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  166. evaravi says:

    I would like to build a PepVPN between the sites and utilize SpeedFusion with smoothing to assure that I get a reliable, predictable link that is suitable for sensitive traffic like VoIP/SIP and video conferencing.
    To start I walked through the Setup Wizard and configured my ISP WAN links and tested that they are working as expected. Now I need to configure the interface/link that will connect to the remote site via the point-to-point WiFi. My question is, what is the appropriate way to define the connection, the link subnet, and the remote network(s) present on the other side of that link? I may not even be asking the question very well so please, cut me some slack as this is my first time working with a Balance device. Put a different way, how do I configure the site-to-site link so that it can be included in the PepVPN as a preferred path to our secondary site but not be seen by the Balance as an Internet connection (zero route).
    Thanks again Martin, all seems to be working as expected. The VPN is up, speeds are good and we will hopefully be able to test VoIP services sometime towards the end of this week. I appreciate your help.
    Example VLANs at the SECONDARY site -IP SECURITY VIDEO – VLAN ID 7 – SUBNET 10.3.7.0/24IP SIP VOICE – VLAN ID 50 – SUBNET 10.3.50.0/24So the LAN port on the Balance needs to have multiple IP interfaces (one for each VLAN) and needs to tag traffic appropriately so that I can run a trunk to the switch stack.
    You can…provided that one (and only one) VLAN id is used for untagged traffic from/to the connected host and the others VLAN ids are used for tagged traffic (typically that is the approach used for handling “voice” VLAN) from/to the very same connected host…it clearly requires that the connected host is “VLAN aware” (and it is configured to be that).
    Generally – speaking about VoIP on LAN – a VoIP Terminal does so (via LLDP-MED)…so you can have a switch access port configured to be untagged member of a “data” VLAN id and concurrently tagged member of the “voice” VLAN id…the host connected could be a VoIP Terminal (to which – switched – it’s connected an host PC). The VoIP Terminal will land on the “voice” VLAN id and the host on the “data” VLAN id.
    The resource assets in this website may include abbreviated and/or legacy terminology for HPE Aruba Networking products. See http://www.hpe.com for current and complete HPE Aruba Networking product lines and names.
    In order to initialize an adapter card, the IOM type and adapter card type must match the preprovisioned parameters. In this context, preprovisioning means to configure the entity type (IOM type, adapter card type, port, and interface) that is planned for an adapter card. Preprovisioned entities can be installed but not enabled, or the slots can be configured but remain empty until populated. Provisioning means that the preprovisioned entity is installed and enabled.
    Before a port or SCADA bridge can be configured, the adapter card slot must be preprovisioned with an allowed adapter card type (for a SCADA bridge, the only type allowed is isc, for the Integrated Services card).
    The 16-port T1/E1 ASAP Adapter card, 32-port T1/E1 ASAP Adapter card, and the T1/E1 ports on the 4-port T1/E1 and RS-232 Combination module support fractional T1/E1 on a PPP channel group in network mode. Fractional T1/E1 allows one or more DS0 channels to be bundled together (up to the maximum bandwidth of the network link), allowing the customer to use only that portion of the link that is needed. This means that the PPP service can use a selected number of timeslots (octets) in the network T1 or E1 link, thus reducing the amount of T1 or E1 bandwidth that must be leased or purchased from the attached carrier. This leads to multiplexing efficiencies in the transport network.
    Clocking mode is defined at the adapter card level. There are three clocking modes available: differential, adaptive, and dcr-acr, which is a mixture of both differential and adaptive. The dcr-acr option enables differential and adaptive clocking on different ports of the same card or chassis. Differential and dcr-acr clocking modes also support a configurable timestamp frequency. In order to carry differential clock recover information, the RTP header must be enabled on the SAP.
    A microwave link can be configured on a 7705 SAR-8 or 7705 SAR-18 in order to support a microwave connection from ports 1 through 4 on a Packet Microwave Adapter card to an MPR-e radio that may be configured in standalone mode or Single Network Element (Single NE) mode.
    The 7705 SAR supports network access control of client devices (for example, PCs and STBs) on an Ethernet network using the IEEE 802.1x standard. 802.1x is a standard for authenticating customer devices before they can access the network. Authentication is performed using Extensible Authentication Protocol (EAP) over LAN (EAPOL).
    A T1 or E1 port can be configured to provide a subrate PPP service. That is, by using a channel group, the PPP service can be assigned to a subset of the timeslots that are available on the T1 or E1 port. Only one channel group can be configured per port for subrate PPP.
    Telcordia GR-499 requirements indicate that a T1/E1 transmitter will typically support an LBO adjustment in order to maintain an equivalent interconnect distance of approximately 655 feet over the full range of cable lengths up to 655 ft (200 m).
    ATM interface parameters can be configured for SONET/SDH ports in access mode, TDM ports or channels supporting ATM encapsulation, and IMA multilink bundles. The parameters allow users to configure characteristics of an ATM interface. The 7705 SAR-8 and 7705 SAR-18 support configuration of the following ATM interface parameters:
    IMA groups are supported on channelized 16-port T1/E1 ASAP Adapter cards, 32-port T1/E1 ASAP Adapter cards, and 2-port OC3/STM1 Channelized Adapter cards. The groups aggregate E1 or DS1 ATM channels into a single logical ATM interface.
    An IMA group has common interface characteristics (for example, configuration that applies to a logical ATM interface either configured via the IMA group context or taken from the primary link). The following list details the common IMA group interface characteristics:
    V.35 and X.21 ports on the 12-port Serial Data Interface card can be configured for IPCP encapsulation to support PPP SAPs for Ipipes. See the 7705 SAR OS Services Guide for more information about IP interworking VLL (Ipipe) services.
    The Grandstream HT802 (referred to in this document from here as the 802) is a 2 port analog telephone adapter (ATA) that allows users to create a high-quality and manageable IP telephony solution for both residential and office environments. With compact size, excellent voice quality, advanced VoIP functionality, security features, and auto-provisioning options, users are easily able to take advantage of VoIP on analog phones. The HT802 allows service providers to offer high quality IP services.
    Note: These instructions reference the 802 with factory default configuration. It is configured to grab a dynamic IP address automatically from your router using DHCP. For information on configuring your HandyTone with a Static IP Address, please refer to the 802’s user guide.
    I am thinking of moving to BT FTTP and saw your working setup for 3rd part router. I see you have two routers connected off the BT Smarthub – is there a need for two? I have a Nighthawk(R) X4S R7800 and wanted to keep using that
    As I pointed out in my original reply, if you wish to keep Digital Voice then you must use the SH2. You can also create the convoluted network that @choppyc describes in order to also use a third party router. However, if you don’t wish to have Digital Voice then there is no need to use an SH2 at all.
