jCarousel is a jQuery plugin for controlling a list of items in horizontal or vertical order. It provides a full-featured and flexible toolset for navigating any HTML based content in a carousel-like fashion.

Henry Jones is a web developer, designer, and entrepreneur with over 14 years of experience. He is the founder of WDL and ThemeTrust.

[Work In Progress] A little smooth scrolling JS module. Accept GSAP with scrollTo plug or jquery (default : jQuery) You can customize the behavior wh...

I'am a website developer 25 years old from Pakistan who knows Full stack Web development expert with over 5 years experience in HTML5 , CSS3 ,JS . JQuery , Bootstrap4 , AJAX ,PHP7 with security and wordpress,theme and plugin development. i will work hard to achieve you job exactly like you want.

Even if your goal is to work for someone try your best to have a side income. 💰 . Do you agree? . . @sleeplessyogi @sleeplessyogi @sleeplessyogi . . . . . . . . . . . #javascript #typescript #react #reactnative #vuejs #webdevelopment #webdeveloper #angular #webdesigner #html #html5 #programming #css #css3 #js #jquery #php #nodejs #rubyonrails #java #android #laravel #mongodb #nosql #mysql #postgresql #software #python #softwaredeveloper #softwareengineering

There are so many various plugins and scripts to use for making draggable elements. Some of them allow you to create upload forms or dynamically sorted webpage tables. However, what about just creating some very basic functionality to give users the ability for dragging items through the page? The jQuery UI Draggable feature has all of this and it is very simple to add into your website. I want to demonstrate how using a very simple jQuery UI script will allow for any objects to be dragged along the page. Since this is all built into jQuery we have the ability to use callback functions, which are sort of like unique JS codes we write whenever a user drags or drops an item. There are so many different examples on the jQuery UI website that you should definitely go and check out. I am not using anything overly complex, but you can also see my live demo or download the source codes from the links below. Live DemoDownload Source Code

Sandar React Next Landing Page, built with React, Gatsby Js, Next Js. NO jQuery included or used in Sandar. We created reusable react components so that you can build multiple apps with common components. You can use these landing for your react app. We have included super easy file management system to edit & deploy your landing pages faster & better. Sandar Features: Create Next App The easiest and fastest way to create a React app with server-side rendering. Reusable Components We've crafted all necessary components for you. Just reuse those however you want! Ready for Production Optimized for a smaller build size, faster dev compilation. Production ready pages. React Bootstrap We've used the most popular front-end framework Rebuilt for React. React Hook API No class component! We used react hook features to craft our components. File System Routing Both Gatsby & Next JS will serve each file in /pages under a pathname matching the filename. Handy Project Structure We divided Sandar into components, sections so that you can manage your project easily. Fast Performance Optimized for a smaller build size, faster dev compilation and dozens of other improvements. Trusted Support We value our work and happy to provide our customers with first-class and fast support. Lifetime Updates Purchase once and get all the future updates of Sandar for lifetime. Check Live Version Looking for the HTML version?Get HTML Version Here If you have any questions, let us know at [email protected]

Lately, javascript was revered as the most important programming languages to learn in the year 2017 by ibm. as it is used on both client and server sides and enables a developer to enrich web apps, real-time modification of web pages, design favourable interfaces with a number of features and functionality and much more. with that said, developers have a lot of choices when it comes to javascript web frameworks. these frameworks function as a foundation structure for the single page apps, facilitating less worry and low maintenance about the code structure or creation of complex interface elements.before i go further, let me share a basic problem of frameworks in general. many developers have been hurt by the wrong selection of the frameworks in the past. the majority of the front-end developers with the experience of say 4-5 years likely to share a backstory, switching from jquery to angular, then reactjs soon after. in this article, i am going to discuss the big three web frameworks angular2, react and aurelia. let’s understand the advantages and disadvantages of each framework.aurelia frameworkaurelia is a modern, open source ui framework for mobile and web application. it empowers a developer to create clean, modular javascript. it is composed of html view and javascript view-model pairs. aurelia focuses on leveraging simple conventions and empowering creativity. written in next-gen ecmascript using modern tools and technology, aurelia offers comparatively more number of native classes, modules, decorators at their disposal. unlike a number of monolithic frameworks, aurelia takes a modern approach to architecture. built using a group of collaborating libraries to form a unique, yet powerful framework for developing the spas (single page apps). nevertheless, in traditional websites, it can often be