres: Masturbation Instruction
Video language: English

Mistress Shawna has your cock under her complete control like the helpless puppet you have become. You are mine to tease and toy with however I see fit. Your every stroke and every orgasm will be because I allow it. I will be the only one in your life to pull your strings as I guide you through an intense edging stroke session.

Format: mp4
Duration: 9:22
Video: 1920x1080, AVC (H.264), 7149kbps
Audio: 301kbps





File size: 531.4 MB






          

The genius puppetry behind War Horse | Handspring Puppet Company

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"Puppets always have to try to be alive," says Adrian Kohler of the Handspring Puppet Company, a gloriously ambitious troupe of human and wooden actors. Beginning with the tale of a hyena's subtle paw, puppeteers Kohler and Basil Jones build to the story of their latest astonishment: the wonderfully life-like Joey, the War Horse, who trots (and gallops) convincingly onto the TED stage.
          

Mother Goose on the Loose

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Berlin-Peck Memorial Library
Dec 13, 10:30 am

(Recommended for ages birth - 4)  Mother Goose on the Loose is a fun-filled, interactive program featuring simple picture books, nursery rhymes, puppets, musical instruments and movement. Program is followed by an open play period. Children must be accompanied by a parent or caregiver. No registration is required. 
          

Engineering: Sr Cloud Engineer - Pearland, Texas

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Sr Cloud Engineer, Dallas TX or Remote USADell provides the technology that transforms the way we all work and live. But we are more than a technology company ------ we are a people company. We inspire, challenge and respect every one of our over 100,000 employees. We also provide them with unparalleled growth and development opportunities. We can------t wait for you to discover this for yourself!Dell EMC Managed Services offers End-to-end optimized solutions for data storage, backup, converged infrastructure and more. With our unique processes and IP, we help customers realize business and technology value faster by handling the burden of daily operations. And we back our solutions with the service levels customers need to run and transform their business.Responsibilities: Install, configure and support multiple Pivotal Cloud Foundry (PCF) environments Perform capacity, availability, issue resolution and change management processes for PCF environments Scale PCF components by forecasting needs and adding or removing components as needed Upgrade PCF and installed backing services and infrastructure Ensure that management and monitoring tools are integrated with Pivotal Cloud Foundry environments. Assist app developers with troubleshooting PaaS related issues as neededQualifications: 10 years of professional experience supporting production medium to large scale environments Minimum 5 years of professional experience working Cloud foundry and related technology stack In-depth knowledge of network and distributed internet technologies including TCP/IP, firewalls, load balancers and web application architectures Prior experience with industry standard remote monitoring and event handling solutions Solid ability to create automation with Chef, Puppet, Ansible or a shell Good collaboration & communication skills, the ability to participate in an interdisciplinary team Strong written communications and documentation experienceDell is committed to the principle of equal employment opportunity for all employees and to providing employees with a work environment free of discrimination and harassment. All employment decisions at Dell are based on business needs, job requirements and individual qualifications, without regard to race, color, religion or belief, --national, social or ethnic --origin, sex (including pregnancy), age, physical, mental or sensory disability, HIV status, sexual orientation, gender identity and/or expression, marital, civil union or domestic partnership --status, past or present military service, family medical history or genetic information, family or parental status, --or any other status protected by the laws or regulations in the locations where we operate. Dell will not tolerate discrimination or harassment based on any of these characteristics. -- Dell encourage applicants of all ages. Learn more about Diversity and Inclusion at Dell here. ()
          

The Great Russian Nutcracker

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Event date: December 11, 2019
Event Time: 07:00 PM - 09:00 PM
Location:
200 W Arrington
Farmington, NM 87401
Description:
This Christmas give your family the gift of Moscow Ballet's Great Russian Nutcracker! Step into a simpler time filled with sweet dreams and Christmas magic. With world-class artists, over 200 dazzling costumes, stunning sets, towering puppets, and soaring birds, don't miss your chance to ring in the holidays with this acclaimed Christmas extravaganza. The New York Times, "Hot Ticket!" Celebrate this cherished holiday tradition and relive the dream with Tchaikovsky's timeless score.
          

Remembering Seattle: Class, Globalization, and the State

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Protester Douglas Mackar, right, with a copy of the U.S. Constitution in his hand, and Seattle Police Lt. Daniel Whelan deliver conflicting messages on their bullhorns during the WTO protest on Nov. 29, 1999. Photo by the Seattle Post-Intelligencer.

Very early in the morning on 30 November 1999, I climbed onto a bus in Vancouver, BC to travel to Seattle, Washington, to confront global capital. Not by myself of course, I was going to join the trade union contingent protesting against the World Trade Organization and its millennial round of talks – what would become known as the “Battle in Seattle.” I was working for the Teaching Support Staff Union (TSSU) a small independent union at SFU and we hitched a ride with the BC Teachers Federation (BCTF) bus that was going to the labour march and protest. I was not an organizer so this is a participant observer account of what transpired on a day in the Battle of Seattle.

We crossed the border into the US with a minimum of hassle. It was pre-9/11 and borders were easier to cross. When we arrived the scene in Seattle was chaos, but a glorious, magical, anything can happen, kind of chaos. Intersections were blocked by people locked together at the arms, environmentalists dressed as sea turtles, dancing, drumming, giant puppets; the streets were teeming with protesters. All entry to the WTO meetings had been blocked. The ILWU had shut down the ports up and down the West Coast. The meetings were cancelled by noon that day.

The union rally was in the old outdoor area at the Seattle Center. The working-class had mobilized in force and we were going to reinforce the protest. However, unbeknownst to most, the route had been changed. Marshals were trying to turn us away from the protest. About a dozen marchers, one with a megaphone, started shouting, “This way! This way!” They broke through the marshals and thousands of us streamed into the streets of protest. The majority of the labour march did not converge directly on the WTO site but thousands of workers did.

I didn’t know it at the time but a state of emergency had been declared at 3:30 pm. What had been blockades and celebrations had become running battles with the police. There were clouds of teargas on the street, phalanxes of cops moving in with billy clubs. Screaming, fighting, and chanting. Thousands of people held the line. I joined in. Those fleeing were simply being chased down, beaten, and arrested. It had gotten dark. I seem to remember a bonfire burning at one of the intersections but that may be a ghost memory, something I saw on TV the next day.

At the end of the day, both literal and metaphorical, we were confronted with the state. I teach labour studies and history and many of my lessons revolve around hegemony, how the ruling class manages to frame their interests as general interests. How they win our consent to be governed. However, the State always reserves the inherent right to use force. That was what happened that afternoon and throughout the night of November 30 1999 – the violent part of the state apparatus.

The protest in Seattle demonstrated the power of a convergence of class and new social movement politics but without a plan to seize state power the left will always be reactive. The lessons of Seattle are the power of solidarity but also the power of the state. Protests are empowering, they generate solidarity, but they can only slow down capital momentarily. A truly independent socialist alternative needs to be built. Perhaps this lies with Bernie and AOC in the US and Corbyn in the UK, but Canada sorely lacks any real socialist party or leader. We need to build one based on socialist principles. Anything less and we set ourselves up for failure. Glorious, anything can happen, kind of failure but failure none the less.

John-Henry Harter is a lecturer in Labour Studies at Simon Fraser University. He has published in the journals Labour/Le Travail, Popular Culture Review, The Otter, and Active History. He writes on Class, the Environment, and Popular Culture, when not consuming too much coffee and TV. Follow him on Twitter @JohnHenryHarter.


          

Bolivia in the crosshairs of US counter-revolution

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A shattered picture frame holding a photograph of deposed Bolivian president Evo Morales. Image courtesy of MintPress News.

