In today's episode, Charles Dobens joins us to discuss how to successfully invest in multi-family properties. Charles has been involved in over $500M in real estate transactions, and owns and operates more than $20M worth of properties. There are some awesome lessons in today's show…don't miss it!
Meet Charles Dobens, successful multi-family real estate investor and coach.
Learn what it takes to be successful in multi-family, and what Charles feels are the most important skills to be successful.
Join the conversation on various property types, what you should focus on, and what you should stay away from!
Mike: Hey, it's Mike Hambright from FlipNerd.com. Welcome back for another exciting Expert Interview, where I interview awesome guests from across the real estate investing industry to help you learn and hopefully inspire you at least a little bit.
Before we get started, just a quick reminder of the upcoming REI Power Summit. It's going to be the largest real estate investing event ever, certainly online. It's 100% virtual so you can watch it from wherever you're at. Even though it's a nine day event, you're actually going to have access to it for a year. So if you miss somebody or you're not available on one of those dates, you'll have access to it for 12 months. We have over 50 committed speakers so far, including the one and only Charles Dobens, who is actually our guest on our show today. So go check out REIPowerSummit.com.
For today's show, again, Charles Dobens is joining us, he's a real estate attorney and he's a multi-family real estate investor that owns and operates over $20 million worth of properties. Charles has been involved in more than a half billion dollars worth of transactions in one way or another. And today, he's going to talk to us about how to be successful in multi-family real estate investing. It's going to be an exciting show and I'm glad that Charles is with us. Before we get started though, let's take a moment to recognize our featured sponsors.
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Please note, the views and opinions expressed by the individuals in this program do not necessarily reflect those of FlipNerd.com or any of its partners, advertisers or affiliate. Please consult professionals before making any investment or tax decisions, as real estate investing can be risky.
Hey Charles, welcome to the show.
Charles: Hey Mike, how are you?
Mike: Good, good. Glad to see you, it's been a little while but we're happy you're here today.
Charles: I know, I heard I'm 248th on the list now. You're really cranking.
Mike: No, no, hey we get better with time, so there you go. We have more premium guests, no offense to any of our other guests.
Charles: I'm just happy I got asked back. That's a good sign right there.
Mike: Yeah, excited to have you.
Mike: Man, you've got an incredible track record and level of experience so, very excited to talk a while today. For those that don't know you or didn't know how awesome you were, why don't you tell us your background a little bit and how you got to where you are today?
Charles: Sure, well I got started right out of college or actually when I was in college, that's really where I say that I started my apartment building career. I was a doorman at a luxury apartment building in Brookline, Massachusetts when I was in college and best college job you could have.
Charles: But then I ended up, took the easy way out, which was the family business of insurance and did that for about 20 years and said, "You know what? I'm miserable. I hate what I do. I don't want to do this for the rest of my life," if any kid of yours as a young person says, "I want to be in the insurance business," there's something wrong with that young man, let me tell you, there's something wrong with him.
I sold my insurance business, I was a lawyer at the time. I decided to go out and buy apartment buildings, apartment complexes. And what I found through my acquisition and through the whole entire process was, I worked with great attorneys and they knew how to close escrow, they knew how to draft contracts. But they didn't know what made a good deal. They didn't know whether the property that was being acquired was actually a good property or whether the negotiations were done in the right way.
And so I decided that I'm going to put up my shingle and represent new investors looking to acquire apartment complexes and protect them throughout the entire acquisition process. So that's what I've done over the last 10 years is work with new investors and make sure that they don't get themselves into trouble.
I have to say this, from a protection standpoint, I have scores and scores of clients throughout the country that I represent as a consultant. I'm only licensed in the Commonwealth of Massachusetts to practice law and so I can't represent people outside of Massachusetts as their attorney. But I work with them as their consultant and I work with their attorneys throughout the process to make sure that they're protected.
Charles: That's how I operate my practice.
Mike: Yep, I feel the show is starting to get filled up with disclaimers, there's all this concern, but no, I understand. It's interesting, I want to go back to something you said a minute ago about how you had worked with a lot of real estate attorneys but they didn't really understand a deal structure.
Mike: That's so right, certainly with the number of people I've interviewed on the show, before I started the show, I thought I was an expert. The reality is, I'm an expert in a very small niche, rehabbing, wholesaling rental properties, setting up your business to operate like a business to be a real estate investor.
Mike: But I know almost nothing about multi-family, other than the stuff that is fairly intuitive but land, there's a whole bunch. There's so many ways to make money in real estate that I think a lot of people assume that somebody is an expert and then they must be an expert or knowledgeable in a lot of areas and that's just not true.
Charles: Oh, I am very quick to tell someone, they ask me questions about single-family, I have no idea, it scares the daylights out of me. I stay away from it. But I am very, very specific that my specialty is in helping new investors acquire multi-family property. Actually, because I own my own property management company and we own and operate our properties, I help my investors through the transition of ownership and what they need to do to set themselves up correctly for success.
Charles: But you're absolutely right. I am so… my niche is very narrow when I go to cocktail parties and people find out I'm an attorney and they ask for my business card, I'm like, "Why, are you going to buy an apartment complex?" "No, my son gets picked up for DWI." Well, believe me, I'm the last guy you want involved. I might be in the cell next to him. But that's all I do is work on multi-family.
Mike: Yeah. So the point there is if you're getting started in investing or you've been in it for a while, is there's a lot of different flavors of investors out there, there's a lot of ways to make money. But you should probably try to learn from people that are successful in that niche that you're looking to work in.
Charles: I tell you, one of my classes, one of my coaching programs, coaching classes talks about all the different ways to make money in multi-family. And even within the niche of multi-family, there are so many ways that you could make money that some guys would kick away a deal and say, "This things a dog." No, let's look at it a different way. You might be able to make some money on this deal.
Mike: Yeah, yeah. Charles, today we're going to talk about how to be successful and it's interesting that you said you're afraid of single family. Clearly most investors focus on the single-family because that's one of the lowest common denominators in real estate investing, so a lot of people start there. First, maybe talk about… clearly, you would advocate that you don't need to start in single family to work your way up into multi-family investing, is that right?
Charles: Yeah, absolutely, I didn't do it. I remember getting started, looking at everyone's courses and programs and teaching you how to rehab a house and how to rehab, stage a house, all those types of things. It was… I looked at it as being incredibly risky, because there was always a little bit of emotion involved, especially where I live, I live in the Boston area. You can't buy land around here for less than $350,000. So you make a mistake, you made a big mistake.
But multi-family, multi-family is a business, you can't look at it as real estate. It is a business and I understood businesses. I own my own business, my wife owns her own business. We can look at a financial statement and we can tell you whether it's a good business or not. And that's exactly what multi-family was all about and that's why it was so easy for me to make that transition into multi-family.
Mike: Yeah, I think you're right that a lot of… this is something that I've talked about and dealt with, been in conversations with, about the emotional side of real estate investing. Especially a lot of newer investors, they want so bad to do a deal that they romanticize it a little bit as to, "Well, if we did this and if I stand on my left leg, if the sun's aligned just right." I think that's probably less likely to happen in multi-family just because it's a much more… for me, even with single family, it's all about the numbers. But I think it's even more cut and dry that it's about the numbers with multi-family, right?
Charles: Multi-family is a formula. It's a three variable formula and if you know two of the variables, you can solve for the third. Who would have thought that junior high school algebra would ever come in handy again in your lifetime? But that's all it is. If the numbers work, you buy it. If the numbers don't work, you fix it. If you can't fix it, you move on to the next one. It's as simple as that. And when you come at it with that approach, you can look at 20 properties in a week and decide which ones you're going to make offers on or not.
Mike: Yeah. How about… because I know even in multi-family, there's some folks that just want to buy distressed properties that have upside potential, they have way too high a vacancy, they're going to separately meter the utilities, there truly is opportunity to change the way the numbers lay. And then there are some people that, I don't want to do anything, I just want it to be operating perfectly and I'm willing to buy it based on a certain multiple. So talk about those different categories.
Charles: Sure. When you own multi-family property, it changes your life. Period. I don't care what type you buy but it changes your life. It adds another element of work onto what you do. The whole point is, hopefully that work is going to give you a great reward at some point.
Now if you buy an A-class property, if you're a doctor who is just looking to park his money somewhere and you're looking for something safe, you're not looking for a C-class, rehab type of opportunity. That will eat you alive, that will take up all of your time and a lot of your money. You're looking for an A-class property, you're looking for something that's going to run smoothly, you're not going to worry about it and it's going to be easy to operate. That's the high end of the spectrum, the A-class properties. Easy, safe, secure, tenants don't give you problems, it's a great place to park your money.
Then you start going down the spectrum. I like B-class properties because it's like buying a used car. You pay retail for a car where it drives off the lot and then depreciates immediately as soon as you're out of the showroom. A B-class property has already gone through that depreciation. It's a nice property, the tenants are still good, the bones of the property are fun to operate and it's a good business to own.
When you start getting into C and even D-class properties, D is a non-performing asset, when you start getting into that level, let me tell you something, you better be able to wear a tool belt and you better own a tool belt and you better have a very thick skin because you're going to be knocking on those doors on the fifth of every month to get your rents in the door. I don't care what people tell you, oh, it's a C and B or a B and an A, I've heard that story too many times, especially from new investors that don't know what they're looking for.
When you own property, it changes your life, you've got to understand what your limitations are and exactly what you're looking to. As I always say, if you buy the first property wrong, you will never buy another property. If you buy the first property the right way, you will forever stay in this business. That's my job as a consultant, is to make sure that you buy the property the right way.
Mike: Yeah, yeah. Talk about, let's dive into how to be successful. You've seen a lot of people do a lot of deals, you've done a lot of deals yourself.
Mike: What separates somebody who's going to be successful from somebody that's not?
Charles: Patience. That is it. I've seen people rush into this business, "I've got to own a property, I've got to buy something right away." And it ends up biting them in the fanny because they're so quick to get into their… they put on rose-colored glasses, they're not realistic about the numbers and they get themselves into trouble. My best clients are the ones that look at a lot of deals and they pass. It's not right for them. When they finally find that deal that is right for them, man, they hit a home run every single time.
Charles: That's the one thing that I've noticed that makes people successful, it's just be patient. You've got a lot of time. We hope God is giving you a lot of time. But you just don't rush into it because you'll be setting yourself back if you do it incorrectly.
Mike: Yeah, you see that in single-family too, like I said, people are so eager to make a deal work that they start to say, "Well, if I could get the vacancy down this much," to some unrealistic number and you start to try to find ways to talk yourself into it, right?
