Watch The TC Disrupt Hackathon Live Right Here!

all-things-tech: Ahoy, mates! We’re in foggy London town and Disrupt Europe 2015 is officially underway, as the Hackathon presentations kick off right now. In case you have no idea what I’m talking about, here’s the scoop: Before every TC Disrupt conference, we give coders and developers from the area a chance to check out the coolest APIs in the land and throw together a MVP in less than… Read More via TechCrunch http://ift.tt/1XLG1oZ

via Tumblr http://ift.tt/1SGHDtK all-things-tech: Ahoy, mates! We’re in foggy London town and Disrupt Europe 2015 is officially underway, as the Hackathon presentations kick off right now. In case you have no idea what I’m talking about, here’s the scoop: Before every TC Disrupt conference, we give coders and developers from the area a chance to check out the coolest APIs in the land and throw together a MVP in less than… Read More via TechCrunch http://ift.tt/1XLG1oZ

JADAKISS: “T5DOA” - Pre-Order Today!!!

vitalgroundz: An album release from Jadakiss is like waiting on the next STAR WARS movie: “EPIC” to Day 1’s and for everyone else, usually worth the wait 100%. Top 5 Dead or Alive the 4th studio album, is set for Official Release November 20th. But today marked the start of Pre-orders, a perfect way to set off the weekend. “Pre-order T5DOA and on line waiting for Black Ops III. Then on the 20th merk everything moving“ with JASON on REPEAT. But you ain’t here it from me… 19 Tracks Strong & Heavy Hitters on deck, Check out the full tracklist below: 1. “Intro” – First 48? 2. “Shop Talk” (Skit) 3. “You Don’t Eat” (Feat. Puff Daddy) 4. “You Can See” (Feat. Future) 5. “Y.O. (Youthful Offenders)” (Feat. Akon) 6. “Jason” (Feat. Swizz Beatz) 7. “Kill” (Feat. Lil’ Wayne) 8. “Man In The Mirror” 9. “Synergy” (Feat. Styles P) 10. “Ain’t Nothin New” (Feat. Ne-Yo & Nipsey Hussle) 11. “So High” (Feat. Wiz Khalifa) 12. “Ahaa Interview” (Skit) 13. “Critical” (Feat. Jeezy) 14. “Confetti” (Skit) 15. “Cutlass” 16. “Realest In The Game” (Feat. Sheek Louch & Young Buck) 17. “Rain” (Feat. Nas & Styles P) 18. “One More Mile To Go” (Feat. Chayse) 19. “Baby” (Feat. Dyce Payne) PRE-ORDER NOW FOLLOW JADAKISS: Twitter: @Therealkiss | Instagram: therealkiss

via Tumblr http://ift.tt/20DxF1N vitalgroundz: An album release from Jadakiss is like waiting on the next STAR WARS movie: “EPIC” to Day 1’s and for everyone else, usually worth the wait 100%. Top 5 Dead or Alive the 4th studio album, is set for Official Release November 20th. But today marked the start of Pre-orders, a perfect way to set off the weekend. “Pre-order T5DOA and on line waiting for Black Ops III. Then on the 20th merk everything moving“ with JASON on REPEAT. But you ain’t here it from me… 19 Tracks Strong & Heavy Hitters on deck, Check out the full tracklist below: 1. “Intro” – First 48? 2. “Shop Talk” (Skit) 3. “You Don’t Eat” (Feat. Puff Daddy) 4. “You Can See” (Feat. Future) 5. “Y.O. (Youthful Offenders)” (Feat. Akon) 6. “Jason” (Feat. Swizz Beatz) 7. “Kill” (Feat. Lil’ Wayne) 8. “Man In The Mirror” 9. “Synergy” (Feat. Styles P) 10. “Ain’t Nothin New” (Feat. Ne-Yo & Nipsey Hussle) 11. “So High” (Feat. Wiz Khalifa) 12. “Ahaa Interview” (Skit) 13. “Critical” (Feat. Jeezy) 14. “Confetti” (Skit) 15. “Cutlass” 16. “Realest In The Game” (Feat. Sheek Louch & Young Buck) 17. “Rain” (Feat. Nas & Styles P) 18. “One More Mile To Go” (Feat. Chayse) 19. “Baby” (Feat. Dyce Payne) PRE-ORDER NOW FOLLOW JADAKISS: Twitter: @Therealkiss | Instagram: therealkiss