Bolivia’s president Evo Morales Ayma has just resigned. Hours earlier, surrounded by leaders of the grassroots mass organizations that serve as a sort of “people’s cabinet,” he had called for new elections and a renovated Supreme Electoral Tribunal to oversee the process. These are political decisions since according to the Constitution he won the elections of October 20.

In essence, Morales resigned to halt a campaign of terror. Paramilitary violence is being practiced by the right-wing and it has escalated. For weeks, those who look Indigenous have been attacked, with several deaths. More recently, a spate of attacks against MAS politicians and journalists has sought to drive fear into the majority of poor and rural Bolivians who deeply identify with the changes brought by 13 years of progressive rule under the guidance of Morales.

The governing party, Movement Toward Socialism (MAS), also made a political decision to ask the Organization of American States (OAS) to conduct a recount before the results were known, and the OAS has just made public preliminary results saying that there were serious problems, however, Evo Morales may well have won the elections. Nevertheless, they advised that new elections be held.

Yesterday, Bolivian social movements in La Paz, the center of government, answered the calls of the right-wing for president Morales to resign with their own ultimatum: That the leaders of the right depart the city of La Paz within 48 hours and leave its inhabitants in peace. They announced that in the face of police mutinies, the social movements would form a civil police force to protect the constitution and its elected representatives. In a tradition of struggle that is hundreds of years old, they announced they would encircle La Paz, however, they would do so peacefully.

The president’s logic is clear: “Bolivia is living moments of conflict with the risk of grave confrontations among Bolivians. As president, my principal mission is to protect life, preserve the peace, social justice, economic stability, and the unity of the Bolivian family.”

The situation is dire and as always, the devil’s in the details that the right-wing press does not divulge. An anatomy of recent events reveals critical factors silenced by the mass media. These factors will unfold in the coming weeks and months in correlation with the international response.

How the coup plan has unfolded

On the evening of election day in Bolivia as votes were being counted, the rightwing candidate Carlos Diego Mesa Gisbert realized that Morales was quite possibly winning in the first round. Mesa took that moment as the opening volley in the planned coup to topple MAS. Mesa abrogated the role of the Supreme Electoral Tribunal and declared himself in a run-off election with Morales, the Indigenous president who has led most Bolivians from conditions of nineteenth-century servitude to an era of dignity and national sovereignty.

Mesa’s arrogance is breathtaking. It also mirrors his faith in his funders and handlers, the old elites and the Trump administration. The usual players in the Republican right wish to boycott an Evo Morales administration in Bolivia, and U.S. operatives, in addition to those in the embassy, have been wandering around the countryside to create rightwing foci of resistance.

While the United Nations twice urged all political leaders in Bolivia to avoid violent acts and “follow the legal norms,” the United States is claiming to do the same but in fact promoting a campaign to escalate tensions and delegitimize the elections. It is a pattern that reaches back to the origins of the Movement toward Socialism. Washington gives refuge to the bloodiest of the exiles from the 2003 “Gas War,” among them Carlos Sanchez Berzain, the Defense Minister of ex-president Gonzalo Sanchez de Lozada (or Goni for short) who killed 67 during the 2003 peaceful protests. They fled the country protected by the US embassy and are reportedly deeply involved in coup plans at present. Sanchez Berzain is leading anti-Evo protests on the turf of right-wing Senator Marco Rubio, of ultra-right fame, in Miami.

The defeated candidate Mesa was coached by the United States on creating a large urban base that is fed astonishing lies, delivered via Facebook and WhatsApp. Mesa was Goni’s vice president in the early 2000s and became president when Goni fled the wrath of the people he massacred. Moreover, Mesa has said all along that he would not recognize any outcome except his own victory, the same stance as his political ally Jair Bolsonaro in Brazil, another president close to Washington.

Almost one million votes out of about 7.3 million in total had not been counted when Mesa told the world that massive fraud had occurred, an allegation he has been unable to prove. The uncounted votes on the night the polls closed were overwhelmingly from the countryside and also the exterior, including immigrant workers. Among them were almost 100,000 Bolivians in Argentina of whom 82% voted for MAS.

Mesa knows he has never been a favorite of campesinos nor of immigrant workers living abroad. He also realized that he would keep losing votes to a far-right evangelical candidate. Hence, Mesa and his sponsors wanted the tabulation of votes brought to a dead halt while he still stood less than 10 percentage points distant from Evo’s lead. A 10% point lead is the cut-off point for winning in the first round if the candidate has gained at least 40% of the vote.

Reflect for a moment on Mesa’s strategy: its absurdity, its illegality, and its novelty in the arsenal of U.S. coup strategies that have ranged in this century from kidnappings (in Haiti and Honduras) to parliamentary coups built on a scaffolding of lies (in Paraguay and Brazil). The resounding victory of MAS in the vote of October 20 includes the presidency, almost 85% of all Bolivian municipalities, and a majority in both the Senate and the chamber of deputies.

Right-wing militants unleashed violence that night, long before the rural Acts representing one-seventh of the electorate had arrived at the Supreme Electoral Tribunal. As in the past, these votes have won the contest in Evo’s favor.

Some 100 youth were paid by Mesa and his associates to wreak havoc, according to government intelligence and confessions of youth transporting explosives who were arrested at the airport, and also the deathbed confession to the family of a young man recruited to create street chaos. He was preparing an explosive projectile that misfired and destroyed his head. His family knew he was earning good money but had not known how. Bolivia’s Indigenous cardinal Toribio Ticona, a man who shined shoes and worked in the mines before he became a priest, charged Mesa with responsibility for the mayhem he has directed.

Local electoral tribunals were trashed and set on fire, forcing a person to leap out of the second-story of a burning building, while others fled the blows of the rightwing coalition. At the same time, representatives of all the parties, including Mesa’s, had people inside the tribunals verifying the vote count. It was an odd way to stop electoral fraud. In several zones of the city of La Paz, right-wing attacks against election officials achieved the theft of their packages of votes being delivered from the countryside, and one of the packages was burned. In the more well-heeled sections of La Paz, thousands of right-wing demonstrators took the streets, humiliating women in Indigenous dress and police who were protecting government buildings.

The not-so-new paramilitaries

Those who attack with violence run the gamut of opposition movements over recent years, among them a group of dissident coca growers tied to narcotrafficking; a sector of miners abandoned to their own devices in the 1980s when mass layoffs imposed by the government shook the country, and these particular miners made common cause with the mining oligarchy; a sector of La Paz teachers that has always resisted MAS from a position at the far left of the political spectrum; and a sector of doctors and medical students that has been on strike who are opposed to the progressive expansion of free health care to cover all citizens. Various right-wing civic committees such as that of the city of Potosi announced far in advance that they would boycott elections. The youth of the city of Santa Cruz organized in “shock brigades” have been trying to kill people they call Indigenous since the start of the MAS era. Often, their violence takes place in the context of secession efforts by lowland elites.

Lowland Santa Cruz is a proudly mestizo and white heartland of agro-industry whose elite attempted to break the Movement toward Socialism with the guidance of the U.S. ambassador in 2008, adopting the symbols of the crusades. The hyper-racist president of the Santa Cruz civic committee has emerged as a power comparable to Mesa. His name is Luis Fernando Camacho and in the tradition of those elites he represents, Camacho positions himself as the voice of white superiority inspired by “my Christ the Redeemer.” He looks like he has just arrived from the golf course, he is alleged to have taken part in the Panama Papers tax-dodge scandal, and his methods are fascist. Supported by the arch-conservative politicians of Santa Cruz, he is coordinating paramilitary attacks.

