text:
Javad Khan Qajar (; ; c. 1748 – 1804) was a member Ziyadoghlu Qajar, a clan of the Qajar tribe, as well as the sixth and the last khan of the Ganja Khanate from 1786 to 1804 before it was lost to Russia.

Background

Javad was born in 1748 as a son of Shahverdi Khan and his wife Sharafjahan Khanum. He fled to Ibrahim Khalil khan of Karabakh in 1778 when his elder half-brother Muhammad Khan of Ganja usurped the throne and started to kill all his relatives.

Early reign

Javad Khan succeeded his brother Rahim Khan after his deposition through Georgian-Karabakh intervention in 1786. With the accession to power, Javad Khan faced a threat from Georgia. In order to somehow appease Heraclius II, Ibrahim Khan decided to cede Shamkhor to Georgia. He managed to convince Javad Khan that such a step is being taken for the sake of the security of Ganja from Georgia. Javad Khan's representative, Armenian melik Misael (head of Gazakh Armenians), Ibrahim Khalil's envoy Hazrat Qoli and Prince Kaikhosro Andronikashvili (Georgian ambassador to Karabakh) went to report to Heraclius that Ganja has no claims to Shamkhor. In turn, the representative of Javad Khan, melik Misail, reported that as a sign of friendship, Javad sends half of his annual income to the king. However, at the insistence of colonel Stepan Burnashev, head of the Russian military-diplomatic mission in Georgia, Heraclius refused the treaty and demanded from Ibrahim Khalil to abandon Ganja to his authority in full.

Outraged by these demands of Heraclius, the envoys of Karabakh returned home. These events greatly worsened relations with Georgia, and by the end of 1786 they took on a clearly hostile character. At the beginning of 1787, Heraclius, who had up to 6000 soldiers under arms, suggested that colonel Burnashev make a joint campaign against Ganja and Karabakh. However, pursuing a wait-and-see policy, Burnashev evaded this proposal, arguing that Karabakh was allegedly an Iranian possession. Heraclius also supported Armenian meliks Abov and Mejlum - respectively meliks of Gulistan and Jraberd -  who had been at enmity with khan of Karabakh all these years. Armenians from the territory of the Ganja Khanate in the amount of 2500 households also decided to move to Georgia under the leadership of melik Misail, the former envoy of Javad Khan. However, Melik Misail could not put his plan into practice, because he was soon arrested by the supporters of Javad Khan.

Yet another unrest started same year in Ganja, trying to use opportunity in September 1787, a combined Georgia and Russian army under the command of Colonel Burnashev marched to Ganja. However, Ibrahim Khalil Khan's march on Armenian meliks and stopped any hope for support from southern side. However, the meliks, who had been waiting for this campaign for a long time, turned to Heraclius II with a request to help them resettle in Georgia. Heraclius II sent a 4000-strong army led by Prince Orbeliani and his son Prince Iulon to help them. The negotiations that began with Javad Khan were suddenly interrupted, because on September 13 an order came from Pavel Potemkin on the immediate withdrawal of Russian battalions from the South Caucasus due break of Russian-Turkish war. Burnashev, who, nevertheless, wanted to fulfill the order of Heraclius, but couldn't waive the order of his superiors, stayed at Ganja for another three days. His request, sent by courier to Potemkin, to leave the battalion in Georgia at least until spring, was also rejected. In early October 1787, Burnashev's jaeger battalions left for Vladikavkaz. After series of battles and depriving of one more ally, forced the Georgian troops to retreat. A fragile peace ensued and the Georgia king Erekle II granted Javad Khan control over Shamshadil, in return Javad returned part of the inhabitants of Borchali and Qazakh to the Georgian king.