used individually. meritsclean and easily extensibleeasy to work withdirected towards web standardstwo-way databindingbroad language support including es5, es 2015, es 2016 and typescripttestablebacked by blue spire demeritslittle to no community supportthe choice of jspm as a build tool is not properly explainednot supported by any other projectangular2 frameworkangular2 is the new angular version that has put to rest the many of the older version’s concepts and starts with a fresh slate. it might sound like a big disadvantage, but there are positives associated with this as well. this framework is completely free from the unnecessary complexities. the javascript objects for models makes angularjs syntactic simple. angular 2 has gain brownie points especially from the perspective of native app support, server-side rendering and performance. angular 2 also focuses on simple test-driven and modular code development. the frameworks come with almost everything you require to create an amazing mobile app or a complicated front-end web development. right from the powerful rendering to http services, form handling to accurate data management, angular2 has it all covered. merits:5x faster than previous versionsserver-side rendering to speed up load timefast page renderingeasy-to-test codecreate dom (document object model) elementsgreat ui design and alterationsimple routingfacilitate html syntax extensionsmart data modelingdemerits:complicated directive apislows down with many interactive pageshard to debug scopesrouter is limitedreact frameworkreact is an open source front-end, javascript library that effectively renders the ui components. being powered and introduced by facebook, reactjs is used for handling view layer for the mobile and web applications and build reusable user interface components. react implements unidirectional data flow and flux which makes it easy to reason about your app and helps to keep your data operating in a single direction. it is revered as one of the most popular js frameworks that have a solid foundation and extensive community support behind its back. it is progressing at a very fast pace and making large improvements in the frameworks domains. meritsfully component based architectureuses virtual dom to improves apps performance as js virtual om is faster than the regular domused on server and client sidecan be used with other frameworkseasy-to-use interface designgood code reuseeasy to learn apidemerits:many developers have strong disapproval for react’s jsx and inline templatingreact is not a complete framework, it’s a librarysteep learning curveintegrating conventional mvc framework like rails with reactjs requires some configurationshow did you find the article? is there any other next-gen js framework that rules them all? i’ll be soon sharing a detailed comparison to reveal the undisputed king among the highly popular javascript web frameworks.

Did you ever wonder how a great substitute teacher got to be that way?   Whether you’re a sub, or a regular teacher setting up a sub binder, you want tips and lots of 'em! Ready? Here are my top 10 tips for a sub, AKA your Crash Course for Great Subbing:  1)  Be safe. That means good behavior management and routines. You'll want to give clear, specific instructions for every action, starting from the moment your kids enter the room. You'll describe and demo each routine, let one kid try it, then a few kids, and finally the whole class.  Be sure to have a "stop" signal to bring the kids back to attention. You can say, "Give me five, four, three, two, one," with a hand raised and each finger lowered in turn; or say “Ready to Rock?” and have kids answer “And Roll!” Or you can briefly turn off the lights. Safety goes double when you move through public spaces like the hall or cafeteria. Try walking backward at the head of the line. Trust me, it works. You don't want to be the sub with a cloud of wild children trailing you.  2)  Make a personal connection. Tell a story about yourself, and ask kids to say something about themselves. Tell a joke. Don't think of yourself as a "sub!" You're "the teacher for the day," so try to make it enjoyable—even inspiring.  Find the regular teacher’s Sub Tub. Yes, they'll call it that, or a Sub Folder or wall chart. Look for a behavior guide, seating chart, and lineup list; or make your own, and call the kids by name. Remind them that their regular teacher will get a full report, and will be happy to hear they were wonderful. 3)  Teach! Follow the regular teacher’s lesson plans, whenever possible. Give a mini-lesson and instructions for work, then circulate to help kids stay on-task. Want to keep your sanity? Feel free to differentiate. For instance, allow one child to focus on artwork and another to write more words. 4)  Pack a tote. Bring a few fun books, graphic organizers, and enough high-interest lessons to last a day, in case you need them. You can celebrate a holiday or season with a book, art, writing or simple craft. Also, pack sharp pencils, stickers, rewards, a 6" sponge ball for a quiet-pass game, baby wipes, a flash drive with PDF lesson files, music and educational videos, a laptop with speakers; water and a snack for you. Yep, better to be over-prepared. 5)  Be organized. Ask yourself, “What absolutely must get done?” Take attendance and collect notes for the teacher. Watch the clock; be on time for lunch, specialty classes, and dismissal. Leave plenty of time for transitions. If you find you have extra time, you can do a quick “bell ringer” activity, sing, chant lines from the lesson, or do callbacks.   