In 2008, the Union of Santa Cruz Youth (UJC by its initials in Spanish) gained international attention as fascists by reason of their symbols, their language and their actions, as the fighting arm of elites who tried to secede from the Plurinational State of Bolivia led by Morales. “Brother Evo,” as he is known to his peers, belongs to a people known for their courage, the Aymara of the high Andean plain. Like many, his family migrated in the neoliberal crisis of the last century, and from harvesting potatoes and herding llamas, they turned to growing coca in the subtropical stretches bordering the Amazon that gave rise to one of Latin America’s most battle-tested labor movements. The middle-class UJC youth abhor everything Morales represents, and in those early years, the president was not able to travel to Santa Cruz due to their death threats.

UJC is part of a hemispheric network of right-wing paramilitary forces and has received ample support from its international allies. Appearing to be well-fed youth if we are to judge by their physique, they fight with bare torsos and have a fondness for liquor, even according to their leader Fernando Camacho who harangued them, “We cannot disrespect our Christ by continually drinking and listening to music.” When they don shirts, they are black shirts.

Alongside that tight-knit group built on a kind of white-settler pride, the political right has been recruiting young criminals nationwide with the lure of drugs and money. For those who are university youth, often their presence is less costly: Their professors make their grades contingent on their participation. The La Paz public university is the operational center for warehousing of arms and explosives and lodging youth trained in paramilitary techniques, recalling events in Nicaragua in 2018. They enjoy the protection of the Rector, Waldo Albarracin, who controls the autonomous space of that institution.

After winning, Evo’s observations about the opposition became much more direct: “Where did they come from? The come from the dictatorships …(and) they passed the government back and forth between them from 1985 to 2003.” He asked, “Where did (Samuel) Doria Medina come from: From (implementing) the privatizations. Tuto (Jorge) Quiroga? (From being vice president to the dictator) Banzer.”

Fernando Camacho for his part oversaw the burnings of homes and vehicles, beatings and provocations, and warned at a rally that his method of punishing traitors was the same as that of the infamous Colombian narcotrafficker Pablo Escobar, charged with 5,500 killings. Camacho added that the discovery of traitors would be followed by jail sentences rather than murder. Curiously, at just about that juncture, Mesa changed his stance from that of favoring an OAS recount of the votes, now taking place, to being categorically against that recount (Mesa’s actions are detailed below).

In his latest tactic, Camacho gave an ultimatum to resign to leftist and Indigenous president Evo Morales Ayma, who just won the elections by 47.08 percent as opposed to 36.51 percent garnered by the right. Camacho reportedly plans to guide the lowland region of Santa Cruz into secession from Bolivia, and then win the civil war that he hopes to incite.

The targets of right-wing wrath

As is true anywhere, the majority of the people in the sprawling city of Santa Cruz are poor, mainly migrants from the Indigenous nations of the Amazon and Chaco or the Aymara and Quechua nations of the high Andes. One-third of Santa Cruz has always voted for the political project of MAS –the same proportion as that of the left in many other countries– and in Santa Cruz the number of MAS votes is rising. When the poor were brutalized and sent to the hospital, a crowd gathered outside the hospital shouting, “Camacho, assassin!” and “We don’t want any strike, we want to work.”

Working-class residents of La Paz expressed their fear of the impending violence when Mesa challenged the vote count on October 20. Said one woman, “They hate us” – she is Indigenous – “and everything we have won, they want to destroy. Mesa killed us with Goni, and they want to return to that time.”

Since the right is trying to shut down the country, they attack vendors and storekeepers who resist the call for a general strike and they have brought to a halt the city of Santa Cruz. There, youths enter working-class neighbourhoods known to be bastions of MAS, armed with bats, sticks and explosives. Now they are using homemade bazookas and sticks with nails embedded. Their racist epithets are constant. They destroy local MAS campaign headquarters and the offices of campesino groups. One hundred UJC youth tried to lynch journalists.

Rightwing students in Sucre, who shut down the constitutional assembly in that city years ago and badly bloodied Indigenous campesinos, this October set the electoral tribunal on fire. Others attacked the president’s home in Cochabamba. In the lowland, tropical department of Pando, at 2:00 am long after the tribunal declared a victory for MAS, 150 motorcyclists from the right-wing forces attacked the home of the governor who was forced to flee to safety with his small children and his wife.

Cabinet ministers are receiving threatening phone messages and social media calls are being made to target their homes, with vandalism committed against the property of growing a number of them. Said the Minister of Government Carlos Romero whose children are receiving threats from the opposition: “I am right here if you need to threaten someone, but don’t threaten my children.”

After days of right-wing attacks, in the city of Montero in Santa Cruz, people of the age of the parents of the youths started clearing the debris and removing the blockades. UJC leaders got word, and transported armed youths to the scene. Their leader said, “If it’s bullets they want, I’ll give them bullets.” In cold blood, two of the MAS supporters were then killed, Marcelo Terrazas and Mario Salvatierra. One of the accused killers was dressed in full camouflage gear with all but his eyes covered by a black bandana, in other words, he was dressed like a paramilitary. The alleged killers and a number of their accomplices have been arrested.

The lies of the losing candidate

Mesa is notorious for his lies, one of the most infamous being his promise of justice, made when Goni fled, for those killed and injured in 2003. Unconscionably, the turmoil he unleashed in recent weeks had the public support of none other than the Organization of American States (OAS). They seemed to be joined at the hip with Mesa. The OAS was at that point demanding a second round of elections, in violation of Bolivia’s constitution. They called for a special meeting on Bolivia at their headquarters in Washington, with an ominous representation of less than admirable politicians: The governments of Brazil, Colombia and, lastly, Venezuela, by which they mean the U.S.-installed puppet Juan Guaido, who has been in the news these past few days for the revelation of his pact with Colombian paramilitaries, in which he contracted their violent services in exchange for allowing them control of the Colombo-Venezuelan border.

The actions of the OAS are unconscionable because they declared the vote count in Bolivia had stopped, however that assertion was one of Mesa’s lies. The country of Mexico took the lead in rejecting the favoritism of the OAS mission toward the right.

The official vote tabulation never halted. What stopped was the rapid count, called the Transmission of Preliminary Electoral Results or TREP in the Spanish acronym. The prior agreement was that TREP would only tabulate 80% of the total vote. On Sunday evening, October 20, having reached 83.85% of the total vote, TREP measured a lead of 4% by Evo Morales Ayma over Mesa. Mesa said the TREP count proved there was going to be a run-off election between the two of them and demanded a TREP count of 100%. He claimed that a count of 100% had been promised. Mesa was lying, according to the highest levels of MAS leadership.

Though it was not part of the original plan, the TREP count was reinitiated and the following night, Monday, at 23:59 hours, TREP made public new results representing 95.63% of the entire vote, showing that Evo Morales had won in the first round by the necessary 10% difference over Mesa.

At that point, Mesa executed an about-face and insisted that TREP had joined a massive fraud against him. For the record, when Mesa won with Goni against MAS, the difference was just 42,242 votes, while today, MAS has won by over 640,000 votes. Clearly, Mesa would be satisfied with nothing less than overturning the elections.

At the time the polls were closed, 12 copies of the Act that sums up the votes at each polling place, signed by the representatives of each political party, were distributed among them. A photograph of the Act was also sent via the internet to the Supreme Electoral authorities. These photos are available to the public on-line and easily investigated.

But those who allege foul play are not investigating anything, they are fanning what Bolivians of diverse political persuasions are calling “a psychosis.” Mesa’s few claims of fraud in the Acts that record the votes of each polling station, presented to the authorities, have been shown to be errors that were corrected, according to evidence on the same sheet of paper that was hidden from public view when Mesa’s forces made the argument for fraud.