Meanwhile, Heraclius II managed to establish diplomatic relations with Fath Ali Khan of Quba. For this purpose, Prince Georgi Tsitsishvili and Gurgen bek Enikolopashvili were Georgian ambassadors to Quba, while Mirza Rahim, Fatali Khan's envoy Haji, was sent to Tiflis. This circumstance made it possible for Heraclius not only to strengthen his rear, but also to have an ally in the fight against the Karabakh Khan, who dominated Ganja. In December 1788, Heraclius now allied with Fath Ali Khan of Quba and Muhammad Hasan Khan of Shaki was able to capture the outskirts of Ganja. In early 1789, Georgian troops led by the son of Heraclius, Prince Vakhtang, defeated Javad Khan. The matter worsened for Karabakh by the fact that the ally of Ibrahim Khan, Umma Khan of Avar Khanate, due to illness, could not help his ally.

Fatali Khan and Muhammad Hasan Khan met with King Heraclius in January 1789, inside the Ganja Khanate, on the left bank of the Shamkhor River. Javad Khan also took part in this meeting, shortly before that he presented the "keys to the fortress" to the Quba Khan. Allies worked out a plan of coordinated actions against Karabakh Khanate and divided the spheres of influence: Heraclius took the entire South Caucasus, Fatali Khan was to control Iranian Azerbaijan. Heraclius II and Fatali Khan decided to actively fight against newly rising threat of Agha Muhammad Khan Qajar and "act ... under the auspices of Russia," according to contemporary historian Abbasqulu Bakikhanov. Heraclius decided to return the Shamshadil to the Ganja, but received a certain autonomy. However, immediately after the meeting Fath Ali Khan fell ill, left for Baku to stay with his sister died there on 22 March 1789, which made it easier for Javad to resume his reign.

Later reign

Year 1789 also marked the start of the reign of Agha Muhammad in Iran. Javad Khan was the first to submit to him as acknowledge as shah. In August 1795, Agha Mohammad Khan crossed the Aras river with a 70,000-strong army. This force was divided in three: the left wing was sent in the direction of Erivan, the right one parallel to the Caspian Sea into the Mughan across the lower Aras towards Dagestan and Shirvan, while the Shah headed the centre force himself, advancing towards the fortress of Shusha in the Karabakh Khanate, which he besieged between 8 July and 9 August 1795. Having abandoned the siege of Shusha due to stiff resistance, which was further aided by Georgian crown prince Aleksandre, the Khan of Karabakh, Ibrahim Khan, eventually surrendered to Agha Mohammad Khan after discussions. He paid a regular tribute and surrendered hostages, though the Qajar forces were still denied entrance to Shusha. Since the main objective was Georgia, Agha Mohammad Khan was willing to have Karabakh secured by this agreement for now, for he and his army subsequently moved further. While at Ganja, having secured Shirvan, he was joined by Javad Khan, Armenian meliks Abov and Mejlum and the rest of his right wing contingent.

At Ganja, Mohammad Khan sent Heraclius II his last ultimatum, inviting him to submit. However, receiving no reply, shah marched on Tiflis, guided by Javad. Plundering the city for 9 days and taking thousands as slaves, shah left the city in ruins and moved on to capture Shaki and Shirvan Khanates. Having lost his patron after the departure of the Iranian troops for Khorasan, Javad Khan tried to smooth out his relations with Heraclius. However, in February 1796 latter sent a 3000-strong army to Ganja under leadership of his son Alexander. But the latter's army soon deserted him. Immediately after him, Ibrahim Khalil and his brother-in-law Umma Khan besieged Ganja in March 1796. While Heraclius was gathering the army for the second time, Ibrahim Khan began negotiations with Javad Khan, and as soon as the news of the departure of Heraclius' troops from Tiflis reached him, he concluded an alliance with Ganja. Having taken from him an indemnity in the amount of 10000 rubles and Javad's son and sister as hostages, the Karabakh khan retreated from the fortress. The Avar Khan was content with the fact that he received 40 rubles for each of his warriors and also returned to his own domain.