Charles: You don't want to buy someone else's problem. A lot of these times, these landlords have a problem and they want you to take it over for them. You just don't want to be that person.
Mike: Right. Talk a little bit about how to do your own due diligence, because one other thing that could happen is maybe you are being conservative. But I'm sure it's happened before where the seller has provided information that is not quite accurate.
Charles: Oh yeah. I actually teach a weekend course in due diligence. It is a law school classroom session on how to not get screwed, because the whole thing is the guy's trying to screw you and you just have to figure out how he's trying to screw you and protect yourself. That's the due diligence.
I teach you how to protect yourself in the due diligence process and even before the whole thing starts so that you know what you're looking for, you know exactly what type of deal it is that you're getting yourself into. And also just saves you a lot of time. You've got a limited amount of time. You can't waste it and you've got to make sure you get out there and find the right deals.
Yeah, listen, the seller is a guy who bought a property 10, 20 years ago and he's put his life into this thing and now it's time for him to cash out. You are the guy who's going to either maximize his return or you're going to minimize and you're going to make him cry at end of the day. He's going to try to get you to pay him as much money as he possibly can because he's only got one chance. Once that one chance is over, that's as much money as he made and he's done. So he's going to tell you everything you want to hear, your itching ears want to hear to make that deal go through.
Listen, I have heard some beauties and brokers are notorious for giving you some lines. So you've just got to be careful and I don't believe a word anybody tells me anymore. Except for you, Mike.
Mike: Yeah, I am honest. I am honest.
Mike: Honest as they come. I like to believe I'm honest. I said that with sarcasm, like, "I am honest, don't really believe me," but I think I'm a pretty honest guy.
Charles: Listen, I am too.
Mike: I'm not trying to sell you anything, Charles.
Mike: Talk about some common structures for doing deals, there's a lot of JVs, especially in multi-family and for anybody who's listening to this that's thinking, "Hey, I want to get into multi-family investing, I've always wanted to do that," there's obviously a lot of fear to doing it alone. That's why a lot of folks have different deal structures. You want to talk about some of the common structures that make sense, that really ultimately give you a little more confidence, that I've got some different people here that know what they're talking about in different capacities?
Charles: Yeah, the thing is that what you're looking for here is you're probably coming to the deal with no money. That's typically how the sponsor of the deal approaches it, especially if you're a new person. You're showing up at the table and you've got no money.
Mike: Say that again, that's what you refer to as a "sponsor," somebody who's actually finding the deal?
Charles: Yes, typically my clients are the sponsors of the deal, they're the ones that have gone out and found the deal, they've negotiated the contracts, they've got it under contract. They've gone out to do the due diligence, they've made the determination that it's a good deal and now they're proceeding forward into the financing process of the contract. During this period, they need to raise the down payment. Typically, they don't have the money, so they need to go out there and find investors to invest in their deal.
The first thing you need to do is figure out, well, how much of the deal can you sell off in order to raise that money? How much of the deal do you have to give away in order to make the deal happen? Now, I use Doug Rutherford's Cash Flow Analyzer software, all of my clients get that software. It's phenomenal software and it also helps you evaluate the deal in determining how much money you need to raise and how much money you need to give away. That's part of the analysis.
Once you determine how much money you're going to need to raise, then you need to figure out in what form am I going to give it away? In other words, what is my entity structure going to look like? Now, all the properties that I have put together are all in a limited liability company, an LLC. I think those are absolutely the easiest entity in order to put together, in order to create structures, create classes of people and that's how I've done it.
You're the sponsor, you've put your blood, sweat and tears into this and you're looking to build a multi-family business or multi-family portfolio and here's your first deal. You don't want to give up control of that deal. You want to be able to make the decisions on that deal and not have to worry about some guy who gave you $50,000, he's going to control your investment.
So what you do is you create a class of membership in that LLC that you're the only member of and you have all the voting rights. You have the management rights and you control how that deal works. And that guy who gave you $50,000? He gets a percentage of the company but he doesn't get any voting rights. He can't tell you how to put the deal together.
Mike: What is that typically called? A managing member or what does that refer to?
Charles: Yeah, you could have a managing member that you would be the managing member and the other people would be just members, Class A members, Class B members, Class C. It really depends upon how we set up the structure.
Now there's another thing and this is what I've been amazed at when I teach this in my classes. You always want to get seller financing. You always want to get the seller to kick in a little bit towards the down payment, that makes your job a lot easier. Typically in the past, what those have looked like are second mortgages where the seller's going to take back the second. Well in the multi-family world, you really can't do that. The banks don't allow you to do that.
So what do you do when you ask the seller for special financing, for seller financing and he agrees to it, then how do you get him into the deal but you don't burden the property with a second mortgage?
Charles: The answer is, you create a special class within the LLC that looks, acts and feels like a second mortgage and the only person, the only member of that class is the seller. So you get very, very creative, and that's the beauty of the limited liability company, you can really set up some incredibly unique structures to solve whatever problem you come up with.
Mike: Sure, yeah, interesting, interesting.
Mike: You work with a lot of new investors. Talk about what the typical background, I know you're going to probably say, "Anything," but if somebody that gets into multi-family investing, do they typically… you already said that it's typical that they would come with no money, they're really finding the deals. But is there a specific background in terms of what it takes to be successful that we're talking about here? Is there a specific background or type of background that you've seen that people tend to be more successful with? Like if they had a financial background, if they had a real estate background at all, do any of those things help or hinder you in terms of your level of success?
Charles: That's what they train us, we learn that first day in law school. The correct answer is the people that I have seen who are the most successful in this business are those people who come from a sales background. You might be thinking to yourself, "Well, that doesn't make any sense." No, it really makes a ton of sense, because what you need to understand is that this is not real estate, this is not property management, this is not operations. This business, including the single-family side, it's a marketing business.
Charles: It's a sales and marketing business. Ninety percent of what we do is sales and marketing. You've got to get out there and prospect to find the client, find the customer and the customer when you're first getting started is the property. You've got to spend all your time trying to find that product that you're going to sell to other customers which become your investors.
So it's really the person that understands the sales and marketing standpoint are the ones that are going to get this business up and running faster. I have one client, I love him to death, he's become a very, very good friend of mine. When he started working with me, he had no multi-family property and he now has 1,400 units and it's taken him about seven years. I knew this guy was going to be a success because he was a manufacturer's rep, he was a sales guy for 30 years. He knew what needed to happen. That is really the background that I think is the most successful in this business.
Charles: Remember, just so I say it, those are also the guys you've got to rein in a couple of times. It can get out of hand.
Mike: Right. I would say, in my experience, when people ask me who do you see that's most successful, I believe you with the sales background, I would agree with that. The other thing I would say is those that have been in business before, not necessarily owned a business but have run a business to the point where they understand that you have to spend money on advertising or lead generation or you understand the importance of that.
I think some people just say, well, I just made the decision to get into it and therefore I'm going to be successful and leads are going to fall in my lap. But as you know, I'm sure it's the same with multi-family, finding the deals is the hardest part. So you've got to be willing to do what it takes, whether it's marketing or advertising or just hustle to go generate those leads.
Charles: Hustle. Hustle is it. A lot of people just think they're going to sit back and wait for that great deal to fall in their lap and guess what? For the most part, nobody knows you're out there looking.
Charles: You've got to get out there and tell people and that takes work. Once you get out there and have done a lot of work, then it's going to look easy because things are going to start dropping in your lap. I have a client that's about to close on her first multi-family deal, taken about two years to do this. It's a seven million dollar property, it is beautiful, it's a great property. And I'll tell you, she's already got two other deals lined up right behind it because once you get that first deal done, it gets easier after that point.
Mike: Yeah. I assume it'll be the same in multi-family as single-family, where I'm from, but a lot of your success depends on your confidence because once you feel comfortable and you get confident, then things just start to come to you.
Charles: That's actually one of the things that I teach my students is that listen, you have nothing to be worried about anymore, I've got your back. Let's get out there and find the deals, if you're afraid to speak to the broker, let's get on a conference call, the three of us will talk together and we'll talk to the guy and we'll take you through the process. Yeah, that's one of the biggest things that I offer my clients, is confidence. Yeah, absolutely.
Mike: Charles, we have a couple minutes left here, maybe give us a minute or two on your best advice that you would give people that are new and they want to get started in this and they want to be successful. Or people that have been in it for a while and just not quite seeing the success that they want.
Okay, great, how do you do that? The answer is you've got to get out there and market yourself every single day. People are like, "No, I just want to go out and make offers." No, no, you're not going to find those deals that way, you've got to get out there and hustle.
That's how those guys made it. The thing is, you make one good deal and things are going to start dropping in your lap, I guarantee it. Absolutely.
Mike: Yeah. In terms of raising money and finding investors, of course that gets dramatically easier, too, once you have some track record, right?
Charles: I've got this client who is doing her first deal, she had to raise, I think, about two and a half million dollars. Pretty scary, huh?
Charles: Believe me, she was scared to death and she finally got through it. She raised the money and now these other two deals that she's got lined up? She's already got the financing in place.
Charles: That's how it operates. But you've just got to keep failing forward and falling on your face and getting it done. That's all it takes, perseverance.
Mike: Yeah. Awesome, Charles, well, hey, thanks for being with us today.
Mike: If folks want to learn more about what you've got going on, I know you have some different training programs and boot camps and things like that, where should they go to learn more about what you've got going on?
Charles: The thing they can do is go to MultiFamilyInvestingAcademy.com, that's my educational website and from there you can get to my other websites and from those websites, you'll get those pop-up boxes where you could put in your email and I've got educational courses that you can download and listen to.
" Aw, please don't tell me that. I wish I knew me back when, too.
Mike: Yeah, yeah. Awesome, Charles, well, hey, great to see you, thanks for being with us today, I appreciate it.
Charles: My pleasure, always good to see you. You've got a great organization there, too, I like working with your people.
Mike: Thank you, thank you, and for those that are listening, thanks for joining us today. Go check out our shows. I never say this, I need to be saying this more often, I probably should say it at the beginning of the show instead of the end, but please go on iTunes and rate us. We actually broke apart our tip show and our interview show and we have a couple new shows coming even. But ratings are really important in the iTunes world for us, so please go rate us and subscribe if you haven't.
Charles, thanks again for being with us today, appreciate you, my friend.
Charles: Thank you. My pleasure.
Mike: We'll talk to you soon.
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Expert Interview-248-Successful in Multi Family Real Estate Investing from FlipNerd on Vimeo.


