![]() ![]() ![]() No modifications are necessary to work with the default Vagrant config. If you want to talk about the site or have questions about the code base, Is an agreement with the maintainers if and how the change should be implemented. Pull requests are always welcome, but first create an issue so the change can be discussed. For UI ideas, chop together a quick example in paint Skill data, or anything else, submit an issue here on github or in theįeedback section of the site. If you have a feature request, notice a bug, inaccuracies in the monster/ You don't need to code to contribute ideas. $ curl -H "Authorization: JWT " / Contributing ![]() JSON Web Tokens are ideal for temporary authentication, since they expire automatically after a time. This authentication method is ideal to allow a tool to perform actions on yourĪccount's behalf such as the SWARFARM plugin for SW-Exporter. Tokens never expire, but you can change yoursĪt any time by generating a new one. The token is equivalent to your password so do not share it. You can get or generate a basic token from your edit profile page on via the dropdown menu on your API AuthenticationĪuthentication is required to perform actions that change your account data or to view your own profile (if private). To rate limits just like any other client. Yes - but you must proxy requests through your own server. The API schema is not finalized and may change at any time. Limits, and any abuse or abnormal use of server resources will see restrictions applied. This API is free and public but subject to rate Documentation of allĮndpoints is available here. SWARFARM exposes an API that contains detailed game data (most notably monster and skill data), in addition to public ![]()
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![]() ![]() Like those before us, we reassured ourselves that if we put our time in now, we’d be able to move beyond memorizing minutiae to caring for patients in the hospital. This year, like those before us, we entered our study periods for Step 1 with some trepidation - both about the long hours of studying and the high stakes of the exam. ![]() ![]() Apart from that, she's starred in a reality TV show, and in radio shows where she rode a sybian.Before medical students embark on their clinical training, they must pass the United States Medical Licensing Examination (USMLE) Step 1. Sunny Leone is planning to have a mainstream acting career at some point so she also appeared in mainstream movies, music videos and on the red carpet (as a reporter for MTV). After their breakup, she also starred in other scenes with male porn stars, and has earned two AVN Awards to date. When she renewed her contract, she agreed to perform with a man, too – her boyfriend at the time. Having done photosets for numerous adult magazines, she signed a contract for lesbian hardcore productions. One of her classmates was an exotic dancer and introduced her to an agent, who in turn knew the photographer of Penthouse magazine. She moved with her family to California, and attended college to become a pediatric nurse. However, unrestrained by religious beliefs, she had her first kiss at eleven, her first sex with sixteen and discovered her bisexuality at eighteen. With her 32DD tits, black hair, and gorgeous Indian beauty, Sunny has rocked and cocked her way to the top of the XXX industry.īorn in Canada to a Sikh-Punjab family, little Karen Malhotra was enrolled in a Catholic school. In 2012 she made her Bollywood debut in Pooja Bhatt's erotic thriller, "Jism 2". Sunny’s non-nude photos were showcased in the first-ever ‘mobile pornstar app’ and Maxim named Sunny Leone one of the "Top 12 Female Stars in Porn" alongside Bree Olson and Eva Angelina.Ī true crossover star, Sunny hosted the MTV Awards for MTV India, while also appearing in numerous TV shows and documentaries. ![]() This earned her 3 AVN Award nominations in 2009.Ī groundbreaking sensation, she began filming with different studios, where she worked with male talent like James Deen, Tommy Gunn and Charles Dera. Only doing lesbian scenes during her contract, it wasn't until 2007 that she re-signed with Vivid and performed her first girl-guy fucking scene: Sunny Loves Matt. A three-year contract with Vivid Entertainment followed, and Sunny Leone entered hardcore porn. Sunny was Penthouse Pet of the Year for 2003, prior to which she specialized in softcore films and print magazine layouts. After she started, her demand went through the roof. Sunny is Indian and Canadian, so obviously she is super hot, but her exotic look and sultry features make her unique in the skin flick industry. 8 months later, Sunny was a Hustler Honey in their 2001 Holiday edition. She was photographed and made a Penthouse Pet in the May 2001 issue. When Sunny was 21, living in California, she was introduced to Jay Allen, a photographer for Penthouse. Raised Sikh, she was sent to Catholic school – there’s no doubt that was where she got the idea to be a naughty schoolgirl and eventually be one of the top crossover pornstars. Though Canadian by birth, Sunny’s parent were born in India. ![]() ![]() ![]() This feature is useful when you’re using InDesign as a text editor and you want a new page to be added whenever you type more text than can fit on the current page. You can use the Smart Text Reflow feature to add or remove pages when you’re typing or editing text. I read this in my book and online - " Use Smart Text Reflow I want to do my homework but I find it utterly