When in May 1796 the troops of Heraclius II approached the walls of Ganja, they were able to return 400 prisoners who were in Ganja and, not wanting to complicate the situation, returned to Tiflis, waiting for promised Russian support, as Queen Catherine used the sack of Tiflis to justify an invasion of the South Caucasus in March 1796, and issued a manifesto, written in Persian and Armenian, addressed to all the khans and other lords. Thus, Persian Expedition of 1796 started, which was headed by Russian general Valerian Zubov. Javad Khan, in his September appeal to Zubov, mentioning the Iranian threat, asked for the speedy arrival of Russian troops in Ganja. Such a motivation, apparently, was chosen by Javad Khan to please the Russian government, to whose protection he wanted to join due to the threat from Karabakh and Kartli-Kakheti.

Soon on December 13, a detachment of Russian troops reached Ganja and occupied the fortress without resistance. Javad Khan personally presented the keys to the city gates, trying to show himself as a loyal man and even signed swore of fealty. Then, at the request of the Russian general, Javad Khan was forced to clear the fortress from the inhabitants and place a Russian garrison in it. He himself received permission to stay with his family in the fortress for a maximum of 6 days. However, this occupation didn't last much as Catherine soon died and Paul I recalled Russian troops back. However, the Russian government did not want to deal with the recalcitrant and unreliable Javad Khan in the future. In this regard, according to Abbasqulu Bakikhanov, "when the Russians left the Ganja fortress, they gave it not to him (i.e. Javad Khan), but to the Georgian Wali - Heraclius Khan of Georgia. Ibrahim Khan of Karabakh and Selim Khan of Sheki came with troops to Ganja in order to approve Ali-Sultan of Shamshadil as its ruler on behalf of Heraclius Khan. Javad Khan wanted to escape, but his wife Shukufa Khanum stopped him and sent Ali Sultan a reminder that when he was in prison and was doomed to death, she asked Javad Khan for freedom and forgiveness. Touched by the memory, Ali-Sultan immediately appeared to Javad Khan, submitted to him and renounced all claims to control. Then the people and all other khans, marveling at his generosity, left Javad Khan with his dignity". Javad Khan again managed to maintain his power in Ganja. Soon Agha Muhammad returned to Caucasus in 1797 after his Khorasan campaign to punish Azerbaijani khans for submission to Russia. Javad hoping for his old merits, at the demand of Agha Muhammad Shah, in early June, appeared in Shusha. But, accusing Javad Khan of not showing resistance to the Russians, Agha Muhammad Shah, under the threat of execution, imprisoned him. But his campaign cut short on June 17, 1797 when he was assassinated in Shusha fortress. Javad Khan, using the opportunity, escaped.

Last years

Emperor Paul decided to return to Caucasus militarily on August 19, 1798. Next year Lieutenant-General Karl Knorring was appointed commander-in-chief of the troops in Georgia, his subordinate Ivan Petrovich Lazarev arriving in Georgia before him. However, the relocation of Russian troops to Georgia clearly contradicted the aspirations of many rulers of South Caucasus and Dagestan, as well as the Iranian Shah, who were aware of Russia's far-sighted policy towards this region. Umma V despite the Russian protection on August 26, 1800, began to make frequent raids on Eastern Georgia, as well as on the nearby regions, including the Ganja Khanate. In his letter to George XII, Mammad Hasan Khan of Sheki, notifying him of the intentions of Umma Khan in relation to Eastern Georgia, also reported an attack on the possessions of the Ganja Khan. However, judging by the letter, in the struggle with the troops of Javad Khan, the Mountainers were defeated, having lost the battle with 104 dead and 30 captives. Having suffered a defeat at Ganja, Umma Khan, however, did not abandon his intentions towards Javad Khan. According to the same letter, Ibrahim Khan actively helped him in this matter, providing the Dagestanis with troops and cannons to help.