This relaxing Counting Song MP3 is Included  In Your Sub Kit 6)  Be flexible. Extend or shorten a lesson, and take a brain break to calm—or energize—the class. Let kids dance to a pop song, or breathe deeply and massage their own faces. 7)  Be kind. Let the kids earn game-time, extra recess, or a quiet-ball pass, with good behavior. It's easy. Just keep adding dots to a paper game-board and the kids'll perk right up. Every 20 dots they can win a brain break, like jumping in place twenty times. One of the best “rewards” is to say, “Thank you for helping to make the day rock!”   These Reward Tags are stylish, fun, easy, and effective behavior management tools that kids will love!  8)  Ask for help. Ask the kids where to find things, or how the routines go. Ask an organized child, or ask the class. Say, “Raise your hand if you know…” Of course, ask another teacher if necessary. 9)  Don’t raid the shelves. Please...don't use up the class supplies, crafts, pre-printed worksheets, or specialty notebooks unless the teacher requests it. You may use plain copy paper if there’s plenty of it, or bring your own. 10)  We'll end with the Golden Rule: Respect the regular teacher’s room. It goes without saying, right? Leave it clean and tidy—and don’t leave open food containers, torn posters, or running electrical equipment. Give each child half a baby wipe to make the desktops gleam at the end of the day. Remember to leave a “While you were out” note, with a summary of the day and your contact info. …And one for the road: Substitute Teaching is a language that you can learn to speak fluently. You can master this—be prepared, firm, flexible, and kind all at once.   Whether it's your first year subbing, or you simply want a step-by-step guide for taking control of a classroom, I can help show you the way. NOT JUST FOR SUBS. Are you a regular teacher? This makes a great refresher course, or a sub binder for the days you're absent, with lessons that will last a full year. I’m a New York City public school teacher with over twenty years’ experience. I’ve observed hundreds of subs and teachers in action, and was a sub myself for three years prior to teaching full time. Now it’s my pleasure to pass along all I’ve learned to you. The Ultimate Guide for the Substitute Teacher includes hundreds of tips, teacher scripts, lessons, and printables that you can use all year.   As always, I'm wishing you all the best!

I'm pleased to have author Colin Garrow as a guest on my blog today. He's a successful middle-grade author and has recently released his first adult fiction novel, Death on a Dirty Afternoon. It's already on my Kindle! Colin shares with us some of the amateur sleuths he regards as literary heroes and their influence on his writing. As he puts it, although we don't often hear about ordinary people solving crimes in the real world, it's important to remember that detectives too, are just ordinary people with a little more experience.   Literary Heroes and Amateur Sleuths by Colin Garrow One of my first literary heroes was a character who appeared in the children's comic The Beano. He was a boy called Billy the Cat, a seemingly average kid living in a seemingly average town, but under cover of darkness he'd pull out a cat suit and crash helmet and shimmy down the drainpipe to track down villains. Cool. Billy, of course, being a mere comic-strip character, lived in stories that were on the short side and pretty soon I needed something more fulfilling to satisfy my imagination. As a family, we didn't have a lot of money, so most of the time, buying books just wasn't an option. Luckily, the library was right around the corner from our house, and they had books a-plenty. In those days, I wasn't aware of following any particular genre, but I know now that the stories I got the biggest kick out of tended to feature detectives (I remember Dick Barton being a particular favourite). Even so, most of the time, it wasn't the tales of hard-nosed police officers and special agents that caught my attention - it was the amateur detectives - the ordinary folk who just happened to find themselves in sticky situations where the cops weren't doing their jobs properly, leaving the way open for a bunch of young heroes to solve the mystery. It was about this time that I got into two book series that began a life-long love of fictional sleuths: The Three Investigators and The Hardy Boys. The teasingly-titled Alfred Hitchcock's The Three Investigators was a brilliant series, featuring a supposed introduction by the Hollywood director himself. Years later, I discovered Hitch hadn't had much to do with the books, but the gimmick worked well for the author - Robert Arthur, Jr who'd modelled the series on the Hardy Boys mysteries (which had been around a lot longer). By the time I moved on to the Hardy Boys myself, I realised I was also moving up-market in the story stakes. Titles like The Disappearing Floor and The Twisted Claw gripped me like nothing I'd read before, and I tore through dozens of titles in my quest for literary crime solving. (Incidentally, though apparently authored by one Franklin W. Dixon, the books were actually penned by a group of writers under the supervision of Edward Stratemeyer).   