    My apologies – I was hoping to retain digital voice as I would like to get rid of my current landline. I also wanted to keep my current router if possible. If ChoppyC’s setup does work AND keeps DV it would be ideal. Also my current router has 4 Ethernet ports (I usea all of them) and a Wan port where it looks as if the Smarthub has 3/1
    Hi. I’m new here. We recently went FFTP as between them BT and Openreach never got the 2 mile copper to our exchange reliable enough to sustain internet connectivity in bad weather…. I asked to retain my Netgear infrastructure. As it cannot support the Digital Voice phone, the installation guy connected to copper on the back of the fibre to my old master socket so I would still have a landline. I’ve just realised that although we have a great dialtone, the exchange is not recognising us – any attempt to dial is rejected as number unrecognised. An agent on the fault reporting desk told me today that we’d been switched to digital at the exchange and the original copper service could not be reinstated, as part of their strategy to make copper obsolete by 2025. So the installation guy was wasting his time. (Another example of BT-Openreach disconnect.)
    Apart from feeling somewhat abused by this process, it looks to me as if my only option (apart from junking my nearly new Nighthawk router) is to create the configuration you have defined – though the description elsewhere as ‘convoluted’ is a bit discouraging. If you have any updated observations or guidance I’d be very interested. I feel BT should provide guidance themselves on this topic, as there must be many of us wanting to simply connect our WiFi infrastructures to a FTTP service, and have a landline. By the way is ‘ONT’ the new little box inside my house? Thanks anyone for help.
    G.729 codec was designed for human voice, so the quality of MOH is lower as compared to MOH streamed with G.711. Also CME will use transcoding DSP resources to convert the MOH to G.729 codec. So it is highly recommended to use G.711.
    MOH is an audio stream that is played to PSTN and VoIP G.711 or G.729 callers who are placed on hold by phones in a Cisco Unified CME system. This audio stream is intended to reassure callers that they are still connected to their calls. https://sites.google.com/view/xampp-control-panel-hialfoun5
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    Robert Sylvester Kelly (born January 8, 1967) is an American former singer, songwriter, and record producer. He is credited with prolific commercial success in R&B, hip hop, and pop music recordings, earning nicknames such as “the King of R&B”, “the King of Pop-Soul”,[4][5] and “the Pied Piper of R&B”.[6] In 2025, Billboard ranked him 9th on their list of “Top Greatest R&B Artists of all time.[7]
    Born on the South Side of Chicago, Illinois, Kelly began performing in the subway under the Chicago “L” tracks, and regularly busked at the “L” stop on the Red Line’s Jackson station in the Loop. During his recording career, Kelly released 18 studio albums which yielded a number of hit singles, including “I Believe I Can Fly”, “Bump N’ Grind”, “Your Body’s Callin'”, “Fiesta (Remix)”, “Ignition (Remix)”, “Step in the Name of Love (Remix)”, “If I Could Turn Back the Hands of Time”, “The World’s Greatest”, “I’m a Flirt (Remix)”, and the hip hopera Trapped in the Closet. In 1998, he won three Grammy Awards for “I Believe I Can Fly”.[8] Alongside his recording career, Kelly’s songwriting and production work was credited on albums by Michael Jackson, Britney Spears, Whitney Houston, Mariah Carey, Celine Dion, Justin Bieber, Janet Jackson, Chris Brown, Aaliyah, Usher, Ciara, Toni Braxton, Luther Vandross, and Mary J. Blige. Kelly received a Grammy Award nomination for his contributions to Jackson’s 1995 single, “You Are Not Alone”, which earned a Guinness World Record as the first song to debut atop the Billboard Hot 100 in the chart’s history.[8] Kelly’s 1998 collaboration with Dion, “I’m Your Angel”, did so once more.
    Kelly sold over 75 million albums and singles worldwide, making him one of the best-selling music artists of all time,[9][10] and the most successful R&B male artist of the 1990s. The Recording Industry Association of America (RIAA) has recognized Kelly as one of the best-selling artists in the United States with 40 million albums sold.[11] In 2011, Kelly was named the most successful R&B artist of the last 25 years by Billboard. Kelly won Grammy Awards, BET Awards, Soul Train Music Awards, Billboard Music Awards, NAACP Image Awards, and American Music Awards.
    Kelly had long been the subject of accusations of sexual abuse, including that of minors, dating back to the 1990s. Following leaked video recordings, Kelly was prosecuted on child pornography charges in 2002, leading to a controversial trial that ended with his acquittal in 2008 on all charges. The 2019 documentary Surviving R. Kelly re-examined Kelly’s alleged sexual misconduct with minors, prompting RCA Records to terminate his contract. Renewed interest in the allegations resulted in additional investigations by law enforcement beginning in 2019, which led to multiple indictments and Kelly’s arrest. In 2021 and 2022, he was convicted on multiple charges involving child sexual abuse. As of 2025, he is serving a 31-year combined sentence at FCI Butner Medium I in North Carolina.
    Kelly described having a girlfriend, Lulu, at age eight, in his 2012 autobiography Soulacoaster: The Diary of Me. He stated that their last play date turned tragic when, after fighting with older children over a play area by a creek, she was pushed into the water, swept downstream by a fast-moving current, and drowned. Kelly called Lulu his first musical inspiration.[20]
    Kelly said members of his household would act differently when his mother and grandparents were not home.[21][18] This included highly provocative dress and behavior. Kelly stated that when he was eight, an adult woman in the household coerced him into photographing her while having intercourse with an adult male partner.[22]
    From age 8 to 14, he was often sexually abused by an older female family member.[14][23] Kelly’s younger brother, Carey, stated that he suffered from years of sexual abuse at the hands of their older sister, Theresa, who was entrusted with babysitting the siblings.[24][25] Carey stated that although their older brother, Bruce, was spared and allowed to play outside, both he and Kelly were punished at separate times indoors by Theresa, who refused to acknowledge the abuse when confronted years later.[24][25]
    Explaining why he never told anyone, Kelly wrote in his autobiography that he was “too afraid and too ashamed”.[20] Around age 10, Kelly was also sexually abused by an older male who was a friend of the family.[14] In his autobiography, Kelly describes being shot in the shoulder at age 13 by boys who were attempting to steal his bike,[20] although a family friend claims his mother disputed this, stating that the gunshot was self-inflicted during a suicide attempt.[14]
    In September 1980, Kelly entered Kenwood Academy in the city’s Hyde Park-Kenwood district, where he met music teacher Lena McLin, who encouraged Kelly to perform Stevie Wonder’s “Ribbon in the Sky” in the high school talent show.[26] A shy Kelly put on sunglasses, was escorted onto the stage, performed the song, and was awarded first prize.[18][27][28] McLin encouraged Kelly to leave the high school basketball team and concentrate on music. She said he was furious at first, but after his performance in the talent show, he changed his mind.[29] Kelly was diagnosed with dyslexia,[30] which left him unable to read or write.[31][23] Kelly dropped out of high school after attending Kenwood Academy for one year.[32] He began performing in the subway under the Chicago “L” tracks.[32] He regularly busked at the “L” stop on the Red Line’s Jackson station in the Loop.[14]