George XII of Georgia died on 28 December 1800 provided a fertile ground for Javad Khan to claim Kazakh and Shamshadil, despite Russian presence, like Dagestanis, he also made frequent raids to Georgia. Knorring pointed out Javad's ambitions when he presented his request on annexation of Georgia to new tsar Alexander I. Before and during the first Russo-Persian War (1804-1813), Ganja was considered by Russians as a town of foremost importance as it was on the road from Tiflis to Iran. Realizing this, Javad ordered his son Hosein Qoli Aqa to move Ayrum tribe and Armenians from Shamshadil to Ganja, in order to deprive Russians of economic potential. As a reaction, Knorring ordered Lazarev to move on Shamshadil in 1802, latter however realized there will be no supplies and retreated to Borchalu. Outraged by failures on the field, emperor replaced Knorring with energetic and devoted Pavel Tsitsianov on 19 September 1802. However the latter took up his duties in Georgia only in February 1803.

Tsitsianov quickly moved on to abolish sultanates of Kazakh and Shamshadil in summer of 1803 and moved on to Ganja. General Pavel Tsitsianov approached Javad khan several times asking him to submit to Russian rule, but each time was refused. In November 1803, Tsitsianov marched with the Russian army composed of 6 battalions of infantry and 3 cavalry squadrons from Tiflis. Tsitsianov wrote a letter on 10 December 1803 to Javad Khan, claiming that Ganja belonged to Kingdom of Georgia during Queen Tamar's time (1184-1213) and Russia now as the legal successor of Georgia was merely claiming what is theirs. Javad Khan's reply letter to Tsitsianov instead reminded him of a more recent history and Safavid dominion:

Death

On December 13, Tsitsianov crossed the Koshkar river to start the siege preparations. Nasib beg, former sultan of Shamshadil with 200 men and 300 Armenian soldiers immediately deserted and surrendered to Russians. Heavy artillery bombardment began on December 15 and again requested Javad's surrender. Javad trying to buy time and hope for arrival of Qajar army received and sent back some letters. Tsitsianov's terms for Javad was to be acceptance of Russian citizenship with 20000 rubles of annual tribute, waivering all claims over Shamshadil and send his son Hossein Qoli as hostage to Tiflis. Khan didn't accept the terms and on January 14, 1804, Tsitsianov gave the order to attack the fortress. During the fierce fighting that lasted three hours, Armenians residing in the city opened the gates of the castle and, as a result, the Russians headed by major Lisanevich were able to capture the fortress gates. Javad khan was killed by Lisanevich; his son Hossein Qoli died few hours later fighting. Javad Khan's two nephews and some other family members were killed during the attack. Some members of his family were able to escape to Tabriz, while others remained in Ganja fled to Samukh, whose ruler Shirin beg submitted to Tsitsianov. He was buried in a tomb located near Juma Mosque.

Family
Javad Khan had two principal wives with whom he had numerous issues:

 Shukufa khanum (m.1780, d.1812) — a commoner
 Ughurlu Khan (1781-?) — briefly Khan of Ganja until Battle of Ganja, m. 1801 to Sharaf Jahan begüm, daughter of Mohammad Khan of Ganja
 Hossein Qoli Khan (1784-1804)
 Shirin begüm (b.1794) — m. Ahmad Khan the Elder in 1815, son of Jafar Qoli Khan Donboli
 Malak Nisa begüm (m. 1790, d.1830) — a daughter of Muhammad Husayn Khan Mushtaq
 Ali Qoli Khan
 An Armenian concubine
 Pusta begüm

Legacy
Javad Khan was characterized as a stubborn person by Russian sources. According to Abbasgulu Bakikhanov, "Javad Khan of Ganja was a skillful and knowledge-loving amir yet was a ruthless emir and a dare-devil." Russian general Sergey Tuchkov considered Tsitsianov used excessive bloodshed and Javad khan preferred to die instead of accepting such terms. Tsitsianov in his letter to Ibrahim Khalil Khan wrote that "the pride of Javad Khan caused his death, for which I am not sorry." Spanish military officer Juan Van Halen during his visit to Yelisavetpol talking about Khan, wrote that "my limits will not allow me to relate all that is said of the conduct of this Khan, who exercised unheard-of cruelties on all those who were subject to his authority, and who delignted in making oven his wives and children suffer the most excruciating torments foi the most trifling fault they committed."