text:
Interview with NoiseBox on 10/28/95 by Kevin Congdon with assistance by Jester
Thanks to the members of NoiseBox: Dre - vocals, rhythms, synths; Josh - sequencing, sampling, mixing
Kevin: Could you describe how NoiseBox first got started?
Josh: In 1987 or so, Dre and I got together and hooked up a bunch of tape decks and a bass and a huge amplifier and a green analog delay from Radio Shack - a little reverb thing - and it was fun, we had a good time doing it. And we've been doing it ever since.
Dre: Just with more stuff.
Kevin: Does Cleopatra keep in contact with you to let you know how your albums are doing? Or is that something that you're not really interested in?
Josh: That's not something we're even really interested in. We just do this stuff to have fun. Other people kind of dug it. If we get a little money for it, that's great. It's always nice to have other people appreciate what you have fun doing.
Kevin: Do you get a lot of flack from people who don't understand your music, who see it as just violence without catching the humor from the music?
Josh: We have fun with our anger
Dre: We have fun with violence. Violence is good
Josh: If you perceive it wrong, that's just you.
Dre: Actually I think it's better. I think it's better when perceive it wrong and get all upset. Those are the exact people we're yelling or singing about. Which actually, maybe those people understand far more than the people who say "Ooh, this is kind of pleasant, I can dance to it."
Kevin: How would you describe yourself as coming across in a live situation?
Josh: We're much better live.
Dre: I don't like the CD recorded stuff.
Josh: It's neat, but it's only that one time of that particular music. It's different every time we play. The music changes depending on the mood we're in. Listening to the CD is just that one point in time.
Jester: What motivated you to put out Nuffnutz? Was it the label or did you just feel like you wanted to put out your original material?
Dre: Money.
Josh: It was a combination of all kinds of things. It was the label that said hey, "Do you want to do a little remix type release?" "Do you want to remix some new and put some old ones on there?" and we said sure.
Dre: Plus it was about time for that anyway. Because we had so many other things we were working on that we weren't finished with yet.
Josh: We almost have enough stuff for a whole new record.
Kevin: Do you enjoy doing remixes of your own songs and other bands' songs?
Josh: I like listening to all the little sounds, and the bits of songs, before I actually hear the original completely. I take those sounds and write the song the way I would have written that song. Then I listen to the original and see how it compares; sometimes it works out and sometimes it doesn't.
Kevin: Could you give a little background on the Sonic Terrorists Unit?
Dre: It s a collection of psychopath hackers and bit junkies.. That's like the other face of NoiseBox, the DarkBox. It's more of a covert noise thing. There is some STU material that is usually incorporated into a NoiseBox show. We have songs that we definitely consider as STU material as compared to NoiseBox material.
Jester: What prompted you to play tonights show?
Dre: Realistically, money. I don't know hardly any of these people coming to this show. If they groove to it or get off on it that's cool. But I'm playing for Josh & me and our few friends who like our stuff. We're more of a homey's type band more than a heady type band. If the sheep enjoy it that's cool, and if they get mad that's even better, because that means we've won.
Jester: Do you play music for the audience or yourselves?
Dre: We compose the music for ourselves. The music has to pass both of us before we pass it onto the public, even on tape. There's tons of stuff that none of the public has even heard, stuff that we might play tonight.
Kevin: So are you always in the process of creating new music?
Josh: Yes. On the weekend, because I had to get a day job.
Kevin: Do you find that drains your creativity or is it something you know you just have to do?
Josh: I'm kind of used it and with the money I've earned, I've bought a lot of stuff, mostly computer stuff.
Jester: Do you get a lot of feedback from the Internet?
Josh: Tons of it. 90% good, 10% bad. I don't get bad stuff often, but I do, which is good, because if everybody liked this stuff I would be afraid. It's good some people don't like our stuff.
Kevin: Do you take any negative comments from people concerning your music and try to improve your music or are your the changes you make more a product of your own criticisms?
Josh: I listen to outside things. Somebody could bring something to my attention that I don't hear. That doesn't mean I have to agree with it, but I'll take that suggestion for what it is.
Dre: I'd say 10% of the people who come at us that way are usually correct in some way. We just don't like comments like "you have to be more industrial." What is industrial? We're not Test Dept. or SPK; we're not banging on shit.
Kevin: You mentioned before that you might have ended up on Re-Constriction, but Chase wanted you do to more rap oriented stuff. How did that come about?
Dre: Chase was really one of the first people to talk to us. But we didn't want to come across as something like Beastie Puppy.
Jester: What was the motivation behind naming the release Nuffnutz?
Josh: It's neat to make people to say that. They have no other choice than to refer to the release as such. The same with Monkey Ass.
Dre: It's an ongoing joke. It's like "let's make people say ridiculous stuff."
Josh: It made us laugh for a long time
Dre: It made us laugh for days. And if you can't see the humor in that...
Jester: You shouldn't be listening to the record.
Dre: We were going to originally call the release Castrated.
Josh: Because we didn't get to put the punk rock songs on there
Dre: We had three just total guitar-bass-drum-yelling songs, but the record label was afraid the audience wouldn't understand. So naming it Nuffnutz is kind of fucking around with the label -- taking advantage of the situation. Basically because you have the most control over it. We were also going to put a cassette release only out called Taunto (Tonto?), full of songs to just taunt people. And maybe put a bunch of covers on it. And we'd be like "sue us, we don't have any money."
Jester: Who would you cover?
Dre: Sound Garden, Cannibal Corpse , Grave, Madonna, Sara McLachlan, Nirvana.
Kevin: Could you describe your song writing process?
Dre: It's like a silent democracy. It's like we'll recommend stuff by saying "why don't you put some guitar on that track?" It's not like, "No, we need to make it sound like FLA in a car wreck with Die Warzau while hanging out with Orge listening to Slayer with Sarah McLachlan." But at the same time that could be one of our songs.
Kevin: But it's not something you go into intentionally wanting to create?
Dre: We don't do anything like "we need a Trent song". It's never premeditated.
Jester: So you never take any undue influences from anyone else, it's just a straight creative process?
Dre: I wouldn't say it's that, because the influences show, the various styles show. But it's never in a conscious thought. It's not like "I'm going to sound like the Klinik because I listened to their CDs last night." It might be more like Josh listened to a hip-hop song and makes a hip-hop beat and I listened to some crazy metal or techno and we merged it.
Josh: You have to make it fun too.
Dre: We never know what the songs are going to sound like.
Kevin: Does you feel this adds some spontaneity to the music?
Dre: It makes it sound more like we want to do, rather than just pushing some buttons..
Jester: Where do you come up with some of your sounds? Is it all an effects board or sound CDs or do just take stuff from places?
Josh: Anyplace
Dre: It's a skillful weave of samples and synths.
Kevin: Josh, what do you like to do outside of music? I know you spend a lot of time on the computer.
Jester: Do you spend a lot of time on the Internet?
Josh: I'm addicted to that shit, I'm always downloading files like crazy.
Jester: Is that what you do for your job? Or do you have another occupation.
Josh: I'm a games technician. I sit around and solve peoples problems for them. It is really quite annoying. It's cool, but it can try on your patience.
Jester: Does it pay well?
Josh: It pays very well. Lots of cool shit out of the deal too. And it makes me a little better on my computer. I can set up a game for anybody now. You can be dumb and 900 miles away and I can fix your game for you.
Kevin: So what are you hobbies Dre?
Dre: I'm always looking for sounds. And playing video games. I've got a really weird work ethic. It depends on what month it is or something. Sometime I'll really be into doing our music, which is what is basically paying the bills. You've always got to think about that, but then I think about music all the time.
Kevin: Any games you're addicted to now.?
Dre: Vector man on Sega. That's bad. But once I get a Play Station, that will be my new hobby. But I just got my sampler back, so I'm just total sample-mind oriented right now. That's all I live and breathe for right now.
Jester: Do you sample off of any of the video games you play?
Dre: Actually yes. You'd be amazed at where some of the snares and the little vocal things come from.
Josh: We sample from everything.
Jester: Have you ever just blatantly swiped something from somewhere?
Josh: That only would only be if we were butchering something.
Dre: I can't thing of anything we've recently butchered with samples lately; just that Moby song.
Josh: Yeah we were mad at Moby that day.
Kevin: For what?
Josh: For being mean to us.
Dre: It wasn't really his fault. It was the circumstance. It's just the curse of being us. That's why we don't play out live. Because if something bad goes down, you just start the tape deck and you'll know.
Kevin: Sort of like bad karma?
Dre: I don't believe in that karma shit. Karma is just for people who are guilty of something. Fuck guilt. Guilt pulls you back from too much stuff. If you can do something and be guiltless about it, then that's good. I'm not saying go out and stab people or something like that. But guilt is ridiculous, unless you intentionally fuck someone up. If you knew full on what you were doing. But if you're going to be like that, do it, but be guilt-free about it.
Kevin: So would you say guilt is what is wrong with the public, that it keeps them from reaching their potential?
Dre: No, I think most people are sheep. They are too worried about what other people are going to do or react or how they perceive or say things.. That's why you have all this sub-genres of people; you've got the hip-hopsters, fetish groups, ravers, batcave-gothicos, and industrial heads. It's because no one is content with being everything. I think that's what everybody's problem is. I can go hang with gothics, or skinheads or Rastas; it no big deal, because I'm not one or the other. Just like our music borrows from all that. I'm hip to all that, but you would never know because you would never see me in baggy pants or look like a death rocker. That's why we play as how you would see us on the street. We're no different than anybody else. We're sure not making enough money to be different.
Kevin: Josh do you have any other hobbies besides hanging out at the computer?
Josh: No, we're basically just nerds.
Jester: Who've taken advantage of the record company?
Josh: In a sense, and they've also taken advantage of us in a sense. It's a give and take situation.
Dre: We wouldn't be signed if we couldn't make them some kind of money. They had to see some potential to put in their money and time. But the weird thing is that in the end, it doesn't really matter, because you can release things that say Monkey Ass and Nuffnutz, and I think that's funny. It's almost like evening it out. Because they screwed up on our liner notes so bad, it took them three times, we put just fucked up shit on them. It's like the saying "don't get mad, get even."