Random Influence...

vitalgroundz: We Rep #OLDSCHOOL | #NEWSCHOOL & Everything in Between! @VitalGroundz is officially killing the derogatory phrase #OLDSCHOOL & preserving the title #ROOTZ while the New Breed will rise as #SEEDZ Respect for All Generationz

via Tumblr http://ift.tt/1MEk7Zv vitalgroundz: We Rep #OLDSCHOOL | #NEWSCHOOL & Everything in Between! @VitalGroundz is officially killing the derogatory phrase #OLDSCHOOL & preserving the title #ROOTZ while the New Breed will rise as #SEEDZ Respect for All Generationz

Options for MySQL Database

jpstream: Almost all the websites on internet are built using the server-side scripting, hence, it is very much predicted for dedicated servers to have some form of database management system, either it can be a database server or a set of database libraries. MySQL is one of the world’s most popular open source Relational Database Management Systems (RDBMS). It is a most important part of the LAMP (Linux, Apache, MySQL, PHP) family. Customers opting for cheap web hosting services, will possibly expect the latest version of MySQL installed on the server. However, if you have your own server, you might want to take a look at the following choices for MySQL database. MySQL Database Alternatives MariaDB is a database software created by the MySQL founder, Michael Widenius (often called Monty), by bifurcating the MySQL software after the Oracle acquired Sun. MariaDB is a completely free and open source version which includes some unique features and functionality. PostgreSQL is one of the rivals of MySQL. It is an object relational database management system (ORDBMS) providing various appealing features and high-level performance. SQLite is a kind of relational database libraries, which doesn’t need a database server. These libraries are completely portable and simple to use, even in those situations where full database servers are not possible. Cassandra is an open source Apache project originally designed and developed by Facebook Inc. It is also known as a NoSQL solution, that offers greater scalability and several appealing features that makes it ideal for high traffic and high content websites, which is being used by sites like Digg. If you search you will find plenty of alternatives to MySQL database with many appealing features and functions. Though MySQL is known as one of the most popular database in the Japanese web hosting market, but it is surely not the only one.

via Tumblr http://ift.tt/1XiZBoY jpstream: Almost all the websites on internet are built using the server-side scripting, hence, it is very much predicted for dedicated servers to have some form of database management system, either it can be a database server or a set of database libraries. MySQL is one of the world’s most popular open source Relational Database Management Systems (RDBMS). It is a most important part of the LAMP (Linux, Apache, MySQL, PHP) family. Customers opting for cheap web hosting services, will possibly expect the latest version of MySQL installed on the server. However, if you have your own server, you might want to take a look at the following choices for MySQL database. MySQL Database Alternatives MariaDB is a database software created by the MySQL founder, Michael Widenius (often called Monty), by bifurcating the MySQL software after the Oracle acquired Sun. MariaDB is a completely free and open source version which includes some unique features and functionality. PostgreSQL is one of the rivals of MySQL. It is an object relational database management system (ORDBMS) providing various appealing features and high-level performance. SQLite is a kind of relational database libraries, which doesn’t need a database server. These libraries are completely portable and simple to use, even in those situations where full database servers are not possible. Cassandra is an open source Apache project originally designed and developed by Facebook Inc. It is also known as a NoSQL solution, that offers greater scalability and several appealing features that makes it ideal for high traffic and high content websites, which is being used by sites like Digg. If you search you will find plenty of alternatives to MySQL database with many appealing features and functions. Though MySQL is known as one of the most popular database in the Japanese web hosting market, but it is surely not the only one.