Javad Khan is nowadays a heroic figure in Azerbaijani discourse. According to Jamil Hasanli, the khan "displayed a heroism in battle which fills the glorious early pages of Azerbaijani diplomacy". Samad Seyidov, chairman of the Azerbaijani delegation to Parliamentary Assembly of the Council of Europe (PACE) also considers him as a hero.

According to Armenian author Raffi, "Javad Khan, like his father Shahverdi Khan, loved the Armenians very much. He attended the Armenian church and was present at all Armenian religious festivals and ceremonies." According to George Bournoutian he gave a refuge to Sargis II in 1792.

The khan's court architect was Karbalai Sadykh, the father of the famous Azerbaijani poet Mirza Shafi Vazeh, the court poet was the famous Azerbaijani writer Mohsun Nasiri, the author of "Tuti-name", the Azerbaijani version of the ancient Indian fairy tale.

Javad Khan's descendants in the Russian empire bore the surname Ziyadkhanov. Ismail Khan Ziyadkhanov was a member of the First State Duma of the Russian empire, and later a prominent activist of the Azerbaijan Democratic Republic. Adil Khan Ziyadkhanov was Azerbaijani ambassador to Qajar Iran in 1919-1921. While his Iranian descendants adopted the surname Javadkhani.

There are streets in Baku and Ganja that are named after Javad khan, as well as a peak in Lesser Caucasus.

In Popular Media
Javad Khan is a central character in Sabir Rustamkhanli's Pinnacle of Death () novel. Later, Rovshan Almuradly authored Javad Khan movie in 2009 based on the novel.