redpajama_set_name: RedPajamaCommonCrawl


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TRAVEL AND LEISURE IN BORNEO: Karambunai Golf Resort: Some say here lies Heaven!
Karambunai Golf Resort: Some say here lies Heaven!
"Some Say Here Lies Heaven!" says the billboard when you enter Karambunai Resort. I don't doubt a bit. The Karambunai Golf Resort is sandwiched by the beautiful white beach of the South China Sea in the west and on the east are the hills that is covered with thick primary tropical jungle. Golfers or tourists can watch the macaque monkeys foraging foods as well as playing and chasing each other. Sometime the braver ones will come and beg for food from the golfers. At this moment, these monkeys doesn't look aggressive probably because it is the smaller species found here at Karambunai. However, I am sad that the Karambunai Golf management try their very best to "banish" these creatures from here. They told me the monkeys are nuisance. Once an i-phone tablet was "stolen" from the buggy as tourist golfer was putting and taken deep into the jungle! It was never found. But I still believe this animal and the golfers still can co-exist. All the management has to do is to advise players to keep their valuables properly. This monkey does make the course unique. Karambunai is also home to the monitor lizard or "dragons" as the American call it. It is a common sight to see these dragons battling each other for the limited spaces. When these dragons fight, they stood up and cuddled each other! A person not familiar with this reptile tend to think this creature are courting! (See my Facebook Page TRAVEL LEISURE AND GOLF IN BORNEO. I have included two videos of these dragons).
Karambunai Golf Resort was design by Ronald Fream. It is an 18 hole course Par 72. For a high handicappers, Karambunai is a very difficult course because of the numerous ponds, bunkers and the hazard at the jungle boundaries. A beginners will find this course nightmarish because they have to lose dozens of balls before they could finish the course. But for the single or the pro, this course is a piece of cake. The fairways are wide, and the greens are not that long. Good players usually reach the Par 5 in two. So no problem about birdies!


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redpajama_set_name: RedPajamaWikipedia


text:
Hathor Goddess
The Golden Snake
Divine Cow goddess
The Mistress of Life
The Great Wild Cow
The Golden One
lady of Malachite
Cult Center
Denderah
Sinai deserts
Female - Cow
Ra king of gods
Nut the sky goddess
Ra-Horakhty
Sons and Daughters
Ihy - the sistrum player
Patron - Dominion
Healing, Music, women. love. joy and sex
Dedicated temples
- The Denderah temple was a center for healing, with a hospital/sanatorium on-site
- Abu Simbel Small temple
Woman with the ears of cow
Woman with horns and sun disk
Historical Developments
- Her worship was widespread even in the Early Dynastic Period because she appears on the Narmer Palette
- Hathor represents the feminine principle, as reflected in several of her symbols. She was the personification of the Milky Way, which was seen as the milk that flowed from the udders of a divine cow.
Hathor's priesthood was unusual they were both women and men, those priests and were also dancers, singers, and other entertainers.
- Hathor personifies the soft aspects of the female forms in contrast with Sekhmet
- Great Royal Queens were sometimes depicted as Hathor
- Hathor cult survived the massive religious reformations of the New Kingdom, it was difficult to adsorb her soft qualities in the harder aspects of Amun of his wife Mut, thus while many other gods and goddesses were melted down, Hathor stood well during those reformations and survived as a strong independent goddess well until the introduction of Christianity in Egypt
Hebrew Religion
- Hathor was the Lady of malachite, which was connected to health and reputed to have strong therapeutic properties
She was widely worshipped in the mining regions of Sinai, and protected the people from snake bites and epidemics, she was the only calf worshiped there!
- During the development of the new Hebrew religion, Moses ordered the destruction of the "Golden Calf" and desecrated her Temple at Timna, while killing 3000 followers of her cult
He ordered the erection of a shrine dedicated to the "Golden Snake" instead, to protect from such epidemics and bites, that snake of course lacked the other female aspects of the "Golden Calf", such as love and sex. Those attributes had no place in the new religion, and were viewed as symbols of human weakness
Hathor originally wears the head-dress of 18 serpents, Moses removed the female cow and maintained the Serpent alone!
- Unfortunately this concept persisted in the later development of Christianity and Islam, which were based on the older Hebrew religion. Love, sex and joy continued to be banned , especially in Islam which established new severe punishments for any follower falling into those sins which were considered the soft aspects of human weakness
- After this ban on the human attributes of Hathor, the new monotheistic religions became much more serious, cool and detached from the soft aspects human feelings!
- Other gods melted down in a natural evolution of human mythology, but the soft qualities of Hathor the "Golden Calf", had to be oppressed by the excessive use of force and intimidation
In fact we may assume that today's liberals in society are new "worshippers" of Hathor, since they venerate Hathor's qualities
Greek equivalent
Aphrodite, goddess of love and beauty


text:
Iván Aleksándrovich Fomín (Oriol, 3 de febrero de 1872 - Moscú, 12 de junio de 1936) fue un arquitecto, profesor, historiador de arquitectura ruso y soviético. Comenzó su carrera en 1899 en Moscú, trabajando en estilo Art Nouveau. Después de mudarse a San Petersburgo en 1905, se convirtió en el principal maestro del movimiento del revival neoclásico. Después de la Revolución Rusa de 1917, Fomin desarrolló una adaptación soviética del neoclasicismo, elaboró la teoría y la práctica del clasicismo proletario y se convirtió en uno de los principales contribuyentes a una fase temprana de la arquitectura estalinista conocida como posconstructivismo (según Selim Jan-Magomédov,  fue uno de los dos precursores, siendo el otro Iliá Gólosov). El posconstructivismo se define «como formas clásicas sin detalles clásicos», un intento de reinventar un nuevo estilo para reemplazar al orden clásico. Fomin finalmente se dispuso a favor del verdadero neoclasicismo (como hizo toda la arquitectura estalinista).

Fue padre del arquitecto Ígor Fomín (1904-1989) y de la artista gráfica Iraída Fominá (1906-1964).

Primeros años
Nacido en Oriol, Fomín recibió una educación clásica en el Alexander Gymnasium de Riga, donde se graduó en 1890.  Estudió matemáticas en la Universidad de Moscú, que dos años más tarde abandonó. En 1894, se unió a la Academia Imperial de las Artes de San Petersburgo, pero fue expulsado en 1896 por actividades políticas. Continuó sus estudios en la Escuela de Pintura, Escultura y Arquitectura de Moscú, luego en París. Después de un año de estudios en Francia, Fomín se instaló en Moscú y pasó las pruebas para obtener una licencia de contratista.

Trabajó para Lev Kékushev y Fiódor Schechtel, dos grandes maestros del Art Nouveau. Schechtel lo asignó al proyecto del Teatro de Arte de Moscú, que expuso a Fomín al público y finalmente le trajo sus primeros encargos propios. En 1900, por encargo de la Sociedad Anónima de Construcción y Comercio de Moscú, construyó su primer edificio en Skatertny Lane; posteriormente participó en otros edificios de la Sociedad.

Art Nouveau (1899-1903)

 Esta sección se basa en "Architecture of Moscow Moderne", obra de M. V. Naschókina

El estilo temprano de Fomín estaba relacionado con el Jugendstil austríaco y de Schechtel. Su primer y más notable trabajo fue la mansión Wilhelmina Reck en Skatertny Lane. El edificio está modelado libremente según el estudio Elvira de August Endell (1896, destruido en 1944); en lugar de los motivos marinos de Endell, Fomín decoró su obra con flores de yeso e inserciones de mayólica. Los mismos motivos florales se utilizaron en las puertas de hierro. El edificio aún se conserva, aunque reconstruido hasta quedar irreconocible.