frustruating that certain books, online references will say something and my software of course do/show a completely different thing.let me demonstrate with a following I am making great progress with InDesign but there are certain issues. And if you want to create a new text frames in advance, and then fill them with the overset text from a text frame you already have, just click the out port on the overset frame and into the middle of the empty frame. So, instead of cutting overset text from the story editor and pasting it into a separate text frame, you can have linked text frames if you like. This is similar to the way word processors work-similar, but not the same, in that pages do not disappear when text is contracted. If you hold the Shift key before you make that click into the top left margin, the cursor will contain a squiggly line with an arrow, indicating that if the end of the page is reached, and there is more overset text to place, new pages will be created, with new text frames to contain the text. If, before you click, you move the cursor to the top left corner margins, the black wedge of the paragraph icon will change to a white wedge, indicating that the new text frame will take up the whole page (within the margins). The text will fill the page from the vertical spot where you clicked to the bottom margin (provided there is enough text) and from the left to right margins. If you click on the page, the overset text will be placed into a new text frame that will be linked to the one with the out port you just clicked on. If you click on the out port with the Selection tool (black arrow), the cursor will change to look like part of a page, with an upper left corner. If you have overset text, the out port will have a red + in it. ![]() I can help you with this issue, but it's pretty basic, and people on online forums are pretty quick to accuse newbies of not doing their homework.Ī text frame has an in port and an out port. Since you have chosen the name TheNewbie1956 for the forum, I assume you are actually a newbie to InDesign, so please allow me to suggest that you pick up a copy of Sandee Cohen's Visual QuickStart Guide for InDesign. ![]() ![]() ![]() Mirroring the trend in rock music writ large, the Beatles’ abandonment of AABA led to an uptick in their use of verse–chorus forms. Avoiding AABA across an entire album was new for the Beatles even the previous year’s Revolver, quite progressive in its own right, contained nearly half AABA songs. Among the many revolutionary aspects of this album, it is easy to overlook its near complete avoidance of AABA form. The Beatles’ shift to an artist approach came to an explosive climax in May of 1967 with the release of Sgt. Around 1965, the band began to depart from the craftsman approach, exemplified by their decreasing use of AABA form. The former dominated their releases through 1965, exemplified through a reliance on traditional song forms, especially the Tin Pan Alley-derived AABA form. In John Covach’s terms, they moved from an approach to songwriting as craft to songwriting as art (Covach 2006). Between the 1960s and 1970s, rock shifted its preference from songs without chorus (AABA and strophic forms) to songs with chorus (verse–chorus forms).ī) Incidence of verse–chorus forms in Billboard Year-End Top-20 songs 1955–89.Īmid this transitional period in rock’s stylistic history, the Beatles were going through a stylistic transition of their own. After 1974, these trend lines leveled off a bit, showing that the late 1960s were a significant transitional period that solidified rock’s preference for choruses.Įxample 1. A decade later, these proportions had essentially reversed, with 29% AABA and strophic forms and 69% verse–chorus forms in 1970–74. Between 19, strophic and AABA songs made up 61% of the year-end top 20, with verse–chorus songs making up only 29%. These graphs visually demonstrate a trend that many writers have observed: between 19, rock shifted its preference from songs without a chorus to songs with a chorus (see Covach 2005, de Clercq 2012, von Appen and Frei-Hauenschild 2015, and Temperley 2018, among others). The top graph shows the combined incidence of AABA and strophic forms-the primary form types that do not contain a chorus-and the bottom graph shows the incidence of verse–chorus forms. These graphs use data from Jay Summach’s study of the top 20 songs on Billboard’s year-end charts from 1955 to 1989 (Summach 2011, 2012). ![]() Keywords and phrases: the Beatles, form, lyrics, narrative analysis, popular music IntroductionĮxample 1 gives two graphs showing the incidence of particular form types in the rock and pop repertoire. Through these analyses, I show how the Beatles used verse–chorus form as a specific expressive device rather than a neutral template as did later artists. Pepper sessions-the peak of what John Covach calls their “artist” period (Covach 2006). To demonstrate, I analyze four songs from the Beatles’ Sgt. This approach differs from the mainstream standard that emerged in the late 1960s, wherein the chorus is the song’s primary narrative focus, with verses playing a supporting role. The song’s meaning thus arises through synthesizing the two ideas. ![]() That approach is narrative opposition, where the two sections present contrasting ideas or settings. This article argues that the Beatles took a particular approach to narrative structure in their verse–chorus songs. ![]() ![]()
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