See also

 Palace of Ganja Khans

References

Sources

Khans of Ganja

1748 births

1804 deaths

Battle of Krtsanisi

Iranian generals
Ziyadkhanov family
Qajar tribe

People of the Russo-Persian Wars
Burials in Azerbaijan

redpajama_set_name: RedPajamaWikipedia


text:
Will Smith Fights Himself in Ang Lee's "Gemini Man"
Will Smith's life is about to get flipped upside down.
Ang Lee's newest sci-fi film stars Smith as Henry Brogen, an aging assassin who is targeted by an agile operative who can seemingly predict his every move. The twist? Smith is on the run from a younger clone of himself who is just as confused. The film also stars Clive Owen, Mary Elizabeth Winstead, and Benedict Wong.
Based on a concept from screenwriter Darren Lemke (Shrek Forever After, Turbo), the film was originally conceived in 1997 as a Tony Scott feature and stalled for almost 20 years before Lee took the reins. Curtis Hanson (L.A Confidential, Wonder Boys, 8 Mile) and Joe Carnahan (Narc, The Grey, A-Team) were considered for the project, but neither director ever signed on. Harrison Ford, Clint Eastwood, Mel Gibson, and Sean Connery were all considered as potential leads. Lee agreed to direct the film after Skydance Media purchased the screenplay rights from Walt Disney Pictures in 2016. Considered one of the greatest contemporary filmmakers of today, Lee has numerous award nominations and Oscar wins for Life of Pi (Best Director), Brokeback Mountain (Best Director), and Crouching Tiger, Hidden Dragon (Best Foreign Language Film).
Gemini Man is shot in 3D at 120 frames per second (fps) and 4k resolution, Lee's second attempt at the format after Billy Lynn's Long Halftime Walk was the first to be shot in 120fps. Billy Lynn was only shown in its intended format in two theaters nationwide since most theaters were not equipped with the display technology.
"Ang's unique vision for this film includes recording and projecting in the most pristine and immersive formats. We want to do everything possible to make projecting the high frame rate version of Gemini Man a turnkey experience for you and provide audiences with the latest technological advancement in cinema." – Paramount Pictures
To combat this, Paramount Pictures has released a letter to theater exhibitors in preparation of Gemini Man. The letter indicates that the film will be offered in both 120fps 2D and 60fps 3D formats to ensure each theater can access a version. This is most likely in addition to the standard 24fps 3D and 24fps 2D verisons. The letter also includes testing instructions so each theater can determine if they are equipped for the High Frame Rate (HFR) technology present in Gemini Man.
Gemini Man will be released by Paramount on October 4 and debut in theaters on October 11.
Check out the new official trailer below.
Are you a fan of Ang Lee? What do you think of Gemini Man? Tell us in the comments!
Related Topics:Ang LeeEntertainmentFeaturedGemini ManParamount PicturesWill Smith
XITE Makes United States Debut
Nickelodeon and the LEGO Group today announced the all-new high-stakes CG-animated comedy series LEGO City Adventures will premiere on Saturday, June 22, at 11:30 a.m. (ET/PT). A rollercoaster ride of fantastic fun, the series (10 episodes) depicts the funny, smart, and dynamic slices of life within the sprawling and diverse LEGO City community, following the absurd and action-packed adventures of its residents. Premieres continue Saturdays at 11:30 a.m. (ET/PT) on Nickelodeon.
"LEGO CITY is our strongest evergreen property globally, and for the first time we are leveraging episodic content to establish characters and personalities that bring the city to life," said Jill Wilfert, Vice President, Licensing & Entertainment for LEGO Group. "We're thrilled to partner with Nickelodeon for this important evolution of LEGO CITY given how well positioned they are to engage children and families with relevant programming."
"The LEGO brand is known for creating imaginative and innovative content for kids, and we are excited to collaborate with the LEGO Group to bring the unique characters, style and humor of LEGO City Adventures to life on Nickelodeon," said Layla Lewis, SVP of Global Acquisitions and Content Partnerships, Nickelodeon.
LEGO City Adventures explores the intertwining paths of the city's everyday heroes as they work together to stop a mysterious master criminal who begins to wreak havoc on their town. In the premiere episode "Cubs and Robbers," a movie promotion stunt goes wrong, unleashing a humongous 'Cubby the Cop' balloon on the city. Then, in "Billy the Bug," Fire Chief McCloud accidentally buys a malfunctioning Twirly Hat for her nephew.
Citizens of LEGO City introduced throughout the series include: Sergeant Duke DeTain (Joe Zieja, Call of Duty: Black Ops 4), an overly heroic cop; Freya McCloud (Misty Lee, DC Super Hero Girls), a crisis-ready fire chief; Shirley Keeper (Alex Cazares, The Loud House), the grumpy street sweeper; Harl Hubbs (Daniel MK Cohen, Fixed), an overeager handyman; Tippy Dorman (James Arnold Taylor, Star Wars: The Clone Wars), an expert doorman with a secret; Solomon Fleck (Roger Craig Smith, Avengers Assemble), the dedicated city mayor; Percival "Wheelie" Wheeler (Mick Lauer, Yu-Gi-Oh! Zexal), a skateboarding police chief and more.
Created and produced by LEGO Group, LEGO City Adventures is also produced by Flaunt Animation (Scotland) and Passion Pictures (France) and written by Jon Colton Barry (Phineas and Ferb), Steven Banks (SpongeBob SquarePants), Jamie Moyer (Modern Family) and Brian Hunt (Second City Chicago). Jason Oliveri is the executive in charge of LEGO City Adventures for Nickelodeon.
Following its U.S. launch, the series will roll out on several of Nickelodeon's international territories in fall 2019.
The XFL today announced multi-year agreements with ESPN and FOX Sports to televise XFL games starting with its inaugural 2020 season. XFL games will air weekly on broadcast TV (ABC and FOX) complemented by games on cable (ESPN, ESPN2, FS1 and FS2). The XFL TV schedule allows for consistent appointment viewing each week with back-to-back games starting Saturday afternoons at 2 pm ET as well as two additional games on Sunday afternoons.
"We look forward to showcasing the XFL on ESPN and ABC, including the kickoff game and championship during the league's inaugural season," said Burke Magnus, ESPN Executive Vice President, Programming and Scheduling. "Vince McMahon and Oliver Luck are two of the sports industry's most creative and experienced leaders, and they have exciting plans for this league. We believe in their vision for the XFL, which will be a great addition to our year-round commitment to football."
"We welcome the XFL to the FOX Sports Family and are pleased to expand our relationship with Vince McMahon," said Eric Shanks, FOX Sports CEO & Executive Producer. "Football is in FOX Sports' DNA and a key component of our programming strategy. Alongside Oliver Luck and his incredible team, we're excited for the debut of the XFL on FOX Sports."
"We are thrilled to partner with ESPN and FOX Sports, two innovative media companies with extensive experience in world-class football production that will undoubtedly help us reimagine football," said Vince McMahon, XFL Founder & Chairman. "The XFL broadcast schedule provides us with incredible reach and makes it easy for fans to watch our games consistently every weekend."
The agreements were negotiated by CAA Sports and Evolution Media Capital (EMC) on behalf of the XFL.
The XFL will kick off on Saturday, February 8, 2020 with teams in Dallas, Houston, Los Angeles, New York, St. Louis, Seattle, Tampa Bay and Washington D.C. Additional XFL-themed programming and on-air talent will be announced in the future.
Are you a XFL fan?