Fomín continuó trabajando para la familia Reck, patrocinadora del Art Nouveau. En 1902-1903, junto con I. Ye. Bondarenko y F. O. Schechtel, organiza en Moscú la «Exposición de Arte y Arquitectura de Nuevo Estilo», mostrando sus trabajos en diseño de interiores. Fomin contrató a fabricantes de muebles, fundiciones y plantas de cerámica de primer nivel para sus propios diseños, pero también expuso obras de otros artistas invitados como Charles Rennie Mackintosh, Joseph Maria Olbrich, Koloman Moser y algunos rusos. Fomín se estableció como un promotor del Art Nouveau. Sin embargo, sus intentos de forjar una "nueva" comunidad de arquitectos fracasaron. En 1902, fundó la Universidad de Construcción en Moscú, con una clase separada para mujeres.

Neoclasicismo (1903-1917)

El giro de Fomín hacia el neoclasicismo se remonta a 1903, cuando se postuló al concurso para la finca del conde Volkonsky con un borrador neoclásico.  En 1904, apareció en la revista Mir Iskusstva (Mundo del Arte) con una declaración de programa comprometiéndose con el legado arquitectónico imperial de Catalina y Alejandro I. «En estos días todo el mundo quiere ser individual, inventarse el suyo, y al final no vemos ni un estilo dominante, ni rastro de quien finalmente pueda crearlo». Fomin adquirió una sólida reputación, pero aún no tenía una licencia de arquitecto. En 1905, regresó a San Petersburgo para completar en la Academia de las Artes un curso académico. En 1909, presentó una composición sobre el tema "Kurhaus en Minerálnye Vody" (taller de Leon Benois) al concurso de la Academia de las Artes y recibió el título de artista-arquitecto. Se le concedió un viaje de estudio de un año al extranjero, a Grecia, Egipto e Italia, durante el cual realizó una importante serie de grabados.

En ese momento, el revival neoclásico se convirtió en el estilo líder en San Petersburgo y en el más avanzado tecnológicamente. Los bancos y los grandes almacenes, que favorecían el estilo, podían permitirse una estructura de acero y suelos de losas de hormigón. Una combinación de dinero y tecnología permitió la mezcla de columnas y arcos clásicos con grandes superficies de vidrio.

Fomín creía en una idea universal que uniera a todos y en un estilo arquitectónico que pudiera servirle. En 1908 se incorporó a un equipo de científicos en la preparación de la publicación de un trabajo sobre la historia del arte ruso, encabezado por I.E. Grabar. Promovió las exposiciones de la Academia en «Historia del arte ruso» (1909) e «Historia de la arquitectura» (1911), tan vigorosamente como lo hizo con sus exposiciones de Art Nouveau. Fomin fue un firme defensor de la preservación de los edificios y dirigió una campaña contra la conversión de mansiones históricas en edificios de apartamentos de alquiler.

Fomín completó en 1911-1914 numerosas renovaciones interiores en San Petersburgo, y dos nuevos edificios (mansión Pólovtsov en la isla Kámenni y mansión del príncipe Abamelek-Lázarev (terraplén del río Moika 23).) En los mismos años diseñó la casa de Obolenski en el lago Saimaa y la casa de A.G. Gagarin en la finca Jolomkí en el óblast de Pskov.

En 1912, según diseños de Fomín, se construyeron monumentos a los soldados rusos caídos en 1812: unos obeliscos en Vítebsk y Borísov y una columna en Vawkavysk.

El proyecto más grande de Fomín, la reconstrucción de la isla Golodái, fue interrumpido por el estallido de la Primera Guerra Mundial, o se materializó del todo. En 1911, una compañía de inversiones británica compró la parte oriental de la isla Golodái, un lote de  para la construcción de una zona residencial para la clase media e invitó a Iván Fomín y Fiódor Lidval a diseñarla. Fomin quería recrear los monumentales clásicos imperiales en una comunidad de clase media y propuso realizar una gran composición de conjunto en el estilo de Palladio, llamado Novy Peterburg ("Nuevo Petersburgo"). Antes del estallido de las hostilidades en 1914, según el proyecto de Fomín, se completaron dos edificios semicirculares (n.º 2 y 10 a lo largo del actual carril Kajovski), su alumno, el arquitecto E. Stalberg, participó en el trabajo. Un edificio, una escuela en la calle Kajovski, se conservan hoy.

El 26 de octubre de 1915, la Asamblea Académica eligió a Fomín académico de arquitectura «por la fama en el campo artístico».

Años revolucionarios (1918-1929)

En 1918, Fiódor Lidval se fue a Suecia. Fomin se quedó en San Petersburgo. La Guerra Civil Rusa detuvo toda nueva construcción; los pocos trabajos arquitectónicos se concentraron en la propaganda monumental y el urbanismo. De febrero de 1918 a septiembre de 1929, enseñó en la Facultad de Arquitectura de los Talleres Artísticos y Educativos Libres del Estado de Petrogrado (VJUTEÍN), luego el Instituto Superior Artístico y Técnico de Leningrado (antes Academia Imperial de las Artes). Fueron estudiantes de I. A. Fomín en diferentes años: P. V. Abrósimov, A. I. Gegello, E. A. Levinson, O. L. Lyalin, M. A. Minkus, V. O. Munts, L. M. Polyakov, I. E. Rozhin, L. V. Rúdnev, N. A. Trotsky, M. A. Shepilevsky y E. E. Stalberg.

Fomin formó a una nueva generación de arquitectos en el VJUTEÍN, al mismo tiempo que desarrolló su propio concepto de clasicismo proletario. Afirmaba que una arquitectura universal debía tomar prestados principios esenciales del clasicismo, pero que los detalles del clasicismo no eran lo importante. Como resultado, el nuevo orden arquitectónico se podía simplificar a un conjunto lacónico de elementos básicos, no limitado por proporciones estrictas. Aunque el hormigón armado era para Fomín un medio de crear nuevas posibilidades constructivas, creía no obstante que «la carne hecha de ladrillo y piedra debía colocarse sobre un esqueleto fuerte de hormigón armado; esta decoración es nuestro lenguaje arquitectónico». Transformando la decoración del orden en formas modernas de "dórico rojo", Fomín llega a la conclusión de que los requisitos para la composición de los edificios altos modernos se cumplían con una columna pareada sin bases ni capiteles, con ausencia del entablamento tradicional y ausencia de planos de pared (ya que la apertura de la ventana comienza directamente desde la columna). En la práctica, como todas las teorías, funcionó para los buenos arquitectos (como el propio Fomin) pero no pudo ayudar a imitadores mediocres.

Las primeras obras de Fomín durante el período soviético fueron el proyecto del Palacio de los Trabajadores del Distrito Moscú-Narva (1919) y el proyecto para el concurso del crematorio en Petrogrado.

En el verano de 1920, Fomín logró asegurarse la presidencia de la Comisión de Zonificación de Petrogrado (San Petersburgo) y trabajó en la decoración de la isla Kámenni y creó un proyecto para la planificación y paisajismo del Campo de Marte (1920-1923). En el mismo período, Fomín participó activamente en el trabajo de diseño sobre la planificación de Petrogrado.

En la primera década soviética, Fomín completó proyectos de concurso para la construcción de la sociedad Arkos en Moscú (1924), la Casa de los Soviets en Briansk (1924) y el Banco Industrial en Sverdlovsk (1925). Según sus diseños, se levantaron los edificios del Instituto Politécnico Frunze (el edificio principal, la facultad obrera, los edificios químicos y bibliotecarios; 1927) y la biblioteca científica en Ivánovo-Voznesensk, el sanatorio Udárnik en Zheleznovodsk (1928) y la Casa del Consejo de Comisarios del Pueblo de la República Socialista Soviética de Ucrania en Kiev (1937).

Los últimos años (1929-1936)

En 1929,  Fomín se trasladó de Leningrado a Moscú. Aquí, de acuerdo con sus diseños, se construyeron una tienda por departamentos y un edificio residencial de la sociedad Dynamo, con sus fachadas hacia la calle Dzerzhinsky, Furkasovsky Lane y Málaya Lubyanka (1928, coautor A. Ya. Langman), un experimento a medio camino entre el arte moderno y su propio neoclasicismo. El edificio, con estructura de acero y pisos de losas de hormigón, parece un objeto industrial, pero las columnas emparejadas, marca registrada de Fomín, delatan su origen clásico. También realizó un nuevo edificio del edificio Mossovet con vistas a la calle Stankévich (1928, coautor G.K. Oltarzhevsky), el edificio del Comisariado del Pueblo de Ferrocarriles en la Puerta Roja (1930). En todos estos edificios hay una marcada influencia del constructivismo.
Después de que el pleno de junio de 1931 del Comité Central del Partido Comunista de la Unión Soviética (bolchevique) adoptó decisiones sobre la «reestructuración de la arquitectura soviética», la vida arquitectónica en la Unión Soviética cambió fundamentalmente, quedando bajo el control total de la dirección del partido superior y personalmente de Stalin. Los primeros años de la década de 1930 fueron la era de los "proyectos en papel", durante la cual hubo una aclaración de los requisitos de la dirección de la arquitectura. Durante ese período, Fomín creó proyectos para una serie de grandes edificios públicos: el palacio-museo de equipos de transporte, la estación de tren de Kursk en Moscú, el teatro del Ejército Rojo. Todos esos proyectos se caracterizan por una atención exagerada a la decoración exterior, introducen elementos del estilo clásico como pórticos, rotondas y arcadas y en su diseño se utilizan esculturas y relieves.