    During his recording career, Kelly sold over 75 million records worldwide, making him the most commercially successful male R&B artist of the 1990s and one of the world’s best-selling music artists.[34][35] He won three Grammys for his song “I Believe I Can Fly”, and was also nominated for his song “You Are Not Alone” recorded by Michael Jackson.[36] Critics dubbed him “the King of R&B”[37][38][39] while he billed himself the “Pied Piper of R&B”.[40]
    MGM (Musically Gifted Men or Mentally Gifted Men)[14] was formed in 1989 with Robert Kelly, Marc McWilliams, Vincent Walker and Shawn Brooks. In 1990, MGM were offered a contract with an independent label, Tavdash Records.[41] Shortly after, they recorded and released one single, “Why You Wanna Play Me”.[42] Kelly gained national recognition when MGM participated on the talent TV show Big Break, hosted by Natalie Cole.[43] MGM performed “All My Love”, which would become a demo for Kelly’s song “She’s Got That Vibe”.[44] The group went on to win the $100,000 grand prize in 1991 before they disbanded.[45][46]
    In 1991, Kelly signed with Jive Records.[42] Kelly’s debut album, Born into the 90’s, was released in early 1992 (credited as R. Kelly and Public Announcement). The album, released during the new jack swing period of the early 1990s, yielded the R&B hits “She’s Got That Vibe”, “Honey Love”, “Dedicated”, and “Slow Dance (Hey Mr. DJ)”, with Kelly singing lead vocals.[47] During late 1992, Kelly and Public Announcement embarked on a tour entitled “60653” after the zip code of their Chicago neighborhood.[16] This would be the only album co-credited with Public Announcement. Kelly separated from the group in 1993.[18]
    In 1994, Kelly established himself as a leading producer by producing songs for various artists, including Aaliyah, Janet Jackson, and Changing Faces.[50] He co-headlined a tour with Salt-N-Pepa and headlined the Budweiser Superfest tour.[51][48]
    Kelly’s success continued with the November 14, 1995, release of R. Kelly, his eponymous second studio album. Critics praised him for his departure from salacious bedroom songs to embracing vulnerability. New York Times contributor Stephen Holden described Kelly as “The reigning king of pop-soul sex talks a lot tougher than Barry White, the father of such fluffed-up pillow talks and along with Marvin Gaye and Donny Hathaway, [both] major influences for Kelly.”[53] In December 1995, Professor Michael Eric Dyson critiqued Kelly’s self-titled album “R. Kelly” for VIBE. Dyson described Kelly’s growth from the 12 Play album: “Kelly reshapes his personal turmoil to artistic benefit” and noted that Kelly is “reborn before our very own ears”.[54]
    On November 26, 1996, Kelly released “I Believe I Can Fly”, an inspirational song originally released on the soundtrack for the film Space Jam. “I Believe I Can Fly” reached No. 2 on the Billboard Hot 100, and No. 1 on the UK charts for three weeks and won three Grammy Awards in 1998.[36][47] In that same year, he contributed to “Freak Tonight” for the A Thin Line Between Love and Hate soundtrack.
    In 1997, Kelly signed a contract to play professional basketball with the Atlantic City Seagulls of the USBL.[56] He wore the number 12 in honor of his album 12 Play.[57] Kelly said “I love basketball enough to not totally let go of my music, but just put it to the side for a minute and fulfill some dreams of mine that I’ve had for a long time.”[58] Kelly’s USBL contract contained a clause that would allow him to fulfill a music obligation when necessary. “If Whitney Houston needs a song written”, said Ken Gross, the Seagulls owner who signed Kelly, “he would be able to leave the team to do that and come back”. “It wasn’t a gimmick”, Gross continued, “he’s a ballplayer. He can play.”[59]
    In 1998, he launched his own label, Rockland Records, in a distribution deal with Jimmy Iovine’s Interscope Records. The label’s roster included artists Sparkle, Boo & Gotti, Talent, Vegas Cats, Lady, Frankie, Secret Weapon, and Rebecca F.[61][62] That May, Sparkle, Rockland’s first signed artist, released her eponymous debut album. In addition to producing and writing the project, Kelly made vocal contribution to the hit duet “Be Careful”, which became a serious factor as to why the album was certified platinum in December 2000.[63]
    On November 17, 1998, Kelly released his fourth studio and first double album, R. Musically, the album spans different genres from pop (Celine Dion), street rap (Nas and Jay-Z) to Blues (“Suicide”). Dave Hoekstra of the Los Angeles Times described the album as “easily the most ambitious project of his career”.[64] In the summer of 1999, he wrote and produced a majority of the soundtrack to the Martin Lawrence and Eddie Murphy film, Life, which features tracks from K-Ci & JoJo, Maxwell, Ma, and Destiny’s Child, among others. The soundtrack was also released on the Rockland imprint.[65]. The Robinson Hazardous Area Centrifuges are designed to safely operate in hazardous areas that are deemed Class 1, Division 2, Group D. The centrifuges use an air-driven motor and explosion-proof switches eliminating the chance of electrical spark and potential accidents. Used for determining sediment and water (S&W) content of crude oil, the centrifuges are available in both heated and non- heated models.
    Problem: The structural style and deformation history need to be determined to be able to assess the hydrocarbon potential of the Salt Range-Potwar Plateau, Kohat Plateau and Bannu Basin. To determine the deformation history, first, the differences in the rocks types and deformation styles need to be evaluated. We propose to collect the field data needed to determine the deformation history, then model the deformation history. Once we have used two dimensional and three-dimensional models, we will be able to assess the hydrocarbon migration into the reservoirs and the traps in the petroleum system.
    Goals: The main objective of this project is to determine the thrust belt geometry and document the kinematic evolution of the Salt Range-Potwar Plateau, Kohat Plateau, and Bannu Basin to determine the hydrocarbon potential of the region. To accomplish this, we have the following goals: 1) Two years of fieldwork with an international collaborative team from Pakistan and the United States; 2) Use field data to balance and restore cross-sections and model the results in a two dimensional computer program; 3) Equip and utilize a centrifuge modeling lab to turn two dimensional data into three dimensional modeling; 4) Use laboratory dating to bracket the time at which faults moved producing earthquakes; 5) Evaluate the hydrocarbon potential of this part of the Pakistani fold-thrust belt; 6) Publish at least three manuscripts in peer-review international journals.
    Outcomes: This project will improve the quality and relevance of the Pakistan education and research system. Our collaboration will increase technology exchange as well as improve resources at the University of Peshawar. We will increase the capacity of science to improve the well-being of the Pakistani people by improving education and economic development. By utilizing new techniques and acquiring new data to assess and identify hydrocarbon reserves, we will address the severe energy crises and potentially improve the quality of life of the public. The project will improve the capacity of the University of Peshawar to support industry competitiveness because the results from this project will attract new investors from the hydrocarbon industry, which will create new job opportunities and will enhance the socioeconomic conditions of Pakistan. In addition to assessing the hydrocarbon potential of the fold-thrust belt, we are committed to the training and education of underrepresented groups in both Pakistan and the United States. By the end of the project, we will also be able to contribute toward earthquake assessment because of the computer and physical centrifuge modeling aspects of our proposed research.
    Brown, Michael, Sharif, Yaseen, Ciantia, Matteo, Knappett, Jonathan, Davidson, Craig, Cerfontaine, Benjamin and Robinson, Scott (2019) Numerically modelling the installation and loading of screw piles using dem. In 1st International Symposium on Screw Piles for Energy Applications. pp. 101-108 .