me watching Narcos on netflix

56blogscrazy: The look on my face during every episode of “Narcos” on Netflix

via Tumblr http://ift.tt/1OyN4Zw 56blogscrazy: The look on my face during every episode of “Narcos” on Netflix

VitalGroundz Salute

vitalgroundz: Hip Hop is you, its me – its Now Generationz (Grandmothers & Grandfathers grew up under this). It’s an evolution of the Soul, from those who have not… From the Beginning we have always lived by Rhythm and created Tempos in everyday Life: from Folklore, Hymns, Jazz to Soul Dub and R&B. Hip Hop is simply the title of the child created from all the above. It’s our Purist and most Powerful form, a Proud combination of its for Fathers. We have infiltrated All Genres of Music as well as spread Globally like No other culture before it. We aren’t going anywhere… They thought it was gonna be a silly phase, composed of stolen parts of real music (Breaks) created on hand-me-down equipment (Two Turntables & a Mic). Who would, truly respect these Non Professional, untrained Orchestrator s? Creating what was considered a mishap (The Scratch) a primary operation when spinning and selecting Tunes. We Came… We Conquered!!! Now we’re the Main Vein & Bloodline to the Future of Music. Nothing moves without Hip Hop… So acknowledge your Lineage and Forever Reflect Your Culture – The Groundz we walk are Vital… Hip Hop Salute alldefdigital alldefmusic rosenbergradio hot97 power105

via Tumblr http://ift.tt/1DQjmPs vitalgroundz: Hip Hop is you, its me – its Now Generationz (Grandmothers & Grandfathers grew up under this). It’s an evolution of the Soul, from those who have not… From the Beginning we have always lived by Rhythm and created Tempos in everyday Life: from Folklore, Hymns, Jazz to Soul Dub and R&B. Hip Hop is simply the title of the child created from all the above. It’s our Purist and most Powerful form, a Proud combination of its for Fathers. We have infiltrated All Genres of Music as well as spread Globally like No other culture before it. We aren’t going anywhere… They thought it was gonna be a silly phase, composed of stolen parts of real music (Breaks) created on hand-me-down equipment (Two Turntables & a Mic). Who would, truly respect these Non Professional, untrained Orchestrator s? Creating what was considered a mishap (The Scratch) a primary operation when spinning and selecting Tunes. We Came… We Conquered!!! Now we’re the Main Vein & Bloodline to the Future of Music. Nothing moves without Hip Hop… So acknowledge your Lineage and Forever Reflect Your Culture – The Groundz we walk are Vital… Hip Hop Salute alldefdigital alldefmusic rosenbergradio hot97 power105

Preserving a Respectful Title

vitalgroundz: Rep #OLDSCHOOL - Speaking of which #VitalGroundz is Officially killing the phrase & Preserving the Title #ROOTZ https://t.co/LOe0ZnTgMu — Vital Groundz (@VitalGroundz) July 31, 2015 I’m officially an entrepreneur.

via Tumblr http://ift.tt/1KILxzk vitalgroundz: Rep #OLDSCHOOL - Speaking of which #VitalGroundz is Officially killing the phrase & Preserving the Title #ROOTZ https://t.co/LOe0ZnTgMu — Vital Groundz (@VitalGroundz) July 31, 2015 I’m officially an entrepreneur.