En 1933, cuando todos los arquitectos de Moscú fueron asignados a los talleres Mossovet 20, Fomin recibió una oferta para dirigir el Taller de Diseño n.º 3  del Ayuntamiento de Moscú. Las obras posteriores de Fomin, realizadas conjuntamente con sus estudiantes, son proyectos de concurso del teatro en Asjabad (1934), el edificio del Comisariado del Pueblo para la Industria Pesada en la Plaza Roja (1934), la ciudad de la Academia de Ciencias de la URSS en Moscú (1934, coautores), el sanatorio de la Comisión de Asistencia a los Científicos en Sochi (1935, coautor L.M. Polyakov)

Fomin participó en todos los principales concursos de arquitectura de su tiempo:

 1932-1934: Terminal ferroviaria de Kursky
 1932-1933: Palacio de los Soviets
 1934: Narkomtiazhprom
 1934: Primera etapa del metro de Moscú.

Ganó y completó uno de los trabajos de Metro. El Palacio de los Soviets fue ganado por Borís Iofán, la construcción comenzó con una enorme publicidad pero fue terminada por el ataque alemán de 1941. Sus otros dos concursos no fueron más allá de los borradores de las propuestas.

A diferencia de Iván Zholtovski, quien se abstuvo del humilde trabajo en las estaciones de metro, Fomín se unió con entusiasmo al concurso por el Metro. Compitió en 1934 el Krasniye Vorota (Puertas rojas) contra el antiguo constructivista Iliá Gólosov, cuya entrada parecía ser un verdadero clásico griego dórico. Desafortunadamente para Gólosov, las condiciones geológicas extremadamente duras requirieron pilonas de apoyo pesadas y anchas. Su buen borrador no era factible para la tecnología de 1935, dando paso al simple diseño de granito rojo de Fomín, un tributo a las antiguas Puertas Rojas, demolidas en 1932. Esta estación se abrió al público en 1935, mientras Fomín estaba vivo. Diseñó una estación más, Teatrálnaya (luego Plóschad Sverdlova, plaza Sverdlov), que fue completada dos años después de su muerte por L. M. Polyakov.

Su último proyecto sobre el terreno fue el edificio en Kiev del Consejo de Comisarios del Pueblo de la República Socialista Soviética de Ucrania (hoy sede del Gobierno de Ucrania). Recibió la aprobación para su construcción en 1934. Este edificio de 10 pisos, el primer ejemplo del verdadero estilo imperial de Stalin, fue aclamado como «la» forma de construir y generó numerosas imitaciones. Una característica peculiar es el adorno en forma de edredón,  textura rusticada, en las columnas de gran orden, con bases y capiteles, que cubren siete pisos de este edificio. Fomín sabía muy bien que una columna desnuda de 25 metros no parecería natural; la colcha calienta una forma que de otro modo sería aburrida. Los capiteles de las columnas también se diferencian de sus prototipos corintios: a esa altura, razonó, se perderían los finos detalles griegos, por lo que simplificó y amplió las hojas de su adorno. Fue completado en 1938 por P.V. Abrósimov.

Legado

Fomin murió de un derrame cerebral repentino en 1936 y fue enterrado en el cementerio Novodévichi. Otros arquitectos completaron el Teatralnaya y el edificio del Gobierno de Ucrania. Después de la Segunda Guerra Mundial, el edificio del Gobierno de Ucrania se convirtió en un elemento básico de los libros de texto soviéticos sobre arquitectura, un modelo del Imperio de Stalin.

El hijo de Fomín, Ígor Ivánovich Fomín (nacido en 1904) también se convirtió en arquitecto y trabajó principalmente en San Petersburgo. Un constructivista a sus veinte años, más tarde completó varios proyectos estalinistas como el distrito residencial Schemilovka y la estación de metro Ploschad Vosstania. La similitud de las iniciales (I.I. Fomín vs. I.A. Fomín) confunde con frecuencia a los periodistas.

El estudio y museo de Fomín en Moscú (en el callejón trasero de Prospect Mira, 52, donde había vivido en el apartamento 43) estaba programado para ser demolido por la ciudad de Moscú en el verano de 2006; los conservacionistas están luchando por salvar el edificio conmemorativo.

Edificios

 1900: Mansión Wilhelmina Reck (Moscú, Skatertny Lane, 25)

 1900-1902: Teatro de arte de Moscú (aprendiz de Schechtel)
 1909-1911: Mansión Shajovskaya, interiores (San Petersburgo, Fontanka embankment, 27)
 1910: Finca Jolomkí de la familia Gagarin, Óblast de Pskov
 1911-1913: Mansión Pólovtsov (San Petersburgo, Srednei Nevki Embankment, 6)
 1911-1914: Novy Peterburg (desarrollo de la isla Golodái (ahora isla de los Decembristas)), concepto, planificación, arquitecto principal
 1912: Edificio de apartamentos Novy Peterburg (Kakhovsky Lane, 10)
 1912-1914: Edificio de apartamentos Novy Peterburg (Kakhovsky Lane, 2, terminado en 1927)
 1912: Tumba de Leonid Matsievich (San Petersburgo, Alexander Nevsky Lavra)
 1912: Edificio Ratkov-Rozhnov building, interiores (San Petersburgo, Dvortzovaya Embankment, 8)
 1912-1913: Mansión Ratkov-Rozhnov, interiores (San Petersburgo, Moika Embankment, 86)
 1912-1913: Mansión Gólubev, interiores (San Petersburgo, Bolshoy Prospect, 10)
 1913: Mansión Neidgardt, interiores (San Petersburgo, Zacharievskaya, 31)
 1913-1914: Mansión Vorontsov-Dáshkov, interiores (San Petersburgo, Mokhovaya 10)
 1913-1914: Mansión Abamelek-Lazarev (San Petersburgo, Moika Embankment, 23)
 1914: Portal, "Cafe de Paris" (San Petersburgo, Bolshaya Morskaya 16)
 1913: Obeliscos y linternas, Puente Lomonosov (San Petersburgo)
 1920-1923: Jardinería y paisajismo del Campo de Marte,
 1927: Sanatorio de Udarnik (Zheleznovodsk)
 1929: Instituto Químico (Ivanovo, concepto, realizado por A.I.Pavin 1930-1937, fotografía)
 1928-1930: Edificio Dynamo  (Moscú, calle Lubyanka)
 1929-1930: Edificio de Mossovet (Moscú)
 1930: Edificio de estudio propio (Prospect Mira, 52, Moscú)
 1930: Comisariado de Ferrocarriles (Дом МПС, Дом-Паровоз - The Tank Engine Building) (Moscú)
 1933-1936: Clínica del Comisario de Ferrocarriles (Moscú, Basmannaya, ru_sovarch blog)
 1935: Estación Krasnye Vorota, Metro de Moscú
 1934-1936: Edificio del Gobierno de Ucrania (Kiev, completado en 1938 por P.V. Abrosimov)
 1936: Estación Teatralnaya, Metro de Moscú (terminada en 1938)

Véase también

 Arquitectura constructivista

Notas

Referencias

Bibliografía
 Architecture in the Age of Stalin: Culture Two, de Vladimir Paperny (autor), John Hill (traductor), Roann Barris (traductor), 2002,
 William Craft Brumfield. The Origins of Modernism in Russian Architecture (Berkeley: University of California Press, 1991)
 Works on Russian Neoclassicism (1900–1914), de William Craft Brumfield, i.e. "Commerce in Russian Urban Culture 1861-1914", ed. William C. Brumfield, The Woodrow Wilson Center Press, , and others.
 Anna Starostina, "Pre-revolutionary interiors by Ivan Fomin", online en ruso en www.archi.ru

Arquitectos constructivistas
Arquitectos de Rusia del siglo XX
Arquitectos de la Unión Soviética
Sepultados en el cementerio Novodévichi
Fallecidos en Moscú


King, G., Hirst, L. W. and Holmes, R. (1999). Human Corneal and Lens Aldehyde Dehydrogenases. In Weiner et al (Ed.), Enzymology and Molecular Biology of Carbonyl Metabolism (pp. 189-197) New York: Kluwer Academic/Plenum.
Kitson, TM, Kitson, KE and King, GJ (1999) Covalent modification of sheep liver cytosolic aldehyde dehydrogenase by the oxidative addition of coloured phenoxazine, phenothiazine and phenazine derivatives. Enzymology and Molecular Biology of Carbonyl Metabolism 7, 463 89-96.
King, G, Hirst, L and Holmes, R (1999) Human corneal and lens aldehyde dehydrogenases - Localization and function(s) of ocular ALDH1 and ALDH3 isozymes. Enzymology and Molecular Biology of Carbonyl Metabolism 7, 463 189-198.
King, GJ, Norris, GE, Kitson, KE and Kitson, TM (1999) Reaction between sheep liver mitochondrial aldehyde dehydrogenase and a chromogenic 'reporter group' reagent. Enzymology and Molecular Biology of Carbonyl Metabolism 7, 463 107-113.
King, G and Holmes, R (1998) Human ocular aldehyde dehydrogenase isozymes: Distribution and properties as major soluble proteins in cornea and lens. Journal of Experimental Zoology, 282 1-2: 12-17.
King, G and Holmes, RS (1993) Human Corneal Aldehyde Dehydrogenase - Purification, Kinetic Characterization and Phenotypic Variation. Biochemistry and Molecular Biology International, 31 1: 49-63.
Aguilar, M., Lee, T.H., Swann, M., Heng, C., Gehman, J., Park, Y., King, G., Hahm, K.S. and Separovic, F. (2010). Profiling of membrane structure changes during the adsorption, destabilisation and lysis of antimicrobial peptides. In: Abstracts of the 33rd Annual Meeting of the Australian Society for Biophysics. The 33rd Annual Meeting of the Australian Society for Biophysics, Sovereign Hill, Ballarat, Australia, (31-32). 29 November - 2 December 2009.
King, G and Holmes, R (1997). Human corneal and lens aldehyde dehydrogenases - Purification and properties of human lens ALIDH1 and differential expression as major soluble proteins in human lens (ALDH1) and cornea (ALDH3). In: Weiner, H, Lindahl, R, Crabb, DW and Flynn, TG, Enzymology and Molecular Biology of Carbonyl Metabolism 6. 8th International Workshop on Enzymology and Molecular Biology of Carbonyl Metabolism, Deadwood Sd, (19-27). Jun 29-Jul 03, 1996.