    In this paper a new numerical modelling technique for simulating the installation and loading of screw piles is described. The method uses the discrete element method (DEM) and in a single model is able to assess the installation requirements as well as the ultimate tensile and compressive capacity. Numerical modelling of screw piles has traditionally been conducted using finite element analysis (FEA), in which piles are wished in place into a soil body consisting of a meshed continuum. Although this has provided many insights into the capacity of screw piles and the mechanisms that form when they are loaded, they do not usually consider the effects of installation on the behaviour of the soil. Using 3D DEM calibrated against element tests and geotechnical centrifuge tests, it is now possible to assess the local changes in density and stress caused during the installation process and what effects this has on the capacity of screw piles.

  169. yeslovo says:

    Two weeks ago, I was lucky enough to attend the PyCon.DE 2018 in Karsruhe. Ialso got the opportunity to present my ideas on the role of notebooks andmodules in Python development, with a particular focus on testing. Since theslides and video are available online, I do not want to rehash the talkhere, but rather spend the bulk of this post to explain my setup in more detail.
    The motivation for my talk was the observation that while notebooks are oftenplaced in contrast to “production ready” code, I find them extremely useful indeveloping said “production ready” code. Another motivation was the recentJupyterCon talk by Joel Grus, titled “I don’t like notebooks”(video), that I can highly recommend (*).
    (*) A small aside. After my talk, I stumbled into a discussion, whether Joel’scriticism is fair or whether he is criticizing notebooks for misuse by theirusers. Personally, I feel that his presentation may be a tad polemic. At thesame time I ran (and still run) into most issues he raises myself. To usenotebooks effectively, requires a lot of discipline. And I feel this fact is nothighlighted enough. So in sum, I feel that, yes, he mostly describes usageissues and sometimes compares unfairly, but I also feel that there is a need forbetter communication of these issues and better tooling to address them. But toget back to the main story:
    In my eyes, the stark contrast drawn between notebooks and modules is a falsedichotomy. Both have their respective strengths and weaknesses with acombination of both of them being very effective. For me a work split betweennotebooks and modules is emerging that roughly looks as follows:
    This work split hinges however on a certain setup and libraries that behavesufficiently the same between environments. The latter issue was the motivationto create ipytest. It allows to use pytest in the same way acrossnotebooks and modules and thereby makes it easy to move tests from oneenvironment to the other. For a detailed introduction to ipytest, pleasehave a look at my talk (slides / recording) or the ipytesthomepage. In the following I will concentrate on the environment setupand explain it in detail. An example of how it will look like, can be foundhere.
    Before I start, I would like to highlight a very similar blogpost by Florian Wilhlem, in which he makes different technicaldecisions with a slightly different focus. As I feel workflows are to someextend a matter of personal preference, reading his post as well gives you moreoptions to find a setup that works for you.
    Virtual environments (or virtualenvs) have become the de facto standard forpython development, as they offer isolation of installed packages. However,managing virtualenvs, installing packages, and keeping everything in sync can betricky. Recently, I started to use pipenv to setup my environments. Itgreatly simplifies virtualenv handling and ties together different aspects ofthe typical python workflow in one convenient interface. While it has someissues, like long runtimes andsometimes suboptimal dependencyresolution, I generally reallyenjoy using it.
    This command will not only setup the environment, but also create the Pipfileand the Pipfile.lock if they do not already exist. The first file, containsthe abstract requirements, i.e., requirements without exact versions. The secondfile will contain the concrete requirements, i.e., requirements with exactversions. Thereby, the virtualenv is fully described and can easily bere-created for reproduction of the results.
    When running the kernel and the frontend independently, e.g., when usingnteract or running inside an hosted jupyter instance, the kernel has to bemade available to the frontend. Below, I describe how. Sincepipenv is a quite new tool, I also collected some usefulcommands.
    To ensure a reproducible workflow, I highly recommend to setup a git repositoryfor any new project. Using git allows you to go back, when things don’t workout, or find pieces of code, that you may have deleted. For a detailed tutorialhow to use git, see for example the git book. I also collected some usefulcommands below.
    Notebooks can be a bit tricky when using git, as they are not easily diffed ormerged. The nbdime project aims to alleviate these issues withspecial commandline and gui tools. It also offers a simple way to integrateitself into your git workflow. I only recently started to use nbdime, soplease take the following comments with a grain of salt. nbdime’s setup onlyrequires:
    However, afterwards git will only work inside the current virtualenv, as itreferences the nbdime scripts inside that environment. As a workaround, Imanually edited the .git/config sections that nbdime creates to use the fullpath. For example, I replaced git-nbdiffdriver with the output of pipenv run which git-nbdiffdriver, and similarly for the other tools.
    Now that the basis environment is setup, let us prepare a local package tocollect code moved out of the notebook. For demonstration purposes, I assumeall source code will be included in the ipytest_demo package under the srcdirectory:
    This way any change made to the package is directly reflected in the virtualenvwithout re-installing. Note, that the development package is also included inthe Pipfile. This way anybody re-creating the environment will also installthe local development version.
    As is, the setup.py file is quite bare bones. To make the package also usefuloutside this setup, you should at least add requirements by specifying theinstall_requires=[…] options. For a detailed introduction, see the pythonpackaging guide.
    With the setup of environment, repository, and local package out of the way, wecan finally add code. There are two places we will use for code, notebooks andour local package. Personally, I prefer to divide my code between the tworoughly as follows:
    Typically, I will modify the code of the package, while I experiment inside thenotebook. One caveat is, that the python module system will cache any module onimport. To run the code that is found on the filesystem after changes, we caneither restart the kernel or reload the module. To help with the latter, IPythonincludes the autoreload magic. Personally, I prefer to perform the reloadmanually, such that I have full control. To help, ipytest ships with a reloadcommand that allows to pass a list of strings. In our case, we can run thefollowing code, to ensure we always import the current version:
    Another important piece of my workflow are automated tests. There are manyreasons why to test. For me it boils down to the fact, that any medium sizedproject will contain too many moving parts to keep everything in mind at thesame time and automated tests give me a way to manage this complexity.
    Let’s start with the first scenario. For tests of standard python packages, Ihighly recommend pytest. It requires almost no setup. Just place all yourtests inside python files starting with test_ and pytest will pick them upautomatically. A typical test is a function, again, starting with test_ thatraises an exception for any errors encountered. Just see the pytest gettingstarted guide for details.
    For the second scenario, testing inside the notebook, you can also use pytest.However, it requires some glue code, that I packaged as ipytest. For adetailed introduction, see my talk (slides, video). The short version ofit is: Set ipytest up via
    Finally, testing the integration of notebooks and the local package remains.One application is to test for regressions and ensure that notebooks still workwith the current state of the local package. For this task, I rely on nbval,a pytest plugin that allows to test notebooks. Personally, I only test that mynotebooks still execute with the current package and do not care for the exactoutputs. For such tests, execute nbval as in
    Depending on the notebooks, the tests can take considerable time. Model fits inparticular can have long runtimes. To deal with this issue, I typically onlyexecute a single batch or use less samples when running inside tests. You cancheck whether this is the case by looking for the PYTEST_CURRENT_TESTenvironment variable. The next version of ipytest will include the function
    At the moment, I am also experimenting with improving my tool chain to usestatic tests for notebooks. The basic idea is to use a custom exporter toextract the source code of notebooks, while skipping magics and then executingstatic analysis tools, such as mypy and pyflakes. If these experimentspan out, I will detail the results in a separate post.