Middle-class militants are fervent believers in the idea of stolen elections, absent real evidence. Meanwhile, the right-wing is encouraging panic buying of foodstuffs and for those who have cars, filling their tanks. It is a recipe for inflation. The MAS government has managed to guarantee food provision in most of the country with the exception of Santa Cruz.

The OAS agreed to the request made by the winning party MAS to recount the vote. Their condition is that the two leading candidates would accept the results as binding. That recount started on October 31 and is due to conclude on November 13. Mesa is now refusing to submit alleged proofs of fraud to the OAS, claiming the OAS is a pawn of MAS.

Mesa’s lies spare no one. Most recently, he claimed that the recount of the vote requested by the winning party was arranged unilaterally with the Organization of American States. The OAS had to publicly challenge Mesa, who at that point conceded that the OAS had telephoned him repeatedly to win Mesa’s consent to abide by the recount.

The Bolivian people versus the thuggery of the right

Workers and campesinos have declared a state of emergency against the return of the “privatizing oligarchs.” They organized enormous marches in the department of La Paz, the heartland of Aymara resistance which ignited the massive protests of 2003 that brought down president Goni. Bystanders applauded them as the social movements arrived from the edge of the vast canyon in El Alto to its depths in La Paz.

The intransigence of Mesa and Luis Fernando Camacho is clear, as their militants descend into an abyss of chaos. On November 6 they attacked thousands of Indigenous women in Cochabamba who marched with their children in support of Evo Morales. The racist rage of the right-wing is there for all to see. Women in Indigenous dress were kidnapped, and MAS mayor Patricia Arce (formerly a campesino union leader), was beaten, dragged through the dirt and doused with red paint in ritual fashion. She was made to kneel and beg for forgiveness. It is a “punishment” that the right uses repeatedly. Women in the grassroots of MAS point out that it is their sons who are being paid to join the shock brigades and attack their own mothers.

Massive rejection of the right-wing violence now includes many of those who voted for Mesa, some high churchmen close to the oligarchy, and tens of thousands of women who have marched in the last weeks, first to demand respect for the rural and Indigenous vote and then to decry the cruelties unleashed against those marching women. Bolivia has one of the highest representations of women politicians on earth and putting aside political affiliations, they have urged their compatriots to abjure violence. The rationality of MAS, the United Nations, the vast Indigenous and campesino populations and their urban relatives, and millions of mobilized women is such that the escalating savagery of the right can only be explained by a single factor: U.S. patronage.

Cindy Forster is the Chair of Latin American Studies and a Professor of History at Scripps College.


          

BBTS Sponsor News: Rambo, Star Wars, Puppet Master, Dragon Ball, Action Force, Spider-Man, Robocop, Predator, Disney & More!

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‘Poisoner in Chief': Scientist Behind CIA’s Disturbing Mind-Altering Techniques

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Author Stephen Kinzer boasts stunning knowledge when it comes to writing about terror attacks and coup plots. His most recent work, however, seems to be the most hair-raising, focusing on the puppet master behind the CIA’s poisoning and torture schemes.
          

12/1/2019: LONDON TERROR ATTACK: Fire chief spray at Labor MP

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RURAL Fire Service chief Shane Fitzsimmons has delivered an unprecedented slap-down of a Labor frontbencher after she claimed he was a puppet for the government. Opposition emergency services spokeswoman Trish Doyle had accused Emergency Services...
          

Big Titty Daphne Rosen Riding a Monster Cock

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Daphne Rosen has a pair of incredibly huge tits that you'll be seeing a lot in this movie. She loves having a big black cock inside her pussy, and wasted no time in climbing on our meat puppet's lap and rode him cowgirl.

The post Big Titty Daphne Rosen Riding a Monster Cock appeared first on Dino List.


          

Bimb’in Tutto l’Anno. 2°

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from 2020-02-29 to 2020-03-01

San Carlino – Hand puppet theatre in Rome


          

Festa di Carnevale con Il Carnevale degli Animali

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from 2020-02-15 to 2020-02-23

San Carlino – Hand puppet theatre in Rome


          

Le Favole di Esopo

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from 2020-01-11 to 2020-01-26

San Carlino – Hand puppet theatre in Rome


          

Bimb’in Tutto l’Anno. 1

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from 2020-02-01 to 2020-02-02

San Carlino – Hand puppet theatre in Rome


          

Il Carnevale degli Animali

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from 2020-02-08 to 2020-02-09

San Carlino – Hand puppet theatre in Rome


          

La Befana Al Sancarlino

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from 2020-01-04 to 2020-01-06

San Carlino – Hand puppet theatre in Rome


          

November 26, 2019 | The Tuesday Ten

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Let us help you survive the holidays! We’ve done all the research (we 💖 research) and we’ve compiled our official list of the top ten holiday toys for 2019. You don’t want to miss this one!

 

Mentioned in this episode:

(In alphabetical order)

Baby Shark Fingerlings– Amazon | Target | Walmart


Baby Shark Hand Puppet – Amazon | Walmart


Barbie Dream Plane – Amazon | Target | Walmart


Blume Doll – Amazon | Target | Walmart


Frozen 2 Singing Elsa Doll – Amazon | Target | Walmart


Frozen 2 Anna and Elsa Doll Set – Amazon | Target


Frozen 2 Ultimate Arendelle Castle Play Set – Amazon | Target | Walmart  


Hatching Toothless – Amazon | Target | Walmart


Hot Wheels id Smart Track Kit – Amazon | Target


Hot Wheels Colossal Crash Track Set – Amazon | Target | Walmart


Imaginext Transforming Batmobile – Amazon | Target | Walmart


Juno My Baby Elephant – Amazon | Target | Walmart


Kindi Kids Snack Time Friends – Amazon | Target | Walmart


L.O.L. Amazing Surprise – Amazon | Target | Walmart


L.O.L. Glamper – Amazon | Target | Walmart


L.O.L. Winter Disco Dolls – Amazon | Target | Walmart


L.O.L. Winter Disco Fluffy Pets – Amazon | Target | Walmart


L.O.L. Winter Disco Lils – Amazon | Target | Walmart


Lego Hidden Side Newbury Haunted High School – Amazon | Target | Walmart


Melissa & Doug Slice-and-Bake Wooden Cookie Play Set – Amazon | Target | Walmart


Melissa & Doug Top and Bake Wooden Pizza Counter Play Set – Amazon | Target | Walmart


Melissa & Doug Turtle Ball Pit – Amazon | Walmart


NERF Fortnite AR-L Elite Dart Blaster – Amazon | Target | Walmart


NERF Fortnite Sp-L Elite Dart Blaster – Amazon | Target | Walmart


NERF Fortnite Ap-R & Llama Targets – Amazon


Nintendo Switch (HADSKABAA or HADSKAAAA) – Walmart


Nintendo Switch Lite – Amazon | Target | Walmart


PJ Masks PJ Seeker – Amazon | Target | Walmart


Pictionary Air – Amazon | Target | Walmart


Ryan’s World Treasure Safe – Walmart


Scruff-A-Luv Electronic Mystery Plush – Amazon | Target | Walmart


Treasure X Alien Dissection Kit with Slime, Action Figure, and Treasure  – Amazon | Target | Walmart


Treasure X Kings Gold Treasure Tomb – Amazon | Target | Walmart


How to tell if you’re buying the old Nintendo Switch or the new one

 

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November 22, 2019 | The Friday Five


The Friday Five for November 22, 2019: The Trump Administration announces health care transparency rules, Slack shares drop, Microsoft Teams' user base rises, beware of "juice-jacking" while traveling, Facebook and Instagram hide like counts, and find out what’s new and coming soon from the Agent Survival Guide team!