So what about 'grown-up' heroes? When I'd worked my way through most of the mystery/thriller books in the kids section of the library, I quickly moved on to the adult section, but with so much more to choose from, I wasn't sure where to start. I remember seeing an old movie based on an Edgar Allan Poe story. Published in 1841, The Murders in the Rue Morgue was, supposedly, the first proper piece of detective fiction. Admittedly, the movie version was a bit rubbish but my interest had been piqued, so at the age of about 14, I tracked down Poe's story. Auguste Dupin  (Poe's protagonist) certainly had a clever and unusual way of working out who did it, but to be honest, it wasn't as exciting as I'd hoped, and the story felt a bit too clever for its own good. What I really needed was someone who could tell a good tale and keep me interested til the last page. So naturally, I turned to Agatha Christie. I don't recall how many of her books I actually read, but my favourites were: The Murder of Roger Ackroyd, Endless Night, Murder on the Links and A Pocket Full of Rye. Some of the books had illustrations in, depicting the murder scene or the layout of the village, and though I rarely identified the murderer before the dénouement, it was always fun trying to work it out. Along with contemporaries such as Margery Allingham (Campion) and Dorothy L. Sayers (Lord Peter Wimsey), Christie got into the murder game at just the right time, when the popularity of characters like Father Brown (GK Chesterton) and Sherlock Holmes (Arthur Conan Doyle) had captured the imaginations of readers all over the world. The Baker Street detective first appeared in print in A Study in Scarlet in 1887, coincidentally, only a year before the most famous real-life murderer, Jack the Ripper, terrorised the east end of London. It's probably no coincidence that the public's rising interest in murder and mystery developed alongside the growth of real crimes and the accompanying publicity. After all, everyone likes a good murder.   So what influence did all this have on my own writing? For many years, I wrote poems, short stories and stage plays, but when I eventually got around to attempting a novel, I went right back to my early favourites. As a kid, there wasn't much excitement in my young life and though I longed to uncover a gang of murderers, smugglers or even pirates, it wasn't to be. So my first children's novel The Devil's Porridge Gang concerned that very thing - a group of kids discover a kidnapping plot and set themselves the task of bringing the villains to justice. Naturally, they get in trouble with the police, their parents, and with the villains themselves in the process, but it all ends happily ever after. Since then, I've written four more middle grade books, including two volumes in The Christie McKinnon Adventures (a historical mystery series set in 1890s Edinburgh), but I'm glad to say my first mystery/thriller for adults Death on a Dirty Afternoon proved I could cut the proverbial mustard in the grown-up world too. Although we don't often hear about ordinary people solving crimes in the real world, it's important to remember that detectives too, are just ordinary people with a little more experience. And while it'd be nice to imagine that if a body turned up in my kitchen with a knife in its back, I'd be able to follow the clues and work out whodunit, realistically, unlike my literary creations, I'm pretty sure I'd just call the police and get as far away from that pool of blood as possible.   Death on a Dirty Afternoon Introducing a brand new murder mystery series set on England's northeast coast. When taxi driver Frank is found dead on his dining room table, ex-cabbie Terry Bell assumes his old friend died of a heart attack. But when Terry's former boss also turns up with his face bashed in, it starts to look like there's a connection. Faced with a Detective Inspector who doesn't like coincidences, and a series of threatening letters, Terry does a bit of investigating of his own, but when another body is discovered, the temperature starts to rise - in more ways than one. Death on a Dirty Afternoon is book #1 in the Terry Bell Mystery series. It's a seaside town like any other seaside town: from the non-existent sand dunes and candy-striped deck chairs to the concrete piers and tacky market stalls, they've got it all - including dead bodies, arson attacks and hockey-stick wielding murderers. If you love mysteries and amateur sleuthing, bald-headed villains and Swedish construction bosses, this'll be right up your everyday seaside-town street.   About the Author Colin Garrow has been trying to be a writer since he left school. During the long hot summers of the Seventies, literary successes were none existent, though he developed a lovely collection of rejection slips. Poems were eventually published here and there, but it wasn't until 2000 that his first short story saw the light of day. Colin studied Drama at the University of Northumbria, and has a Post Grad Diploma in Community Education. He was a founder and Artistic Director of WAC Theatre (The Writers and Actors Collaboration Theatre Company) in Aberdeen until the company folded in 2011. Some of his play-scripts from that time, as well as his books for adults and children, are available via Smashwords, and Amazon. Colin has also written several short stories, some of which have appeared in literary mags including 'Fresh Ink (Volume 1)', 'Flash Fiction Magazine', 'Word Bohemia', 'The Grind', 'A3 Review', and 'Inkapture'. He currently lives in a humble cottage in North East Scotland where he writes novels, plays, stories, poems and the occasional song. He also makes rather nice cakes.