We Fresh On Tumblr:

vitalgroundz: VitalGroundz is officially on Tumblr - Our vision is to high-light Hip Hop’s Origins while enhancing the Perception/Regard for the Culture. We will be asking for feedback and your involvement in building something Monumental…

via Tumblr http://ift.tt/1Iwxqcl vitalgroundz: VitalGroundz is officially on Tumblr - Our vision is to high-light Hip Hop’s Origins while enhancing the Perception/Regard for the Culture. We will be asking for feedback and your involvement in building something Monumental…

kingofhispaniola: aarontreble: When you say something bad about your self and your friends agree Y'all can’t even be fake nice 😂

via Tumblr http://ift.tt/1RaxHfd kingofhispaniola: aarontreble: When you say something bad about your self and your friends agree Y'all can’t even be fake nice 😂

Twenty rules for writing detective stories

stevechatterton: Originally published in the American Magazine (1928) The reader must have equal opportunity with the detective for solving the mystery. All clues must be plainly stated and described. No willful tricks or deceptions may be placed on the reader other than those played legitimately by the criminal on the detective himself. There must be no love interest. The business in hand is to bring a criminal to the bar of justice, not to bring a lovelorn couple to the hymeneal altar. The detective himself, or one of the official investigators, should never turn out to be the culprit. This is bald trickery, on a par with offering some one a bright penny for a five-dollar gold piece. It’s false pretenses. The culprit must be determined by logical deductions — not by accident or coincidence or unmotivated confession. To solve a criminal problem in this latter fashion is like sending the reader on a deliberate wild-goose chase, and then telling him, after he has failed, that you had the object of his search up your sleeve all the time. Such an author is no better than a practical joker. The detective novel must have a detective in it; and a detective is not a detective unless he detects. His function is to gather clues that will eventually lead to the person who did the dirty work in the first chapter; and if the detective does not reach his conclusions through an analysis of those clues, he has no more solved his problem than the schoolboy who gets his answer out of the back of the arithmetic. There simply must be a corpse in a detective novel, and the deader the corpse the better. No lesser crime than murder will suffice. Three hundred pages is far too much pother for a crime other than murder. After all, the reader’s trouble and expenditure of energy must be rewarded. The problem of the crime must he solved by strictly naturalistic means. Such methods for learning the truth as slate-writing, ouija-boards, mind-reading, spiritualistic se'ances, crystal-gazing, and the like, are taboo. A reader has a chance when matching his wits with a rationalistic detective, but if he must compete with the world of spirits and go chasing about the fourth dimension of metaphysics, he is defeated ab initio. There must be but one detective — that is, but one protagonist of deduction — one deus ex machina. To bring the minds of three or four, or sometimes a gang of detectives to bear on a problem, is not only to disperse the interest and break the direct thread of logic, but to take an unfair advantage of the reader. If there is more than one detective the reader doesn’t know who his codeductor is. It’s like making the reader run a race with a relay team. The culprit must turn out to be a person who has played a more or less prominent part in the story — that is, a person with whom the reader is familiar and in whom he takes an interest. A servant must not be chosen by the author as the culprit. This is begging a noble question. It is a too easy solution. The culprit must be a decidedly worth-while person — one that wouldn’t ordinarily come under suspicion. There must be but one culprit, no matter how many murders are committed. The