 

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Engineering: Sr Cloud Engineer - Pearland, Texas

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Sr Cloud Engineer, Dallas TX or Remote USADell provides the technology that transforms the way we all work and live. But we are more than a technology company ------ we are a people company. We inspire, challenge and respect every one of our over 100,000 employees. We also provide them with unparalleled growth and development opportunities. We can------t wait for you to discover this for yourself!Dell EMC Managed Services offers End-to-end optimized solutions for data storage, backup, converged infrastructure and more. With our unique processes and IP, we help customers realize business and technology value faster by handling the burden of daily operations. And we back our solutions with the service levels customers need to run and transform their business.Responsibilities: Install, configure and support multiple Pivotal Cloud Foundry (PCF) environments Perform capacity, availability, issue resolution and change management processes for PCF environments Scale PCF components by forecasting needs and adding or removing components as needed Upgrade PCF and installed backing services and infrastructure Ensure that management and monitoring tools are integrated with Pivotal Cloud Foundry environments. Assist app developers with troubleshooting PaaS related issues as neededQualifications: 10 years of professional experience supporting production medium to large scale environments Minimum 5 years of professional experience working Cloud foundry and related technology stack In-depth knowledge of network and distributed internet technologies including TCP/IP, firewalls, load balancers and web application architectures Prior experience with industry standard remote monitoring and event handling solutions Solid ability to create automation with Chef, Puppet, Ansible or a shell Good collaboration & communication skills, the ability to participate in an interdisciplinary team Strong written communications and documentation experienceDell is committed to the principle of equal employment opportunity for all employees and to providing employees with a work environment free of discrimination and harassment. All employment decisions at Dell are based on business needs, job requirements and individual qualifications, without regard to race, color, religion or belief, --national, social or ethnic --origin, sex (including pregnancy), age, physical, mental or sensory disability, HIV status, sexual orientation, gender identity and/or expression, marital, civil union or domestic partnership --status, past or present military service, family medical history or genetic information, family or parental status, --or any other status protected by the laws or regulations in the locations where we operate. Dell will not tolerate discrimination or harassment based on any of these characteristics. -- Dell encourage applicants of all ages. Learn more about Diversity and Inclusion at Dell here. ()
          

Faces change in BCCI, not mentality

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There are other amendments stripping paid professionals of their powers and making them puppets in the hands of the secretary.
          

All Roads Lead Back To Käthe Kollwitz

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The artist Käthe Kollwitz has influenced everyone from an African American collector to a feminist activist to a puppet pioneer to a Chinese artist.
          

Comment on Worse Than Watergate? The Calls For Impeachment Outstrip Historical Sources by Anonymous

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Oh look, the friendless, misanthropic, lonely af sock puppet is answering his own comments, desperate for validation Sad af
          

PUTIN PUPPETS, UNMASKED: Impeachment Testimony Describes Putin’s Propaganda War On American Frack…

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PUTIN PUPPETS, UNMASKED: Impeachment Testimony Describes Putin’s Propaganda War On American Fracking. “In recent testimony to House lawmakers, Fiona Hill, John Bolton’s former direct report at the National Security Council and the White House’s former top expert on Russia, reported that Russian propaganda was working to undermine the use of hydraulic fracturing, aka fracking, in […]
          

Storytime, Puppet Show and Make and Take Art Activity

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Event date: December 14, 2019
Event Time: 10:30 AM - 11:30 AM
Location:
900 Old Fayetteville Road
Inside McDougle Middle School
Chapel Hill, NC 27516
Description:
December Story Time, Puppet Show and Art Activity

Puppet Show Incorporated https://www.puppetshowinc.org/ presents the classic fairy tale The Shoemaker and the Elf. Activities include a story time, puppet show and make and take art activity. Puppetry programs will be held at the following community locations. Recommended ages are 4-8. FREE

December 12th at 4:00-5:00 Hillsborough Main Library FREE
December 14th at 10:30-11:30 Carrboro Branch Library. FREE


https://www.puppetshowinc.org/
https://www.facebook.com/puppetshowincorporated/
https://www.instagram.com/puppetshowinc/
https://twitter.com/PuppetShowInco1


          

Engineering: Sr Cloud Engineer - Pearland, Texas

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Sr Cloud Engineer, Dallas TX or Remote USADell provides the technology that transforms the way we all work and live. But we are more than a technology company ------ we are a people company. We inspire, challenge and respect every one of our over 100,000 employees. We also provide them with unparalleled growth and development opportunities. We can------t wait for you to discover this for yourself!Dell EMC Managed Services offers End-to-end optimized solutions for data storage, backup, converged infrastructure and more. With our unique processes and IP, we help customers realize business and technology value faster by handling the burden of daily operations. And we back our solutions with the service levels customers need to run and transform their business.Responsibilities: Install, configure and support multiple Pivotal Cloud Foundry (PCF) environments Perform capacity, availability, issue resolution and change management processes for PCF environments Scale PCF components by forecasting needs and adding or removing components as needed Upgrade PCF and installed backing services and infrastructure Ensure that management and monitoring tools are integrated with Pivotal Cloud Foundry environments. Assist app developers with troubleshooting PaaS related issues as neededQualifications: 10 years of professional experience supporting production medium to large scale environments Minimum 5 years of professional experience working Cloud foundry and related technology stack In-depth knowledge of network and distributed internet technologies including TCP/IP, firewalls, load balancers and web application architectures Prior experience with industry standard remote monitoring and event handling solutions Solid ability to create automation with Chef, Puppet, Ansible or a shell Good collaboration & communication skills, the ability to participate in an interdisciplinary team Strong written communications and documentation experienceDell is committed to the principle of equal employment opportunity for all employees and to providing employees with a work environment free of discrimination and harassment. All employment decisions at Dell are based on business needs, job requirements and individual qualifications, without regard to race, color, religion or belief, --national, social or ethnic --origin, sex (including pregnancy), age, physical, mental or sensory disability, HIV status, sexual orientation, gender identity and/or expression, marital, civil union or domestic partnership --status, past or present military service, family medical history or genetic information, family or parental status, --or any other status protected by the laws or regulations in the locations where we operate. Dell will not tolerate discrimination or harassment based on any of these characteristics. -- Dell encourage applicants of all ages. Learn more about Diversity and Inclusion at Dell here. ()
          

First Sunday after Christmas | December 29 | Celebration! at 11:45 am

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First Sunday after Christmas | December 29 | Celebration! at 11:45 am NM-MCCeditor Tue, 11/26/2019 - 14:35
          

First Sunday after Christmas | December 29 | Celebration! at 9:30 am

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First Sunday after Christmas | December 29 | Celebration! at 9:30 am NM-MCCeditor Tue, 11/26/2019 - 14:33
          

Advent IV | December 22 | Celebration! at 11:45 am

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Advent IV | December 22 | Celebration! at 11:45 am NM-MCCeditor Tue, 11/26/2019 - 14:32
          

Advent IV | December 22 | Celebration! at 9:30 am

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Advent IV | December 22 | Celebration! at 9:30 am NM-MCCeditor Tue, 11/26/2019 - 14:31
          

Advent III | December 15 | Celebration! at 11:45 am

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Advent III | December 15 | Celebration! at 11:45 am NM-MCCeditor Mon, 11/25/2019 - 14:30
          

Advent III | December 15 | Celebration! at 9:30 am

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Advent III | December 15 | Celebration! at 9:30 am NM-MCCeditor Mon, 11/25/2019 - 14:23
          

Advent II | December 8 | Celebration! at 11:45 am

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Advent II | December 8 | Celebration! at 11:45 am NM-MCCeditor Mon, 11/25/2019 - 14:29
          

Teysa

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A third character from my new game. Comics will resume soon, I promise. These are just too much fun to do :)
          

Patience

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A second character from my current DnD game – Patience. She’s a Paladin of Ilmater!
          