What do you #Champion? This month, we teamed up with  Champion to ask a group of inspiring interdisciplinary creatives what matters most to them. From art to politics, storytelling to authenticity, get inspired by the causes that are prompting them to dream big. Kyle Allen is handsome. There’s a lively debate on social media as to whether he’s a young Heath Ledger or a young Joseph Gordon-Levitt (our vote on set was for young Josh Hartnett, but jury’s still out). He’s charming— in a puckish way that makes kids gravitate toward him so that they can plot pranks together— he has superhuman patience for this. And his dry humor mixes well with his thoughtfulness and near-midwestern earnestness. He can also do a backflip above a cement floor without blinking. His background in sport acrobatics and grueling classical ballet at the Kirov Academy in DC has predisposed him to treat acting with the same obsessive intensity. Hawk, his character on Hulu’s The Path, is a teenager in a New-Age cult called Meyerism. It’s the perfect role for Allen’s level of emotional commitment to acting. Even at 22, he submerges himself into a script with spirited empathy, and a ballet dancer’s discipline to “read each script a hundred times— I mean over and over and over again. Of course, just when you think you understand it, you notice something else about that character you hadn’t considered, and you have to read it at least twice more.”  After leaving ballet training at 18, the California-native returned to his home state and began to focus his attention toward acting. Rather than entering the medium casually—  hoping to get lucky on appearance or settling for frivolous scripts— Allen threw himself into theater training, starting with improv so that he could master embodying a new character at the drop of a hat, trying to understand what motivates someone in different situations. From there, he continued to train, reading endlessly about method acting and moving from small commercials to landing a role in the 2016 independent film, 1 Night. Now that The Path has been renewed for a third season, Allen is thinking critically about his future in acting— not just what roles interest him, but the expansive future of acting itself. He’s deeply animated when discussing hypothetical projects in the future of entertainment, which he assures me will combine virtual reality, immersive theater, and experiential worlds similar to Harry Potter World. He’s persuasive and his enthusiasm is contagious. He talks to us about the power of storytelling, and the beauty of connecting to people through physical art like dance and theater.  Interview by  Katherine Noble, Photos by  Laurel Golio What do you Champion? How did this become a passion? I champion storytelling. It has been a passion for me since day one. I was an outgoing kid, full of energy, I loved being able to express myself. Getting good at telling stories was a way for me to do that. You can’t fit your whole self into a single conversation or a stereotype. But learning how to articulate and voice my beliefs through stories has lead me to feel known by my friends and family. I need that narrative structure— I really do. You were classically trained in ballet, how did you transition from dance to acting? When I was eighteen, I had just graduated from boarding school at the Kirov Academy of Ballet in Washington, D.C. and was nursing a dance injury. I moved out to LA to stay with a family friend, thinking I’d recover and continue dancing, and in the meanwhile I started going out for really random, really bizarre odd-job acting gigs. A lot of the jobs wound up being random car commercials. One commercial shoot just involved me making out with a model for three hours. But then I got involved with a Pepsi campaign in Japan that was incredibly elaborate with characters and backstory. They were extremely generous and flew me to a bunch of different locations to shoot the commercials— I was even on some Pepsi cans in Japan— and around that time I realized how much I enjoyed acting. So from there I really immersed myself in the craft, signing up for a bunch of improv classes, spending hours in the studio, and reading tons of books. It took me hundreds of hours in the studio to learn one step of ballet. So I knew that acting was as complex an art form and that it would be no different.  What do you love about acting, and what can you tap into through television or film that cannot be expressed via other art?  