    By now, my workflow encompasses many steps, that I execute regularly.Thankfully, pipenv also offers a way to include scripts inside the Pipfileand collect everything in one place. However, it is mostly geared for executingsimple commands. To create more complex scripts, I use invoke as pipenvsuggests.
    Additionally, I define a precommit command that executes all tasks in turn, soI do not forget any step before I commit my changes. In principle, it could beused as part of a precommit hook. For now, I prefer to run it manually.
    These commands will fetch the code, setup a virtual environment and install allpackages (including the local development package). This simplicity is also themain reason why have I taken a liking to pipenv. Note however, that this setupalone is not quite enough to ensure full reproducibility. Other things to lookout for include:
    In this blog post, I detailed how I setup my environment to effectively developacross notebooks and modules. Overall this setups works quite well for me, but Irecognize that workflows are often a matter of personal preference and taste.
    I also would be quite happy to hear from you, if you decide to try testinginside notebooks. In that case you may also want to give ipytest a try.Again contact me on twitter or open an issue on github if you runinto issues or want to share feedback.
    Finally, as a reference, I would like to highlight the tools I used throughoutthis article: git, pipenv, jupyter notebookpytest, ipytest, nbval, and nbdime. You can find an example, howeverything fits together here on github. cc7c31b456 yeslovo
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    John Milton escapes from Hell after stealing Satan’s gun, the Godkiller, to kill Jonah King, a Satanic cult leader who murdered Milton’s daughter and her husband, and plans to ritually sacrifice Milton’s infant granddaughter to unleash Hell on Earth.
    After interrogating and killing some of King’s followers in Colorado, Milton discovers that the ritual will take place in Stillwater, an abandoned Louisiana prison. On his way there, he stops by a diner, where he meets Piper Lee, a waitress. Milton sabotages Piper’s 1969 Dodge Charger, offering to fix it in exchange for a ride.
    Piper walks in on her boyfriend, Frank, cheating on her. Piper beats the woman, tosses her outside, and assaults Frank, who knocks her unconscious. Milton comes to Piper’s aid, and “borrows” Frank’s Dodge Charger, taking Piper with him to Stillwater. Satan’s operative, the Accountant, arrives on Earth with the mission to retrieve Milton and the Godkiller. The Accountant interrogates Frank and discovers Milton’s destination. After killing Frank, he poses as an FBI agent, tricking a pair of state troopers into helping him.
    Stopping at a shady motel, Milton has sex with a waitress from a nearby bar. King and his men attack, and Milton violently dispatches them with many rounds of gunfire, leaving the naked and terrified waitress completely traumatized. The Accountant appears with the police and chases Milton and Piper, who by now are far ahead of them, hotly pursuing King in his recreational vehicle (RV). Milton uses the Godkiller to shoot at the Accountant, causing him to drive off a bridge. They follow King to a former church, find it filled with King’s Satan worshipers, and are ambushed and captured by the cult. They kidnap Piper and shoot Milton in the eye, leaving him for dead. He awakens, kills King’s cult, and pursues the RV in the Charger. Piper breaks free, fights King, and jumps through the RV’s shattered window onto Milton’s car hood. King disables the Charger by shooting its engine.
    After arming himself, Milton tells Piper and Webster to leave, but Piper says that she has never before had a worthy cause to fight for and is with him regardless of the consequences. With the help of the now-intrigued Accountant, they evade sheriff’s troopers and arrive at Stillwater. The Accountant captures Piper and forces Milton to surrender the Godkiller before he can battle King. He allows Milton to attempt to save his granddaughter, however, noting that Satan despises the sacrifice of innocents in his name.
    While Milton slaughters King’s men before they can sacrifice his grandchild, Piper escapes from the Accountant with the Godkiller. King eventually gets the upper hand on Milton and savagely beats him. Piper fires the Godkiller at King, but misses, knocking herself out. King is enraged when another follower refuses to sacrifice the infant. The Accountant attracts King’s attention, allowing Milton to grab the Godkiller and obliterate King and his soul, permanently.
    The Accountant retrieves the infant and allows Milton to say goodbye to his granddaughter. Milton gives her to Piper, who promises to always care for her. Webster arrives and looks on as Milton “dies”. After both Piper and Webster have left, Milton makes good on his earlier promise to Webster and drinks a beer from what remains of King’s skull. He agrees to return to Hell, promising to escape again if his punishment remains too severe. The Accountant says that he looks forward to that escape. The Accountant manifests a black 1957 Chevrolet Bel Air and Milton drives them both back into Hell.
    Cage stated that he was originally drawn to the project by a scene in which his character’s eyes get shot out.[12] In his previous film, Season of the Witch, he had wanted to have such a scene, but producers rejected the idea.[12]
    The film was shot in 3D, and special effects were created by Gary J. Tunnicliffe.[13] The cameras were rented from Paradise FX.[14] One reason Cage chose this film was to be part of the new 3D technology.[15]
    The three cars driven by Cage in the film are a 1964 Buick Riviera, a 1969 Dodge Charger R/T (440 Engine), and a 1971 Chevrolet Chevelle SS 454.[16] Writer/director Patrick Lussier said the Riviera, used at the beginning and the end, “was the car we wished we had used the most, because it was a beautiful driving car”, but “It was a shame to smack it up”.[17] Three Chargers and three Chevelles were used, with one made very safe for the stunts, and one intended to be shown close to being destroyed.[17]
    The film was released in the US on February 25, 2011.[21] Footage premiered on July 23, 2010, as part of San Diego Comic-Con.[22] It opened at the ninth place within the box-office rankings at $1.6 million on Friday, with a lower-than-expected $5 million weekend.[23] Drive Angry’s box-office performance made it the lowest-grossing opening of a 3D film released in more than 2,000 US theaters.[23] The film was slightly more successful in international markets, earning $30.3 million.[2]
    On the review aggregator website Rotten Tomatoes, the film has an approval rating of 47% based on reviews from 123 critics, with an average rating of 5.4 out of 10. The website’s “Critics Consensus” says: “It may deliver the over-the-top action pieces, but Drive Angry prefers to work safely within the grindhouse formula than do something truly unique”.[24] On Metacritic the film has a score of 44 out of 100, based on reviews from 21 critics, indicating “mixed or average” reviews.[25] Audiences polled by CinemaScore gave the film a grade of C+ on a scale from A to F.[26]
    Mark Jenkins from The Washington Post wrote, “Even at its most lurid, though, the movie is a little dull. And it only gets less compelling as the back story fills in”.[27] Roger Ebert of the Chicago Sun-Times gave the film 2 out of 4 and called it “an exercise in deliberate vulgarity, gross excess, and the pornography of violence, not to forget garden-variety pornography. You get your money’s worth”.[28] Elizabeth Weitzman from the New York Daily News wrote, “Drive Angry is pure grindhouse, so committed to its own junkiness that it is, in its way, a pleasure to behold”.[29] Writing for Variety, Rob Nelson called it “plenty watchable”, but probably more of a draw to cult film fans than to mainstream audiences.[30] In The Hollywood Reporter, David Rooney called the film “a mindless exploitation entry that should have been appallingly awesome”.[31]
    Bad acting, bad editing, bad dialog, bad story and…Bad hair!! Why does the “god killer” need to be a gun??? Does that mean that god is packing heat too?? I can see it now, Satan with his god killer and God with his trusty six shooters called Love and Hate. Jejejeje…Wait, now thats a movie i would rather see than Drive Angry.
