What a winning combination?
[1683] What a winning combination? - The computer chose a secret code (sequence of 4 digits from 1 to 6). Your goal is to find that code. Black circles indicate the number of hits on the right spot. White circles indicate the number of hits on the wrong spot. - #brainteasers #mastermind - Correct Answers: 69 - The first user who solved this task is Sanja Šabović
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What a winning combination?

The computer chose a secret code (sequence of 4 digits from 1 to 6). Your goal is to find that code. Black circles indicate the number of hits on the right spot. White circles indicate the number of hits on the wrong spot.
Correct answers: 69
The first user who solved this task is Sanja Šabović.
#brainteasers #mastermind
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Praying and Sleeping

Two men arrive at the Pearly Gates at about the same time, both wanting to know if they will be admitted to heaven. St. Peter asks the first man his name, where he is from, and what he did in life.
The man answers that he is John Smith and that he was a taxi driver in New York City.
St. Peter looks through his book, then gives the man a luxurious silken robe and a golden staff, and bids him welcome into heaven for his eternal reward.
St. Peter then asks the second man the same questions. He replies that his name is Thomas O’Malley, and that he was a Catholic priest in Chicago. St. Peter looks in his book, then gives him a cotton robe and a wooden staff, and bids him to enter into heaven for his eternal reward.
Father O’Malley says, Wait a minute! Why did that taxi driver get a silken robe and golden staff while I, a Catholic Priest and a man of God, got a cotton robe and wooden staff?
St. Peter told him that the rewards in heaven are based on results, and while Father O’Malley preached, people slept, but while John Smith drove, people prayed!

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Fred F. Scherer

Born 1 Mar 1915; died 25 Nov 2013 at age 98.American artist, illustrator and naturalist who joined the American Natural History Museum at age 19, as an apprentice to assist in making dioramas, the backgrounds and senery to displays of stuffed animals. He learned his skills on the job. His art was to give depth, where there was none, and reality to re-creations of natural habitat that melded seamlessly into the physical display of taxidermy. The heydey, when most of his work was done, was in the period of the 1940s to 1960s. He would take field trips to view what he was to paint, to best get the first-hand feel of the interplay of light and colours of the landscape and fauna. In his New York Times obituary, he was credited with an uncanny ability to summon the illusion of air currents, odours and bugs to fill the space between in the several feet between the back of the case and the observer's glass.«
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