culprit may, of course, have a minor helper or co-plotter; but the entire onus must rest on one pair of shoulders: the entire indignation of the reader must be permitted to concentrate on a single black nature. Secret societies, camorras, mafias, et al., have no place in a detective story. A fascinating and truly beautiful murder is irremediably spoiled by any such wholesale culpability. To be sure, the murderer in a detective novel should be given a sporting chance; but it is going too far to grant him a secret society to fall back on. No high-class, self-respecting murderer would want such odds. The method of murder, and the means of detecting it, must be be rational and scientific. That is to say, pseudo-science and purely imaginative and speculative devices are not to be tolerated in the roman policier. Once an author soars into the realm of fantasy, in the Jules Verne manner, he is outside the bounds of detective fiction, cavorting in the uncharted reaches of adventure. The truth of the problem must at all times be apparent — provided the reader is shrewd enough to see it. By this I mean that if the reader, after learning the explanation for the crime, should reread the book, he would see that the solution had, in a sense, been staring him in the face-that all the clues really pointed to the culprit — and that, if he had been as clever as the detective, he could have solved the mystery himself without going on to the final chapter. That the clever reader does often thus solve the problem goes without saying. A detective novel should contain no long descriptive passages, no literary dallying with side-issues, no subtly worked-out character analyses, no “atmospheric” preoccupations. such matters have no vital place in a record of crime and deduction. They hold up the action and introduce issues irrelevant to the main purpose, which is to state a problem, analyze it, and bring it to a successful conclusion. To be sure, there must be a sufficient descriptiveness and character delineation to give the novel verisimilitude. A professional criminal must never be shouldered with the guilt of a crime in a detective story. Crimes by housebreakers and bandits are the province of the police departments — not of authors and brilliant amateur detectives. A really fascinating crime is one committed by a pillar of a church, or a spinster noted for her charities. A crime in a detective story must never turn out to be an accident or a suicide. To end an odyssey of sleuthing with such an anti-climax is to hoodwink the trusting and kind-hearted reader. The motives for all crimes in detective stories should be personal. International plottings and war politics belong in a different category of fiction — in secret-service tales, for instance. But a murder story must be kept gemütlich, so to speak. It must reflect the reader’s everyday experiences, and give him a certain outlet for his own repressed desires and emotions. And (to give my Credo an even score of items) I herewith list a few of the devices which no self-respecting detective story writer will now avail himself of. They have been employed too often, and are familiar to all true lovers of literary crime. To use them is a confession of the author’s ineptitude and lack of originality. (a) Determining the identity of the culprit by comparing the butt of a cigarette left at the scene of the crime with the brand smoked by a suspect. (b) The bogus spiritualistic se'ance to frighten the culprit into giving himself away. © Forged fingerprints. (d) The dummy-figure alibi. (e) The dog that does not bark and thereby reveals the fact that the intruder is familiar. (f)The final pinning of the crime on a twin, or a relative who looks exactly like the suspected, but innocent, person. (g) The hypodermic syringe and the knockout drops. (h) The commission of the murder in a locked room after the police have actually broken in. (i) The word association test for guilt. (j) The cipher, or code letter, which is eventually unraveled by the sleuth.