    Odenat: Heres the deal: it’s a bad movie, no doubts about it, but one thing is for sure, it’ll make you laugh. Also, I’m guessing you could have fun with it if you watch it in MSTK 3000 Mode. Manuel: You got that right! God vs The Devil, and earth could be their old west as humanity watches the cataclysmic battle! Damn, they should be giving us the millions!
    I think I liked this film a letter more than you did! Wow. I dunno, I enjoyed it for what it was: loud, trashy, exploitation crapola. Plus, you’ve got to give it up for William Fichtner who was nothing short of awesome in the film, moving through it while doing his best Christopher Walken impersonation.Maybe I was just in the right mood when I watched it.
    I was in the right mood too, in fact, I was the one who suggested a rental to my friends, but that didnt stop my dissapointment with it once we started watching. I mean, like you said J.D., it was crapola, and thrashy, this is true, but that didnt stop it from being a bad film, which come on, you have to admit it is. I wasnt expecting anything less than crapola, yet thats what I got. Still, I had some fun with it in spite of its badness, I laughed all the way through, which is why I gave it a one and not a zero.The scene that had me cracking up was the bridge scene…I mean, the bridge went on and on forever and ever! Ha! The director kind of forgot all about continuity and the flow of a scene…I mean here we had both characters talking to each other from car to car, and the bridge just keeps on going and going and going….and then when the scene ends and we see the bridge, it really wasnt that long at all. Hilarious!
    Oh, I agree it’s a bad film but intentionally so. At least, that’s the impression I got. The bridge scene was pretty crazy and funny. I would say that I enjoyed the film for the sheer fact that it kept me entertained. I was never bored and I laughed at a lot of the sheer absurdity of what was going on.
    You think they went with deliberately bad effects? I mean, that truck hurling through the air…wow, pretty awful! The effect with the God Killer, what a bad effect! I wonder if these cheesy effects where somehow better had I seen the movie in theaters as opposed to dvd? I laughed a lot with that scene where Cage is screwing that horny waitress while shooting all the bad guys, but it had been done before in quite a few movies. David Morse was given so little to do in this movie, he’s such a good actor too. Agree about Fichtner beeing the best thing about the movie. YOu know what made me laugh the most? How so many things just dont make sense, like for example, that scene where they drive into hell, and the bridge behind them starts to blow up for no reason whatsoever except to possibly end the movie with a 3-d effect? I was like why is the bridge blowing up as they are driving through it?? I dont get it!! Another scene that was hilarious: the church with the satanists singing what was supposed to sound like a christian song….ha ha ha I would have known they were satanist as soon as I heard them sing that shitty ass song!! You know what, I think I’ll give this one a re-watch whenever I’m in a shitty mood.. I am honestly so proud of this fandom and wouldn’t have it anyother way. In the year we have had many ups and downs including many tears of laughter and sadness. At the end of the day what really matters is that we stand here all together.
    I wanna say thank you to Monsta x I am so happy you are apart of my life. I cannot express in words how much they mean to me. They have been there through thick and thin, so for that I am forever thankful. I love them for their Humble personalities, their lovable character, their kindness and their generosity.
    Thank you to all the staff on this amino. Most of us are so greatful that you keep this place a safe place for monbebes of all age. Without all of you this community wouldnt run as smoothly and be as safe for monbebes to use. I for one am really greatful.
    Next I wanna just write a really small thank you to all the friends i have made and all the people that i have spoken to. I may not know everyone very well but i love meeting new people on here and developing friendships.
    My lucky whale and my cute yummy bear, i love you guys so so much and would move mountaina for you two. Thank you two for being the most supportive people ever. Honestly who knows what i would be doing if i didnt have you two to talk to all the time. No matter what I will always be here for you two. I LOVE YOU GUYS SO MUCH :two_hearts:
    There is one more person I wanna add to this blog and that is my love Kaira. I met her not so long ago and she is one of the kindest, sweetest, generous (basically everything good) person you will ever talk to. She is super supportive and so nice to talk to. I LUF YOU KAIRA (Lamki for life Laira for days :joy: ) :cupid:
    Nfjdjfjd KIRRIII AHH HEHEHE no problem my love i am glad u liked and reblogged :eyes: :eyes: I love u foreverrrrr and eevverrrr :purple_heart: :purple_heart: :purple_heart: :purple_heart: :purple_heart: :purple_heart: Glad i could make ur heart burst hehehehe like u do for me all the time
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    This corner of the Dominican’s northern coast makes for one of our favorite day trips, especially for our volunteers who live just outside of Puerto Plata. There’s a ton to do, so good thing you have weekends free to come see it all!
    A quick vacation to the Dominican Republic is more than worth it, but a major perk of living there for a semester means uncovering the gems that most tourists miss entirely if they’re just visiting between cruise stops.
    These destinations are outside of the coastal towns of Rio San Juan and Cabrera in the northeastern part of the Dominican Republic. It’s just a day trip outside of Puerto Plata, so it makes a perfect Saturday adventure for our ILP volunteers who are volunteering here for the semester.
    Although it’s more expensive, hiring a driver for the day during this trip will be much more convenient. I’m suggesting multiple stops, so I really like the ease of having a driver take you right there instead of trying to figure out where and how to get your next ride each time on public transport.
    Hiring a driver is more expensive than a gua-gua, but if you’re splitting the cost with a large group you might find it’s worth it. You’ll get to ride in an air-conditioned car and won’t have to worry about finding your way, or missing the last bus. So while I like the option of the driver, my recommendation is to price it out and decide what’s best for you. On the whole, we’re huge advocates of public transport, but think it’s worth the splurge if you split the cost of a driver just this one time.
    So how do you hire a driver? If you’re an ILP volunteer, your Local Coordinator might be able to help you arrange a driver, so check on that possibility. Previous volunteers also leave their tips in an Area Book, so you may find recommendations about specific local drivers there.
    For my trip I booked with Michel Taxi and they were great. I told them the stops I wanted to make and they gave me a quote before we agreed on the trip, and also followed up multiple times prior to make sure everything was still good to go. Again, it was much more expensive than a gua-gua, but splitting it with 5 people worked out to be about $30 per person for an entire day of driving with pickup and drop-off in Sosua (we also tipped at the end because we were so happy with the driver). He even made a stop halfway there to let us get out and stretch and get some coconuts to drink.
    Snacks, water, and motion sickness remedies (if you’re prone to car sickness) are other suggestions. The road here is paved and it’s actually a really beautiful drive along the coast, but there’s a chance you may be sitting in the back of a packed van for several hours. If you tend to get sick in the car, bring something that may help.
    Plan on leaving early in the morning. Your first stop on this itinerary, Laguna Dudu, is around 2.5-3 hours from Puerto Plata or 2 hours from Sosua if you’ve got a private driver (remember that a gua-gua will take longer). If you have a driver for the day they can help suggest what time would best to leave. Laguna Dudu opens around 9:00 AM and closes around 5:30 PM.