Abstract: Recently, there has been a rise of contributions in innovation and economic geography studies on how firms from specific industries and regional innovation systems (RISs) rely on international networks to innovate. So far, the focus has been on single cases, firms located in well-known RISs and international linkages, without really distinguishing those with geographically close partners from those with partners from distant locations. Using primary firm-level data, this article compares the patterns of collaboration for innovation in a selection of Swedish, Norwegian, Chinese and Indian regions with an ICT cluster specialization. The results show that firms in RISs in emerging economies tend to link more to innovation networks with a real global character, particularly in relation to new-to-the-world innovation. It also shows that firms in the most successful RISs in ICT clusters rely more than others on networks with organizations in close proximity.


The 2019 RUSTLERS Women's Intervarsity Finals are set to get underway today in Ulster University's Jordanstown Campus.
It is the first time that the tournament will be hosted in Northern Ireland and there is a strong possibility of a first winner from the North as the hosts Ulster University will look to lift the Kelly Cup in Seaview on Wednesday evening.
It has been a mixed season for Ulster, having looked a dominant force by reaching the Kelly Cup Semi-Finals and CUFL Women's Premier Division Final with a 100% record last season. However, it was at this stage where the wheels began to come off and they were defeated 2-0 by University College Cork. UCC stand opposite them again and it will be a small revenge for UU if they can maximise the use of home advantage and send Cork crashing out.
Thirteen days on from their CUFL Premier Division Final clash, IT Carlow and Maynooth University will meet again to decide who will face the winners of Ulster University and UCC in Wednesday's Kelly Cup Final. It is currently 2-0 to Maynooth based on the matches between both sides so far this season. In the game in Athlone, IT Carlow finished the stronger team and were left to rue the many opportunities they wasted against James O'Callaghan's side. If they can find the clinical edge in today's game, the possibility is strong that they will have the opportunity to retain the cup they won last year with a last-minute extra time goal against UCC.
In the Lydon Cup, Waterford IT will take on University of Limerick, and Letterkenny IT will face NUI Galway. Waterford will be hoping to use their Premier Division status to their advantage against UL in the hope they can round off a below-par season with silverware. During parts of the season, Letterkenny IT appeared to be the team to beat before their young-side were put to the sword by the experience of both IT Carlow and UCC in League and Cup. They will hope to round off their season with another Intervarsity success at Galway's expense who will be feared with the likes of Senior International Aislinn Meaney and U19s Sadhbh Doyle among their ranks.
In the O'Regan Cup, Mary Immaculate College will hope to pull off a giant-killing when they face IT Sligo in their semi-final today. The winners of the tie will face TU Dublin Blanchardstown on Wednesday morning.


text:
require "spec_helper"

class ApplicationController2 < ActionController::Base
  include Rails.application.routes.url_helpers
  set_current_tenant_through_filter
  before_action :your_method_that_finds_the_current_tenant

  def your_method_that_finds_the_current_tenant
    current_account = Account.new(name: "account1")
    set_current_tenant(current_account)
  end
end

# Start testing
describe ApplicationController2, type: :controller do
  controller do
    def index
      # Exercise current_tenant helper method
      render plain: current_tenant.name
    end
  end

  it "Finds the correct tenant using the filter command" do
    get :index
    expect(ActsAsTenant.current_tenant.name).to eq "account1"
    expect(response.body).to eq "account1"
  end
end

redpajama_set_name: RedPajamaGithub


Ashgate Publishing (Farnham, Surrey 2014) – Reviewed by Malvina Yock.
This book explores the dogs in Charles Dickens' life, both real and fictional. It begins with a lively introduction from the author, asserting that the streets of London where Dickens walked as a boy created rich fodder for his writings. This included dog sightings, whether they were actual dogs, or those seen on a picture, a sign, or featured on a building (the cover depicts same), and so on. Gray considers that Dickens' career literally grew out of those London streets. She suggests the term 'Victorian London' immediately conjures up an image of 'Dickens's London', and that dogs (real and imagined) are inextricably linked to that image. As Gray says: "…one of the purposes of this book is to reflect their place in it", and goes on to say that Dickens' portrayals of dogs are as alive and vibrant on the page as his portrayals of people. Thus the dogs in his work have become incredibly memorable.
The book is in two large sections. The first section, A Life With Dogs, is largely biographical about Dickens and the dogs he owned and knew, and how he then transcribes/transforms these dogs into his letters, books, short stories, and other writings.
Years before he owned a dog, Dickens used them in his works. A dog was in his first published story in December 1833, A Dinner At Poplar Walk, in London's The Monthly Magazine. Then along came Ponto in The Pickwick Papers (1836-7), Bill Sikes' Bulls-eye in Oliver Twist (1837-9), and others followed.
His first 'real' dog arrived in 1842. Timber was a small, shaggy Havana spaniel, according to Dickens' daughter Mamie. Dickens himself described Timber as "a very small white dog, curling all over; and barking." The dog began to feature in letters to friends as Dickens watched his behaviour, trying to work out dog thought processes and psychology. Watching Timber naturally led to creating other dogs in his writing, even as Timber himself was frequently mentioned in Dickens' letters. Gray states that Dickens believed the person he was writing to was always interested in the dog, and so the references and anecdotes were quaint and entertaining. We 'see' Timber in Pictures From Italy. Witness the poor dog's (embarrassed? painful?) fall from the carriage, and his subsequent infestation with fleas at their villa. All documented, but – Gray notes – curiously without much attached emotion.
There were other large dogs at Gad's Hill before Dickens died: Turk, a mastiff, Sultan, possibly an Irish bloodhound, Linda, a St Bernard (and four of her puppies, two to Turk, two to Sultan), and Don, a young, black Newfoundland. They were primarily used as guard dogs from passing riffraff, but Sultan had to be shot when he savaged a young child. There was also Mamie's dog, Mrs Bouncer. Mamie said that Dickens liked to take his shoes off in the evening, smoke, and stroke Mrs Bouncer with his foot while he read. What a picture of domestic bliss and relaxation.
She considers that societal attitudes changed towards the treatment of dogs as Dickens championed better care, and credits some of this influence in the establishment of what eventually became known as the Battersea Dog's Home.
In the second part of the book, Knowing His Place: The Dog in Dickens's Art, Gray goes into further detail about the author as an astute dog watcher, and how this translated into his body of work.
Mentioned before, arguably the most famous dog in Dickens is Bulls-eye, Bill Sikes' dog in Oliver Twist, who accidentally dies after his master's accidental hanging. The role of the wretched dog was further immortalised in Dickens' Readings as he travelled around. The script for the death of Nancy, Bill Sikes and Bulls-eye in the Readings was highly dramatised for maximum impact. The dog's unhappy end as he falls off the body of Sikes and 'dashed out his brains' was as vivid and shocking to listeners (and readers) as the deaths of Nancy and Bill.
I was interested to read that Gray considers Quilp, the villain from The Old Curiosity Shop, as a metaphor for a fierce canine. Quilp taunts other dogs, he has 'fangs', over-large teeth, he pants, he howls, he shakes himself like a dog, his tongue lolls out, he threatens to bite, and he chews his food with 'ferocity'. That adds a new character dimension to consider when reading the book.
Gray looks at Hard Times (the performing dogs), Bleak House (a dog is the first animal seen in the book), Dombey and Son (discussing how Diogenes brings vitality to the novel), Little Dorrit (Lion is the faithful dog belonging to the cruel and careless Henry Gowan), and David Copperfield (the defining dog being Jip, inseparable from Dora; there is also the terrible black dog that charges David on his return after his mother's marriage – in some part an interpretation of the terrible Mr Murdstone). In Great Expectations Gray again sees the convict Magwitch as being another 'dog metaphor': leaping on Pip and scaring him in the graveyard, gobbling his food, skulking on the marshes, and his eventual sudden, furtive, scruffy reappearance.
Through her book Gray fascinatingly compares and contrasts Dickens' original illustrations and plates with the texts. She also looks at periodicals of the time, newspapers, letters, and archives. How were dogs depicted in society? How were they treated? Was this a true reflection of the society at the time? Did the illustrations of the dogs in Dickens' work 'match' the text? Did they add or subtract any meaning to the text? And so on. She uses original illustrators George Cruickshank and Hablot Knight Browne, and paintings by artists such as Thomas Gainsborough and Edwin Landseer.
I found the book well researched, presented and illustrated. It has clear footnotes, an extensive bibliography to tempt you with further reading, and a good index. It is extremely interesting to read – and indeed, very readable, for all its scholarly aspect. I imagine it will become an excellent resource for Dickens scholars and readers alike, and also for those simply interested in the social history of nineteenth-century England. Highly recommended.
This entry was posted in Book Reviews etc. Bookmark the permalink.