 I’ve thought about this alot, especially in my current role on The Path. The most difficult thing in acting, and the thing I love the most, is learning how to channel another person’s emotions in response to their circumstances. That’s something that is unfortunately, and detrimentally, not being taught in contemporary dance or ballet right now— how to translate the emotions of a piece into the body. Contemporary schools of dance seem to be incredibly interested with technique— to what extent can the movement and choreography be perfectly executed. Maybe this is because audiences aren’t looking for the soul of it, they are just looking for the flash and the spectacle of these complex physical performances. But the beauty of truly amazing ballet is when the dancers can hold your attention with the phenomenally difficult steps and the flashes of technique, while still articulating the soul and story of the ballet. The classic symbols of pantomime and miming are gone from ballet, and with it, so are the more intense narrative-driven performances.  Acting is uniquely gratifying because you are so profoundly part of a larger process— I feel so good being one character in a larger story. I’m sure that has something to do with humans just wanting to be found useful. Everyday on set, I see that I am one piece pulling the plot together. I also like that each day I’m acting, there are small moments of connection between characters where the story falls into place and you feel connected on this other plane of being.
 Please share a favorite book, artist, or musician that has recently affected you. Jade Hale-Christofi — he is an incredible choreographer I’m currently collaborating with for a piece for Aleim magazine.  Your early modes of performance, acrobatics and ballet, were incredibly physically demanding. Can you talk about about the different demands in successfully playing a role?  In ballet, you are playing a role as well but you are connecting with the persona from the outside in. First, you are embodying their physical traits via their movement, then once you learn the choreography you can begin to navigate the characters’ emotional landscape. With acting, I believe, it’s flipped. To connect with a character while acting, I am working from the inside out— learning the person’s soul, history, circumstances and then injecting a pathos into the role. Eventually that lets you embody their gestures, movement, posture, etc.  Who is a personal hero of yours? J.R.R. Tolkein. He created an entire world that is now a shared cultural experience. How do you prepare for a role? Is it difficult to then leave the role? 
It is always difficult to prepare for a role. If it’s easy, you are probably playing yourself. Giving an imaginary person life is demanding. You start by knowing your lines and knowing the story, you read the script a hundred times— I mean over and over and over and over again. Of course, just when you think you understand it, you notice something else about that character you hadn’t considered, and you have to read it at least twice more. You consider their archetype— I’m reading a book right now called, King, Warrior, Magician, Lover about the classic masculine archetypes in art and narratives. It’s fascinating. I try to think about the intention behind each line. I try out lines while I’m running, I try to imagine the circumstances. I meditate and try to physically recreate their sensory experiences— you try to feel their childhood carpet and the colors of their bedrooms, the sense of trauma or joy they’ve experienced. Basically, it’s an endless amount of homework, but I love it. 
 What was your way into understanding Hawk, who you currently play on The Path? Was there a moment that broke his character open for you?
 So, honestly, it was his sweaters. He has these ridiculous sweaters on the first season of the show, and putting that on that sweater and starting a scene where Hawk was walking down the hallway of his high school— I just kept thinking, who would wear this? A really specific, rare kind of kid would actually put this on and never realize it was out of the ordinary.  Please share a ritual that helps you recenter.  I go to the studio alone and dance until my legs don't work.  What are a few things we can do to champion storytelling? Pay attention, and listen to other people like your life depends on it. If you don’t pay attention to your surroundings, you will never be able to make art that truly reflects reality and the human experience. Know why you are telling the story you are telling through your words and actions. This can be more difficult than it seems. But you need to understand if you are telling a story for entertainment purposes alone, or so that some deeper truth can be revealed.  Which films or actors currently excite you?
 Like almost everyone, I’ve been influenced by Wes Anderson’s movies, I especially loved the Grand Budapest Hotel. Jeff Bridges has been a huge influence for me. Ralph Fiennes and Benedict Cumberbatch as well. God, I wish I had a quarter of his talent. I would be a whole man if I had one quarter of Cumberbatch in me.  Follow Kyle on Instagram Shop Champion