    Locally known as El Laguna Dudu, this is a huge spot for adventurers, thanks to the addition of the biplane that allows you to fly above the insanely blue water before you let go and splash into the pool. But don’t worry, if you’re not keen on heights, there are stairs to walk down and just enjoy the swim.
    When you arrive, you’ll pay an entrance fee that will give you access to the entire location. The entrance fee at the time this post was written was 300 Dominican Pesos which roughly translates to a little over $5 USD. They’re currently only accepting cash, so be prepared for that!
    There are two lagoons that often get missed because they are much smaller, but I recommend checking them out first thing. After you pass the entrance fee area, just head to the left and follow the path to the steep stone stairs that take you down to two lagoons to check them out. You can actually swim in the first one, and the other is just for looking (but oh so pretty for photos!).
    The temperature is absolutely perfect for swimming! Sometimes when you’re swimming at the coast it’s not as refreshing as you’d like because both the water and the air are quite warm, but not here. It’s not too cold and not too hot, so get in and enjoy it. As a reminder, you’ll arrive at the top of the cliffs (overlooking the lagoon) with a set of stairs nearby that will lead you down to where you can get in and swim. Or you can zipline! More on that below.
    The lagoon is 32 meters deep (that’s over 100 feet)! It’s a little eerie to think about that while you swim, but there are life jackets available if you feel you need one. There’s also a dock you can jump off from, but beware! It rocks from side to side so be careful how you step.
    There’s also a free-fall zipline at this main lagoon that lets you soar from a platform on the cliff’s edge out into the middle of the lagoon. It’s quite the rush if you’re feeling like a 30 foot drop! There are a couple of platforms (one a bit higher than the other), plus a handlebar off to the side (hanging over the ground) that you can test things out and hang on to get a feel for what it will be like before you go zipping over the water. Once you start soaring, they’ll blow a horn when you reach the middle of the lagoon where it’s a good spot to let go and drop in.
    It does cost 50 pesos (less than $1 USD) each time you do the zipline, so bring a bit of extra cash if you’re planning on giving it a try. They’ll also equip you with a life jacket and a lifeguard at the bottom, and you’ll need to sign a waiver because this is an at-your-own-risk sort of activity.
    There is a restaurant on-site and a sign at the front asking you to not bring in any food or drink. If you’re hungry though (and following my suggested itinerary), I’d recommend waiting to have lunch on the beach!
    I recommend this being your first stop because it’s the farthest spot from Puerto Plata, and it’s the most adventurous. It’s nice to just have more chill spots to stop at once you’re headed back towards the Puerto Plata area.
    You’re going to drive right by a handful of absolutely stunning beaches and it would be a tragedy not to stop! This area is a little further from major tourist hubs (remember, you’re a few hours from both Puerto Plata and Samana), so they tend to be a little more low-key.
    These beaches aren’t off the beaten path and they’re not hidden gems by any means . . . they just tend to have fewer crowds because of where they’re located. A gorgeous beach with less people? Sign me up!
    There are a few key spots between the two biggest towns in this area: Rio San Juan and Cabrera. You may only have time to make it to one or two of these beaches, so let’s talk about the differences to help you decide which ones you want to see. They’re also all located right off the same highway that you’ll be taking to get back west to Puerto Plata, so they’re all very easy stops.
    This beach is right outside of Laguna Dudu and a really unique spot. There’s a long inlet that creates a shallow and narrow bay. You can wade out in the water for quite a ways, and there are minimal waves because of the protection from the cove. There are typically a couple of restaurants here, but that’s about as far as facilities go.
    Playa Grande is actually one of my personal favorites. Compared to any other beach I’ve been to in the Dominican, it was my number one pick! I honestly think it’s even better than some of the proclaimed “best” beaches in the DR. So if you’re asking my opinion on which beach, I’d send you here.
    You do have to be careful with Playa Preciosa (and even Playa Grande) at certain times of the year. During the surfing season (winter and spring) the waves can pound the beach with a very strong undertow. And at high tide, the beach is entirely covered. Locals have a better feel for when it’s a good time to visit Preciosa, so just be cautious if you’re coming over to check it out. I will say it holds its own when compared to its sister beach, Playa Grande! Both are what beach dreams are made of.. Dentro del vasto universo de la msica cristiana en espaol, resuena con fuerza el nombre de Marcos Vidal. Este artista, que trasciende las etiquetas de cantante para convertirse en un verdadero referente espiritual y musical, ha tocado los corazones de millones con sus letras profundas y melodas conmovedoras. Entre su extenso repertorio, una cancin destaca por encima de las dems, convirtindose en un himno de fe y esperanza: “Cara a Cara”. Pero, quin es realmente Marcos Vidal y cul es la historia detrs de esta emblemtica cancin?
    Marcos Vidal naci en Alemania, fruto de un matrimonio espaol. Desde muy pequeo, demostr una inclinacin natural hacia la msica, especialmente hacia el piano. Su talento no tard en florecer, comenzando sus estudios musicales a temprana edad. Su formacin no se limit al mbito musical, ya que tambin se licenci en Teologa, una disciplina que marcara profundamente su obra y su mensaje.
    La msica de Marcos Vidal se caracteriza por una lrica introspectiva y personal, que refleja su profunda fe y su conexin con lo espiritual. Sus canciones no solo buscan entretener, sino tambin inspirar, consolar y llevar un mensaje de esperanza a quienes las escuchan. A lo largo de su carrera, ha publicado numerosos lbumes, cosechando xitos y reconocimientos en el mbito de la msica cristiana y ms all. Su estilo musical es una fusin de pop, balada y elementos de msica clsica, todo ello impregnado de una sensibilidad y emotividad que lo hacen inconfundible.
    Si bien Marcos Vidal bebe de diversas fuentes musicales, sus influencias ms notables se encuentran en la msica clsica, el pop meldico y la tradicin musical cristiana. Artistas como Ludovico Einaudi o Yann Tiersen, en cuanto a la sensibilidad pianstica, pueden resonar en su obra, aunque Vidal ha sabido crear un estilo propio y distintivo. Su msica no se limita a un gnero especfico, sino que explora diferentes sonoridades, siempre manteniendo la esencia de su mensaje.
    Su estilo compositivo se centra en la meloda y la letra, buscando la conexin emocional con el oyente. El piano ocupa un lugar central en sus composiciones, siendo su instrumento principal y el vehculo a travs del cual transmite gran parte de su expresividad. Sus letras, en espaol, son poticas y profundas, abordando temas como la fe, el amor, la esperanza, el perdn y la relacin con Dios. A menudo, sus canciones son interpretadas en contextos religiosos, pero su mensaje trasciende las barreras confesionales, llegando a un pblico amplio y diverso.
    La cancin “Cara a Cara” se ha convertido en un verdadero himno dentro de la msica cristiana en espaol. Su letra, inspirada en el anhelo de una conexin ntima con lo divino, resuena en el corazn de creyentes de diferentes denominaciones. La meloda, sencilla pero emotiva, acompaa a la perfeccin la profundidad del mensaje, creando una atmsfera de recogimiento y adoracin.