Neff

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I didn’t manage a comic this week, I’ve been writing a lot of NaNoWriMo – but I did draw character art for my new DnD character, a pyrophobic gnome wizard called Neff. Here she is in her default emotional state […] ↓ Read the rest of this entry...
          

Comment on Delingpole: Greta the Teenage Climate Puppet Goes Full Marxist by Sailorcurt

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The skyrocketing energy costs may have something to do with the decreases in the automotive industry in Europe as well. When people can't afford their electricity bills, they sure as heck can't afford an expensive new car.
          

Comment on Delingpole: Greta the Teenage Climate Puppet Goes Full Marxist by Duane

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So, because Greta could not meet an arbitrary interview schedule - which btw would be a nullity if she simply used a phone or skype, like the rest of us unwashed billions of deluded souls use when we can't simply jet from here to there to somewhere else to have a bit of a chat - she gets to violate her low carbon footprint principles... while the other 7 billion of us are expected to totally turn our lives upside down, and be subjected to cruel dictatorship of the "smart people", in order to feed her gigantic notions of self-importance and innate moral superiority. Kinda seems like an unequal sacrifice, huh? Or, as the old smartasses like to say, "Do as I say, not as I do".
          

Comment on Delingpole: Greta the Teenage Climate Puppet Goes Full Marxist by Joel Snider

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Let them talk long enough, they always reveal themselves.
          

Engineering: SOA/ESB Middleware Engineer (Security Clearance required) - Arlington, DC

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Job DescriptionPosition:--SOA/ESB Middleware Engineer Location: Arlington, VA-- Clearance: Active Secret preferred or ability to obtain a Secret clearance.-- Responsibilities: Provide technical troubleshooting on issues requiring resolution related to Oracle WebLogic Server, SOA Suite, Service Bus and Web Services Ability to support multiple environments including troubleshooting and patching Ability to create datasources and manage them through WebLogic Experience working with JDeveloper, SoapUI and Service Bus console Knowledge of SQL, PL/SQL, JDBC, and Oracle database concepts Solid understanding of JavaEE, XML, Web Services, BPEL Understanding of Oracle WebLogic architecture and administration Experience with systems and software engineering/development concepts and techniques Knowledge of XML technologies, WS-*, SOAP, REST and other web service standards Solid understanding of SOA/ESB concepts and messaging patterns (Sync, Async, etc.) Understand TLS/SSL encryption protocols and be able to configure keystores and wallets Knowledge of Oracle/ JavaEE technologies. WebLogic 11g, SOA Suite 11g/12c, Oracle Service Bus (OSB) 11g/12c, BPEL 11g/12c Secret security clearance is required Experience with Agile development methodologies Support test cycles providing document and code reviews, and perform web application deployments -- Plusses: Experience with Oracle OIM, OAM and Siebel Experience with Git and Puppet ASRC Federal and its Subsidiaries are Equal Opportunity / Affirmative Action employers. All qualified applicants will receive consideration for employment without regard to race, gender, color, age, sexual orientation, gender identification, national origin, religion, marital status, ancestry, citizenship, disability, protected veteran status, or any other factor prohibited by applicable law.RequirementsRequirements: Provide technical troubleshooting on issues requiring resolution related to Oracle WebLogic Server, SOA Suite, Service Bus and Web Services Ability to support multiple environments including troubleshooting and patching Ability to create datasources and manage them through WebLogic Experience working with JDeveloper, SoapUI and Service Bus console Knowledge of SQL, PL/SQL, JDBC, and Oracle database concepts Solid understanding of JavaEE, XML, Web Services, BPEL Understanding of Oracle WebLogic architecture and administration Experience with systems and software engineering/development concepts and techniques Knowledge of XML technologies, WS-*, SOAP, REST and other web service standards Solid understanding of SOA/ESB concepts and messaging patterns (Sync, Async, etc.) Understand TLS/SSL encryption protocols and be able to configure keystores and wallets Knowledge of Oracle/ JavaEE technologies. WebLogic 11g, SOA Suite 11g/12c, Oracle Service Bus (OSB) 11g/12c, BPEL 11g/12c Secret security clearance is required Experience with Agile development methodologies Support test cycles providing document and code reviews, and perform web application deployments -- Plusses: Experience with Oracle OIM, OAM and Siebel Experience with Git and Puppet Education/Experience: Bachelor's degree in Computer Science or a related IT field or equivalent experience --ASRC Federal and its Subsidiaries are Equal Opportunity / Affirmative Action employers. All qualified applicants will receive consideration for employment without regard to race, gender, color, age, sexual orientation, gender identification, national origin, religion, marital status, ancestry, citizenship, disability, protected veteran status, or any other factor prohibited by applicable law. -- ()
          

[Q #3621] Vindictive Vindman is the “Whistleblower’s” Handler

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https://twitter.com/MarshaBlackburn/status/1197875810256007170📁
Coordinated and planned?
Spy_insert(s)?
Puppets have masters.
Senate was the target.
Q

          

PADDINGTON GETS IN A JAM Announces Its Cast

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Rockefeller Productions has announced its cast for their highly anticipated family show, Paddington Gets in a Jam which includes Jake Bazel (TV: "Sesame Street," NYC & International Tour The Very Hungry Caterpillar Show), Jessica Bulzacchelli (Regional: James and the Giant Peach), John Cody (TV: "Sesame Street," Monkey and Dino's Funky Puppet Show!), A.J. Ditty (Puffs; or, Seven Increasingly Eventful Years at a Certain School of Magic and Magic) and Kirsty Moon (NYC: That Golden Girls Show! A Puppet Parody NYC/International Tour: The Very Hungry Caterpillar Show).

Beginning December 13, 2019, the star of page and screen, Paddington, will take to the stage in this new fun-filled comedy, Paddington Gets in a Jam. This production is the eagerly anticipated follow-up to Rockefeller's critically acclaimed The Very Hungry Caterpillar Show and will begin a strictly limited 12-week run from through March 8, 2020 at Union Square's DR2 Theatre (103 E 15th Street). Tickets are on sale and available by visiting PaddingtonGetsInAJam.com.

"The antics of the kind-hearted, yet accident-prone Paddington have brought joy to millions of children and families around the world. I am thrilled to bring this celebrated bear to the stage in a way that audiences have never experienced him before."

-Jonathan Rockefeller

In Jonathan Rockefeller's Paddington Gets in a Jam, Paddington is at home making his favorite marmalade jam, with the help of the Brown's housekeeper Mrs. Bird, but they run out of sugar. Paddington goes next door to borrow some sugar, where he finds his ever-grumpy neighbor Mr. Curry in a panic, expecting an important visitor. Paddington volunteers to help get the house ready for the visit, but unfortunately for Paddington his good intentions lead to some hysterical chaos.

Paddington Gets in a Jam is created and directed by Jonathan Rockefeller with Puppet Creation by Rockefeller Productions. Creative team includes Doug Kmiotek (Playwright), David Goldstein & Peter Feuchtwanger (Set Design), Jamie Roderick (Lighting Design), Dave Ferdinand (Sound Design), Mikaela Hogan (Props Master), PRF Productions (Production Supervisor), Hannah Delmore (Stage Manager), Jill Bowman (General Manager) and Krista Robbins (Associate General Manager).