via Tumblr http://ift.tt/1LwFdKX stevechatterton: Originally published in the American Magazine (1928) The reader must have equal opportunity with the detective for solving the mystery. All clues must be plainly stated and described. No willful tricks or deceptions may be placed on the reader other than those played legitimately by the criminal on the detective himself. There must be no love interest. The business in hand is to bring a criminal to the bar of justice, not to bring a lovelorn couple to the hymeneal altar. The detective himself, or one of the official investigators, should never turn out to be the culprit. This is bald trickery, on a par with offering some one a bright penny for a five-dollar gold piece. It’s false pretenses. The culprit must be determined by logical deductions — not by accident or coincidence or unmotivated confession. To solve a criminal problem in this latter fashion is like sending the reader on a deliberate wild-goose chase, and then telling him, after he has failed, that you had the object of his search up your sleeve all the time. Such an author is no better than a practical joker. The detective novel must have a detective in it; and a detective is not a detective unless he detects. His function is to gather clues that will eventually lead to the person who did the dirty work in the first chapter; and if the detective does not reach his conclusions through an analysis of those clues, he has no more solved his problem than the schoolboy who gets his answer out of the back of the arithmetic. There simply must be a corpse in a detective novel, and the deader the corpse the better. No lesser crime than murder will suffice. Three hundred pages is far too much pother for a crime other than murder. After all, the reader’s trouble and expenditure of energy must be rewarded. The problem of the crime must he solved by strictly naturalistic means. Such methods for learning the truth as slate-writing, ouija-boards, mind-reading, spiritualistic se'ances, crystal-gazing, and the like, are taboo. A reader has a chance when matching his wits with a rationalistic detective, but if he must compete with the world of spirits and go chasing about the fourth dimension of metaphysics, he is defeated ab initio. There must be but one detective — that is, but one protagonist of deduction — one deus ex machina. To bring the minds of three or four, or sometimes a gang of detectives to bear on a problem, is not only to disperse the interest and break the direct thread of logic, but to take an unfair advantage of the reader. If there is more than one detective the reader doesn’t know who his codeductor is. It’s like making the reader run a race with a relay team. The culprit must turn out to be a person who has played a more or less prominent part in the story — that is, a person with whom the reader is familiar and in whom he takes an interest. A servant must not be chosen by the author as the culprit. This is begging a noble question. It is a too easy solution. The culprit must be a decidedly worth-while person — one that wouldn’t ordinarily come under suspicion. There must be but one culprit, no matter how many murders are committed. The culprit may, of course, have a minor helper or co-plotter; but the entire onus must rest on one pair of shoulders: the entire indignation of the reader must be permitted to concentrate on a single black nature. Secret societies, camorras, mafias, et al., have no place in a detective story. A fascinating and truly beautiful murder is irremediably spoiled by any such wholesale culpability. To be sure, the murderer in a detective novel should be given a sporting chance; but it is going too far to grant him a secret society to fall back on. No high-class, self-respecting murderer would want such odds. The method of murder, and the means of detecting it, must be be rational and scientific. That is to say, pseudo-science and purely imaginative and speculative devices are not to be tolerated in the roman policier. Once an author soars into the realm of fantasy, in the Jules Verne manner, he is outside the bounds of detective fiction, cavorting in the uncharted reaches of adventure. The truth of the problem must at all times be apparent — provided the reader is shrewd enough to see it. By this I mean that if the reader, after learning the explanation for the crime, should reread the book, he would see that the solution had, in a sense, been staring him in the face-that all the clues really pointed to the culprit — and that, if he had been as clever as the detective, he could have solved the mystery himself without going on to the final chapter. That the clever reader does often thus solve the problem goes without saying. A detective novel should contain no long descriptive passages, no literary dallying with side-issues, no subtly worked-out character analyses, no “atmospheric” preoccupations. such matters have no vital place in a record of crime and deduction. They hold up the action and introduce issues irrelevant to the main purpose, which is to state a problem, analyze it, and bring it to a successful conclusion. To be sure, there must be a sufficient descriptiveness and character delineation to give the novel verisimilitude. A professional criminal must never be shouldered with the guilt of a crime in a detective story. Crimes by housebreakers and bandits are the province of the police departments — not of authors and brilliant amateur detectives. A really fascinating crime is one committed by a pillar of a church, or a spinster noted for her charities. A crime in a detective story must never turn out to be an accident or a suicide. To end an odyssey of sleuthing with such an anti-climax is to hoodwink the trusting and kind-hearted reader. The motives for all crimes in detective stories should be personal. International plottings and war politics belong in a different category of fiction — in secret-service tales, for instance. But a murder story must be kept gemütlich, so to speak. It must reflect the reader’s everyday experiences, and give him a certain outlet for his own repressed desires and emotions. And (to give my Credo an even score of items) I herewith list a few of the devices which no self-respecting detective story writer will now avail himself of. They have been employed too often, and are familiar to all true lovers of literary crime. To use them is a confession of the author’s ineptitude and lack of originality. (a) Determining the identity of the culprit by comparing the butt of a cigarette left at the scene of the crime with the brand smoked by a suspect. (b) The bogus spiritualistic se'ance to frighten the culprit into giving himself away. © Forged fingerprints. (d) The dummy-figure alibi. (e) The dog that does not bark and thereby reveals the fact that the intruder is familiar. (f)The final pinning of the crime on a twin, or a relative who looks exactly like the suspected, but innocent, person. (g) The hypodermic syringe and the knockout drops. (h) The commission of the murder in a locked room after the police have actually broken in. (i) The word association test for guilt. (j) The cipher, or code letter, which is eventually unraveled by the sleuth.