    Aunque la informacin proporcionada no detalla el contexto especfico de la composicin de “Cara a Cara”, podemos inferir que surge de la experiencia personal de Marcos Vidal y su bsqueda espiritual. La cancin habla de un deseo profundo de trascender lo terrenal y encontrar un encuentro personal y directo con Dios, “cara a cara”. Este anhelo universal, presente en diversas tradiciones religiosas y espirituales, es lo que ha conectado a tantas personas con esta cancin.
    La estructura de “Cara a Cara” es relativamente simple, lo que facilita su interpretacin y memorizacin. Se compone de estrofas y estribillos repetitivos, que invitan a la participacin y la reflexin. La progresin armnica es sencilla pero efectiva, creando un ambiente de calma y serenidad. La interpretacin vocal de Marcos Vidal, llena de sentimiento y sinceridad, aade una dimensin extra a la cancin, transmitiendo la emocin y la fe que la inspiran.
    Si bien “Cara a Cara” es su cancin ms conocida, el legado musical de Marcos Vidal es mucho ms amplio y rico. A lo largo de su carrera, ha compuesto e interpretado una gran cantidad de canciones que abordan diferentes aspectos de la vida y la fe. Temas como la gracia, el perdn, la sanidad interior, la esperanza en medio del dolor y la alegra de la fe son recurrentes en su obra.
    Adems de su faceta como cantante y compositor, Marcos Vidal tambin es un reconocido pianista. Su habilidad con el instrumento es evidente en sus grabaciones y conciertos, donde a menudo se acompaa a s mismo al piano. Su msica ha trascendido las fronteras del mbito religioso, siendo apreciada por un pblico diverso que valora la calidad de sus composiciones y la profundidad de su mensaje.
    Marcos Vidal ha recibido numerosos premios y reconocimientos a lo largo de su carrera, consolidndose como uno de los artistas ms influyentes de la msica cristiana en espaol. Su msica sigue inspirando y conmoviendo a personas de todas las edades, transmitiendo un mensaje de fe, esperanza y amor que perdura en el tiempo.
    En definitiva, Marcos Vidal no solo es el autor de “Cara a Cara”, sino un artista integral que ha dedicado su vida a la msica como una forma de expresin de su fe y de su conexin con lo trascendente. Su obra, marcada por la sensibilidad, la profundidad y la calidad musical, contina resonando en el corazn de miles de personas, confirmando su lugar como una figura clave en la msica cristiana contempornea.
    CON MS DE 1 MILLN Y MEDIO DE SEGUIDORES Y VDEOS QUE HAN LLEGADOA ALCANZAR LOS 11 MILLONES DE VISUALIZACIONES, ADEMS DE SER UNROSTRO HABITUAL EN PROGRAMAS DE TELECINCO O DE CANAL SUR RADIO, ELHUMORISTA ANDALUZ LLEGA A LOS TEATROS PARA CONTARLE AL PBLICO SUALOCADA Y SURREALISTA VIDA REPLETA DE ANCDOTAS Y DISPARATES.
    VIVIR AS ES MORIR DE HUMOR. UN ESPECTCULO EN EL QUE NO ESTARS MSDE 30 SEGUNDOS SIN RERTE. UN ESPECTCULO QUE TE HAR EVADIRTE DE LAVIDA REAL Y SUMERGIRTE EN UN ORGASMO HUMORSTICO. UN ESPECTCULO EN EL
    El 10 de marzo vive un concierto nico con los grandes musicales de la historia ms famosos: El Rey Len, West Side Story, El fantasma de la pera, Chicago, Alddin entre otros muchos!!. La Royal Film Concert Orchestra interpretar es programa en el Palacio de Congresos de Granada.
    Un firme y decidido apoyo al sector de la hostelera es el principio que inspira la nueva edicin del congreso culinario Granada Gourmet, que se desarrollar entre el 10 y 12 de marzo en diversos restaurantes y escenarios de la provincia de Granada.
    Despus de completar la gira nacional ms multitudinaria hasta su finalizacin, la banda se presenta en un formato que acercar al pblico a un ambiente ms ntimo, en el que se podrn escuchar canciones de su ltimo disco “cada vez cadver” y los clsicos de la banda.
    Completo. Despus de completar la gira nacional ms multitudinaria hasta su finalizacin, la banda se presenta en un formato que acercar al pblico a un ambiente ms ntimo, en el que se podrn escuchar canciones de su ltimo disco “cada vez cadver” y los clsicos de la banda.
    En nombre de los Comits Organizador, Local y Cientfico del Congreso SEMNIM2023 nos complace compartir contigo esta cita de Medicina Nuclear e Imagen y Terapia Molecular en el Palacio de Congresos de Granada, del 10 al 12 de mayo de 2023.
    El Congreso tendr lugar del 14 al 17 de junio de 2023, en un marco incomparable: el Palacio de Exposiciones y Congresos. Espacio referente de los mejores eventos cientficos y culturales, situado en pleno centro de la ciudad.
    Alhambra Venture, el evento que se celebrar los das 4 y 5 de julio en el Palacio de Congresos de Granada y que conecta a los emprendedores e inversores ms importantes en el sur de Espaa, rene a startups innovadoras de una gran variedad de sectores: hostelera, fintech, salud, agro-alimentacin, logstica, construccin, telecomunicaciones, movilidad, eCommerce, IA o seguridad, entre otros.
    Bob Floyd presenta Pink Floyd and Dave Gilmour Experience, una experiencia sobre la mtica banda inglesa, realizada por msico y cantantes que han trabajado con grandes artistas de nivel internacional. El show nos sumerge en la magia del asombroso universo de Pink Floyd.
    Os comunicamos que el concierto Bob Floyd and Dave Gilmour Experience programado para el da2 de septiembre del 2023 en el palacio de congresos de Granada, se aplaza al da 16 de septiembredel 2023, a la misma hora y en la misma sala por problemas logsticos de la banda.
    Las entradas ya adquiridas seguirn siendo vlidas para la nueva fecha. Todo el que quiera realizarla devolucin podr hacerlo enviando un email a aplazamientos@redentradas.comPedimos disculpas por las molestias ocasionadas y esperamos que todo el mundo pueda disfrutarfinalmente del concierto.
    desde el 19 de septiembre tendr lugar en Granada la 4 Conferencia Internacional de la Sociedad de Leguminosas, organizada por el Dr. Paolo Annicchiarico, presidente de la Sociedad Internacional de Leguminosas y el Dr. Alfonso Clemente, presidente del Comit Organizador
    Esta conferencia tiene como objetivo estimular el intercambio de conocimientos y las interacciones entre investigadores y partes interesadas, en promover un mayor cultivo y uso de leguminosas de grano y forraje, como un camino necesario hacia sistemas de alimentos y piensos ms sostenibles y dietas ms saludables.
    Espaa asume presidencia de la Unin Europea. En ese semestre se sucedern reuniones de comisarios europeos y ministros en Bruselas y por toda Espaa. Granada es una de las ciudades que sern sede de estas cumbres.
    Se trata de un formato ideado por el presidente francs, Emmanuel Macron, que celebr en octubre pasado en Praga su primera reunin y que tendr la segunda el 27 de abril en Moldavia. La de Granada ser la tercera cita de estas caractersticas.

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