Acclaimed creator of family entertainment, Rockefeller Productions' The Very Hungry Caterpillar Show has been seen by more than one million people in over 12 countries--to the acclaim of critics and audiences alike. The show's extended run in New York City culminated in Drama Desk and Off-Broadway Alliance nominations. Other projects include the UK tour of Elmer the Patchwork Elephant, and the recent premiere of Mr. Men and Little Miss Show at Edinburgh Fringe, along with the streaming short film, 10 Little Rubber Ducks, written by preeminent author and illustrator Eric Carle and narrated by Bernadette Peters.


          

Been Down So Long It Looks Like Prestige TV to Me

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This sinus infection I’ve had for what feels like forever has been miserable but I did catch up on some good TV to keep myself distracted. My loss can be your gain! Here are some recent shows I recommend for binging and I don’t think you need to have a fever to enjoy them.

  • The Bureau - French spy drama. I haven't been this addicted to a show since The Wire. Mathieu Kassovitz of Amélie fame in a completely different role here. RIYL: anxiety. (4 seasons streaming on Sundance.)
  • Name of the Rose - Middle Ages crime procedural set in a monastery! What's not to love? John Turturro is fantastic as man-ahead-of-his-time William of Baskerville. RIYL: logic. (8-episode miniseries streaming on Sundance.)
  • The Mandalorian - I was primed to not like the new Star Wars offering but a certain puppet character makes up for many flaws. RIYL: shooting. (Streaming on Disney+.)
  • Modern Love - This anthology love letter to New York has such stellar casting for each mini-movie. RIYL: feelings. (Streaming on Amazon Prime.)
  • Letterkenny - Hicks vs. skids in rural Canada. Had to look up so much hockey slang to sort myself out for this show, boys. RIYL: drinking and punching. (7 seasons streaming on Hulu.)

          

Junior Software Engineer

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Job Title: Junior Software Engineer

Salary: £25,000 - £29,187

Location: Manchester

  • Would you thrive in a dynamic and creative start-up environment, but also enjoy the security, resources and influence of an established and successful organisation?
  • Would you excel within a world-class and passionate team that loves what they do?
  • Are you a recent graduate, in a Junior/grad role currently or a graduate of a coding bootcamp and looking for an exciting new role?

What to expect:

You will form part of a collaborative, iterative and agile process within a multi-disciplined team helping deliver best in class digital solutions. This role provides a unique opportunity to help support and grow an entirely new software development capability.

Reporting to the Principal Software Engineer and working closely with other multi-disciplined engineers, you will be a valued member of the Digital Delivery Centre team. You will work on real projects alongside experienced engineers and will be provided with opportunities to learn and build your new software development career.

We have long pushed the boundaries of technology. Now digital innovation lies at the heart of our business – because it is central to our future strategy. We are focused on the development of electric, connected and driverless cars that will reshape the whole industry. Joining us is your chance to help redefine who we are and where we’re going. Your talents in software development could take your career in many directions. Get ready to dream for tomorrow.

What you’ll need

  • Some experience with Java, Spring Boot, C#, .Net or another OO language
  • OR ... some experience with JavaScript (ES6/7/8) and common front-end libraries such as React
  • OR ... some experience building mobile apps, especially in React Native
  • OR ... some experience in a QA role working with automated testing using tools like Robot, Cypress, Selenium or Puppeteer

We are keen to speak to people who also have the following skills:

  • Some experience with relational database technologies such as MySQL or similar
  • Some experience with practices such as Test Driven Development and Pair Programming
  • Some experience with modern web technologies such as HTML5 and CSS
  • Some experience with source code management and version control (Git/GitHub/GitLab)
  • Some experience or knowledge of modern CI/CD tools and techniques
  • Knowledge of key stages of the software delivery lifecycle

The following skills and experience are nice to have:

  • Experience or knowledge of Object Oriented Programming
  • Experience or knowledge of API integration and development practices (REST, GraphQL)
  • Experience with Kubernetes or other cloud infrastructure (Google Cloud Platform, AWS, Azure)
  • Familiarity with polyglot persistence and experience with a NoSQL database engine (Mongo, Neo4j, etc)

So why us?

This role is based in our brand new hi-tech Digital Delivery Centre in the heart of Manchester, where you will be working alongside some of the best Engineers in the world. We have the top two floors in the Neo Building which has undergone a £8m refurbishment, neighbours in the building amongst others including Microsoft. We have a roof terrace with weatherproof desk pods as well as showers, bike racks and a discounted gym next door. We run a regular events/social program and the building is dog friendly!

Benefits:

  • Bonus (Individual Performance Payment) as well as a separate annual pay review
  • Flexible Working arrangements (Possible remote working also)
  • Pluralsight account - unlimited online courses
  • 26 days holiday + 8 days statutory
  • 50% off local gym memberships
  • Employee Learning Scheme - £250 per year towards any self-development activity of your choice
  • Childcare Vouchers
  • Occupational Health services
  • Discounts i.e. 5% at Sainsbury’s, 10% at Boots and 20% at EE
  • Privilege Discount Purchase/Lease Vehicle Scheme for yourself and family

Location: Manchester
Salary: Competitive
Hours: Full-time
Type: Permanent
Starting: Starting 01/02/2020
Duration: Permanent


          

Random: Yes, We’re Getting Untitled Goose Game Socks

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A whole new meaning to a sock that “honks”.

Untitled Goose Game is one of the stand-out releases for Switch this year, offering a unique puzzle experience which just so happens to place you in the role of the world’s most horrible goose.

The potential for malicious fun is obvious, and it would appear that developer House House is looking to bring that sense of anarchy into the real world with – wait for it – Untitled Goose Game socks. And you know what socks double as? That’s right – sock puppets.

Read the full article on nintendolife.com


          

Trump Puppet Cut from Las Vegas Act Over Political Climate Concerns

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In Las Vegas, where just about anything goes, President Donald Trump has become too hot to handle. That’s the explanation given by comic ventriloquist and impressionist Terry Fator for dropping a Trump puppet from his act at the request of the Mirage hotel and casino, where he has been a headliner for the past 11…

The post Trump Puppet Cut from Las Vegas Act Over Political Climate Concerns appeared first on The Western Journal.


          

Who Dares Wins, 1982 - ★★½

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Here's Stewart Lee on 1982's Who Dares Wins;

"Who Dares Wins, my most hated film, was released in 1982. Former TV hardman Lewis Collins plays Peter Skellen, who is an SAS man rather than a chart-topping 1970’s MOR singer, attempting to infiltrate a thinly disguised offshoot of the Campaign For Nuclear Disarmament and prevent a terrorist outrage. It has bad acting, bad dialogue, terrible music and a crass title sequence. But it also sets out to demonise the 80’s soft-left using impossible stereotypes and barely concealed right-wing polemic. It is like a Daily Mail version of an action movie. Not only is Who Dares Wins rubbish, it is also evil, and an example of that cinematic rarity, the commercially released facist film. Nearly a quarter of a century after its completion, it now serves as an elegy for the death of the soft British left of the 70’s and 80’s, that will move anyone who came of age politically in the Red Wedge era to tears of regret. Like Tony Blair, Lewis Collins’ SAS man pretends to be one of the revolutionaries, and even manages to convince one of them to sleep with him, but eventually leads them to their doom, having been a puppet of American-British military interests all along. Oddly the only sympathetic character in the film is the leader of the anti-nuclear terrorists, played by a young Judy Davis, whose closing speech sounds impossibly idealistic when delivered to the generals soon to delight in her death. As Blake wrote of Milton’s Paradise Lost, it would appear that the screenwriters were of the devil’s party without knowing it"

I agree with Stewart Lee on virtually everything, and so it ought to come as no surprise that I could not agree with him more here. Of course I would, I am after all a socialist and fully paid up member of both the Labour Party and CND. In the past too I've even performed in an agit-prop theatre group like the one Judy Davis appears in here. Look, here I am performing street theatre in a similarly spooky, blank facemask to the ones used in this film. I was playing 'Big Business'. Oh yes. *Adopts Rik from The Young Ones voice* Right On!