Mr Jeremy Elkabir has over 10 years experience as a consultant urological surgeon. He qualified from St. Mary's Hospital, London and after demonstrating anatomy at Oxford University he embarked on his surgical training at London teaching hospitals. He has had additional specialist training in prostate cancer, complex female and reconstructive urology under Professors Kirby and Stanton. He was appointed as a consultant urological surgeon at Northwick Park Hospital in 2002 and shortly afterwards was invited as Honorary Consultant in Urology to St Mark's Hospital. He is Honorary Senior lecturer in Surgery at Imperial College and has served as a council member of the British Association of Urological Surgeons (BAUS) section of Female and Reconstructive Urology. He led the national bladder Botox audit and has produced many of the BAUS national patient information leaflets.
He provides a complete General Urology service and specialises in prostate problems, particularly in the early diagnosis of prostate cancer. He also specialises in female urology conditions including the latest treatments for bladder dysfunction and incontinence. He is an enthusiastic teacher and lecturer and has clinical papers and book publications across a wide academic field.


text:
package com.ibm.streamsx.rest;

import java.io.File;
import java.io.IOException;
import java.util.ArrayList;
import java.util.HashSet;
import java.util.List;
import java.util.Set;
import java.util.concurrent.TimeUnit;
import java.util.concurrent.TimeoutException;

import com.google.gson.annotations.Expose;

/**
 * An object describing an IBM Streams Job submitted within a specified instance
 */
public class Job extends Element {

    @Expose
    private String activeViews;
    @Expose
    private String adlFile;
    @Expose
    private String applicationName;
    @Expose
    private String applicationPath;
    @Expose
    private String applicationScope;
    @Expose
    private String applicationVersion;
    @Expose
    private String checkpointPath;
    @Expose
    private String dataPath;
    @Expose
    private String domain;
    @Expose
    private String health;
    @Expose
    private String hosts;
    @Expose
    private String id;
    @Expose
    private String instance;
    @Expose
    private String jobGroup;
    @Expose
    private String name;
    @Expose
    private String operatorConnections;
    @Expose
    private String operators;
    @Expose
    private String outputPath;
    @Expose
    private String peConnections;
    @Expose
    private String pes;
    @Expose
    private String resourceAllocations;
    @Expose
    private String resourceType;
    @Expose
    private String restid;
    @Expose
    private String startedBy;
    @Expose
    private String status;
    @Expose
    private ArrayList<JobSubmitParameters> submitParameters;
    @Expose
    private long submitTime;
    @Expose
    private String views;
    @Expose
    private String applicationLogTrace;

    private Instance _instance;

    static final Job create(Instance instance, String gsonJobString) {
        Job job = gson.fromJson(gsonJobString, Job.class);
        job.setConnection(instance.connection());
        job._instance = instance;
        return job;
    }

    static final List<Job> createJobList(Instance instance, String uri) throws IOException {

        List<Job> jList = createList(instance.connection(), uri, JobArray.class);
        for (Job job : jList) {
            job._instance = instance;
        }
        return jList;
    }

    /**
     * Gets a list of {@link Operator operators} for this job
     *
     * @return List of {@link Operator IBM Streams Operators}
     * @throws IOException
     */
    public List<Operator> getOperators() throws IOException {
        return Operator.createOperatorList(connection(), operators);
    }

    /**
     * Cancels this job.
     *
     * @return the result of the cancel method
     *

     *
true if this job is cancelled

     *
false if this job still exists

     *

     * @throws IOException
     * @throws Exception
     */
    public boolean cancel() throws Exception, IOException {
        return connection().cancelJob(this._instance, id);
    }

    /**
     * Gets the name of the streams processing application that this job is
     * running
     *
     * @return the application name
     */
    public String getApplicationName() {
        return applicationName;
    }

    /**
     * Gets the health indicator for this job
     *
     * @return the health indicator containing one of the following values:
     *

     *
healthy

     *
partiallyHealthy

     *
partiallyUnhealthy

     *
unhealthy

     *
unknown

     *

     *
     */
    public String getHealth() {
        return health;
    }

    /**
     * Gets the id of this job
     *
     * @return the job identifier
     */
    public String getId() {
        return id;
    }

    /**
     * Gets the group this job belongs to
     *
     * @return the job group
     */
    public String getJobGroup() {
        return jobGroup;
    }

    /**
     * Gets the name of this job
     *
     * @return the job name
     */
    public String getName() {
        return name;
    }

    /**
     * Gets a list of {@link ProcessingElement processing elements} for this job
     *
     * @return List of {@link ProcessingElement Processing Elements}
     * @throws IOException
     */
    public List<ProcessingElement> getPes() throws IOException {
        return ProcessingElement.createPEList(connection(), pes);
    }

    /**
     * Gets a list of {@link ResourceAllocation resource allocations} for this job.
     *
     * @return List of {@link ResourceAllocation resource allocations}
     * @throws IOException
     *
     * @since 1.9
     */
    public List<ResourceAllocation> getResourceAllocations() throws IOException {
        return ResourceAllocation.createResourceAllocationList(connection(), resourceAllocations);
    }

    /**
     * Identifies the REST resource type
     *
     * @return "job"
     */
    public String getResourceType() {
        return resourceType;
    }

    /**
     * Identifies the user ID that started this job
     *
     * @return the user ID that started this job
     */
    public String getStartedBy() {
        return startedBy;
    }

    /**
     * Describes the status of this job
     *
     * @return the job status that contains one of the following values:
     *

     *
canceling

     *
running

     *
canceled

     *
unknown

     *

     */
    public String getStatus() {
        return status;
    }

    /**
     * Gets the list of {@link JobSubmitParameters parameters} that were
     * submitted to this job
     *
     * @return List of (@link JobSubmitParameters job submission parameters}
     */
    public List<JobSubmitParameters> getSubmitParameters() {
        return submitParameters;
    }

    /**
     * Gets the Epoch time when this job was submitted
     *
     * @return the epoch time when the job was submitted as a long
     */
    public long getSubmitTime() {
        return submitTime;
    }

    /**
     * Wait for this job to become healthy.
     *

     * When submitted a Streams job has to reach a {@code healthy} state
     * before stream processing is started. During this startup time processing
     * elements are started on resources and then connected. This method
     * allows code to wait for the job to become healthy before using
     * the REST api to monitor its elements.
     *

     * Note that a job may subsequently become unhealthy after this
     * call returns due to failures of processing or resources.
     *

     *
     * @param timeout Time to wait for the job to become healthy.
     * @param unit Unit for {@code timeout}.
     *
     * @throws TimeoutException Job did not become healthy in the time allowed.
     * @throws InterruptedException Thread was interrupted.
     * @throws IOException Error communicating with Streams.
     */
    public void waitForHealthy(long timeout, TimeUnit unit) throws TimeoutException, InterruptedException, IOException {
        final long start =  System.currentTimeMillis();
        long end = start + unit.toMillis(timeout);
        long sleepTime = 200;
        Set<String> healthyPes = new HashSet<>();
        int healthyPeCount = 0;

        while (!"healthy".equals(getHealth())) {

            long now = System.currentTimeMillis();

            if (now > end)
                throw new TimeoutException();

            for (ProcessingElement pe : getPes()) {
                String id = pe.getId();
                if ("healthy".equals(pe.getHealth())) {
                    if (!healthyPes.contains(id))
                        healthyPes.add(id);
                }
            }
            if (healthyPes.size() > healthyPeCount) {
                // making progress - delay the timeout.
                now = System.currentTimeMillis();
                if (now > end)
                    end = now + (2 * sleepTime);
                else
                    end += (2 * sleepTime);

                healthyPeCount = healthyPes.size();
            }

            // backoff if it seems like it is unlikely to start
            if ((now - start) > 5000) {
                sleepTime = 1000;
            }

            Thread.sleep(sleepTime);
            refresh();
        }
    }

    /**
     * Retrieves the application log and trace files of the job
     * and saves them as a compressed tar file.
     *

     * The resulting file name is {@code job_<id>_<timestamp>.tar.gz} where {@code id} is the
     * job identifier and {@code timestamp} is the number of seconds since the Unix epoch,
     * for example {@code job_355_1511995995.tar.gz}.
     *
     * @param directory a valid directory in which to save the archive.
     * Defaults to the current directory.

     * @return  File obhject representing the created tar file, or {@code null} if retrieving a job's
     * logs is not supported in the version of IBM Streams to which the job is submitted.
     * @throws IOException
     *
     * @since 1.11
     */
    public File retrieveLogTrace(File directory) throws IOException {
    	if (this.applicationLogTrace == null)
    		return null;

    	File fn;
    	String lfn = "job_" + this.id + "_" + (System.currentTimeMillis()/1000L) + ".tar.gz";
    	if (directory == null) {
    		fn = new File(lfn);
    	} else {
    		fn = new File(directory, lfn);
    	}

    	StreamsRestUtils.getFile(connection().getExecutor(), connection().getAuthorization(), applicationLogTrace, fn);

    	return fn;
    }

    private static class JobArray  extends ElementArray<Job> {
        @Expose
        private ArrayList<Job> jobs;
        @Override
        List<Job> elements() { return jobs; }
    }

}


text:
Prada /
Prada joins forces with the Challenger Selection Series for the 36th America's Cup by taking part in their own Prada cup. Crafted from black patent leather, these America's Cup sneakers from Prada are made for the event and whether you follow the sport or just like the sneakers, it doesn't matter. Featuring an almond toe, a lace-up front fastening, a logo patch at the tongue, mesh panels and a platform sole.
photo: FARFETCH
First seen in Dec 2019
America's Cup Sneakers In Schwarz
Not available in United States
See it in
about PRADA
Prada S.p.A. is an Italian fashion label specializing in luxury goods for men and women (ready-to-wear, leather accessories, shoes, luggage and hats), founded by Mario Prada. The label is referred to by some people as a status symbol.