Who Dares Wins is a ludicrous right-wing wet dream of a jingoistic fantasy, so dumb and tin-eared as to be absolutely laughable. For example, my own personal favourite scene is at the 'Rock Against the Bomb' concert in which, during the performance from a band called Metamorphosis, we see some skinheads bouncing up and down chanting 'Sieg Heil!'. Whilst it's true that the punk and post-punk scene had its fair share of Nazi-sympathetic subculture, it's particularly ignorant of the filmmakers to presume this would be present at a Rock Against...gig, considering it would clearly be an offshoot of the Rock Against Racism movement. There's nothing intelligent here; like the Daily Mail that Lee alludes to, the filmmakers are just lumping together all sorts of bits of anti-establishment culture they've heard of in an attempt to justify the right-wing antics of its 'heroes' and stir up moral panic. The first scene after the "crass title sequence" (which features extensive footage of the Cenotaph) is a march against the arrival of American nuclear missiles in the UK. The implication is clear; the filmmakers believe the fallen of WWI and WWII were a glorious generation who, rightly deserve our respect, but the current generation are beyond our contempt. Everyone present on that march, the CND, the pacifists, the socialists, the Labour Party, the Communist Party, the trade unions and the miners, are immediately depicted as evil or naive enough to be easily manipulated. Fancy being against nuclear weapons? What idiots! How dare they question our 'special relationship' with the US! What Commie bastards! Why can't they just shut up and stay subservient like plebs are supposed to? Just two years later, Thatcher coined the term 'the enemy within' to describe striking miners. Who Dares Wins had already painted anyone who dared to object to the policies of the British government as such in its opening sequence.

Producer Euan Lloyd was inspired to make Who Dares Wins when he, like millions of others up and down the UK, found himself glued to the very real drama of the 1980 Iranian Embassy siege being broadcast on TV. Moving quickly, he commissioned a synopsis from George Markstein which was subsequently turned into a screenplay by Reginald Rose. Rose had famously written Twelve Angry Men but, by this stage in his career, he had formed a creative relationship with Lloyd that saw him churn out screenplays for action thrillers like The Wild Geese (and its sequel) and The Sea Wolves. On his inspiration for the film, Lloyd remarked "I watched in awe at what these SAS men did, and truly I felt very proud. Terrorism worries me greatly, so here was an opportunity for me to say what I've felt for a long time". It was said that he hoped that the film's pro-authority stance would counterbalance the arguments of films like Missing, The China Syndrome, War Games and Gandhi. And that alone tells you all you need to know about Lloyd's politics and the absurd patriotism in Britain at the time as a result of the Falklands and Thatcher milking that ridiculous war for all it was worth to get her a second term.

For his leading man, Lloyd selected an actor who had impressed him in the TV series The Professionals; Lewis Collins. It was Lloyd's intention to make a genuine bona fide British action star out of Collins, in much the same way that Cubby Broccoli and Harry Saltzman had made a star out of Sean Connery back in the 1960s with the early Bond films. Taking his cue from those two producers, Lloyd hired stylists to give Collins a more film star look; a good wardrobe, a new hair style etc, but ensured that the actor felt comfortable at all times by hiring Ian Sharp, one of the regular directors on The Professionals, to direct the movie. So confident in his find was Lloyd, that he signed Collins to a three-picture deal that would see the actor appear in The Wild Geese 2, Battle for the Falklands or Task Force South (a film about the Special Boat Service during the Falklands war) and Macau. However, for whatever reason, Collins didn't appear in The Wild Geese 2 and the other two projects were never made. Instead Collins moved into the Macaroni Combat genre, appearing in three films by Antonio Margheriti; the cheekily titled Code Name: Wild Geese, Commando Leopard and The Commander. There was talk of course around this time that Collins actually wanted to really join, and maybe even tried out for, the SAS. It was the talk of the playgrounds and can often still be raised in pubs to this day. When it is, I always call bullshit, arguing that how can Collins have possibly gone undercover in Northern Ireland, surely any OC in the IRA would have said "Hold on, isn't that the bloke from The Cuckoo Waltz?". Collins' star never really rose further above this, but he did clearly inspire Ross Kemp. So we can always blame him for that.

Essentially, Who Dares Wins is just an extended episode of The Professionals. The filmmakers seem to be having great fun creating SAS porn and playing with toys such as helicopters, hovercrafts and explosives and presumably they could not believe their luck in finding their film populated by the likes of Edward Woodward, Richard Widmark, Robert Webber and the voice of nuclear war himself, Patrick Allen, as figures of authority in what are relatively minor roles. To say nothing of a batshit crazy Ingrid Pitt cast as a relic from the Baader–Meinhof Gang. Weirdly, for a film inspired by the Iranian Embassy siege, Who Dares Wins takes a very long time in actually tackling anything approaching a siege; in its far too long two hour run time, it's not until the final forty-five minutes that hostages are taken and the SAS, who had until that point been twatting about in Herefordshire under the beady eyes of Maurice Roëves and Tony Doyle, show up to become reunited with Collins and gun down all those peace-loving bastards.

And yet, for all my grumbling and for all my utter agreement with Stewart Lee, I do have a soft spot for Who Dares Wins simply because, like a lot of its more successful and flashy Cannon counterparts (The Delta Force, Invasion USA etc) it represents a key part of entertainment from my childhood. As a gripping and engaging action thriller, it does depreciate to my eyes with each passing watch and, if I were the age I am now, or maybe a little younger, when this came out, I would have probably absolutely hated it on sight for all those reasons Stewart Lee puts forward and what I have laid out here myself. However, viewed now perhaps, it's all really rather naff and so ridiculous as to be impossible to take seriously. Nevertheless, there's always a little guilty twinge I feel at the prospect of the likes of Nigel Farage and Boris Johnson watching it and nursing a semi throughout.

One thing I can't agree with Stewart Lee's critique though is his stance on the music. It's deeply repetitive yeah, but it's not terrible. It's Roy Budd after all and, though he's clearly composed this with one eye on the clock waiting for the pubs to open, Budd was never terrible.

By the way, Judy Davis hated the film and immediately came out to attack and disown on it upon its release. I cannot imagine it appearing on her CV.


          

5 behind-the-scenes secrets of ‘Mister Rogers’ Neighborhood’

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Fred Rogers approached every storyline, prop, puppet and lyric from the perspective of how a child would perceive it.

The post 5 behind-the-scenes secrets of ‘Mister Rogers’ Neighborhood’ appeared first on Kidsburgh.


          

vRealize Automation Engineer

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VA-Reston, Title: vRealize Automation Engineer Location: Reston, VA Duration: 6+ months REQUIRED: - Experience with Puppet and Ansible (or similar configuration management automation tools like Chef and Saltstack) - DevOps background, including automation - Experience with, and/or good understanding of, VMware virtualization and automation technologies (e.g. vCenter, vRealize Automation (vRA), vRealize Orche
          

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Comment on Patriarch of Jerusalem Honored in Moscow for Promoting Church Unity by Nikolai

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The ROC/Russians have always had a presence in Jerusalem. And although the Jerusalem Patriarchate is a puppet of Istanbul, they appreciate the Russian support that goes back to the Czars.


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