redpajama_set_name: RedPajamaCommonCrawl


text:
Dilara ist ein weiblicher Vorname, der in mehreren Sprachen verbreitet ist.

Herkunft und Bedeutung
Dilara ist ein aserbaidschanischer und türkischer weiblicher Vorname persischer Herkunft.

Dilara leitet sich vom persischen Wort dil (Herz) ab und kann als "die das Herz Erfreuende, Gefällige" übersetzt werden.

Namensträgerinnen

Vorname

 Dilarə Əliyeva (englische Transkription: Dilara Aliyeva; 1929–1991), aserbaidschanische Philologin, Feministin und Politikerin
 Dilara Baştar (* 1988), türkische Opernsängerin
 Dilara Büyükbayraktar (* 1989), türkische Schauspielerin
 Dilara Hashem (auch Dilara Hashim; 1936–2022), bengalische Rundfunkredakteurin und Schriftstellerin aus Bangladesch
 Dilarə Kazımova (* 1984), aserbaidschanische Sängerin und Schauspielerin
 Dilara Öztunç (* 1989), türkische Schauspielerin
 Dilara Türk (* 1996), deutsch-türkische Fußballspielerin

Künstlername
 Dilara, ein Pseudonym von Sibel Kekilli (* 1980) als Pornodarstellerin

Kunstfigur
 Die Vampirin Dilara ist die durchgängige Hauptfigur in Wolfgang Hohlbeins Schattenchronik.

Sonstiges
 Dilara, ein indischer Spielfilm aus dem Jahr 1934
 Dilara Kalkavan, ein Frachtschiff
 Sûz-i Dilârâ, ein Fachbegriff aus der klassischen türkischen Musik
 Dilara Master Production, eine bedeutende libanesische Musikproduktionsfirma

Einzelnachweise

Weiblicher Vorname
Türkischer Personenname
Albanischer Personenname


text:
Home Tags Terrorism
Tag: Terrorism
Cryptocurrency Bitzlato has been accused of laundering more than $700 million
SpaceX sent Starlink internet terminals to Ukraine. According to experts,...
Elon Musk: Former senior official Yoel Roth says Twitter is less...
Twitter is less secure because of Elon Musk's management style, a...
Elon Musk claims Apple 'threatened to force' Twitter out of its...
Here's a look back at Elon Musk's chaotic first month on...
In the wake of the FBI search, violent rhetoric has been...
Opinion: The Supreme Court's next target could be the internet's most...


text:
Racine Rhinos
By raysox
May 5, 2010 in Concepts
raysox
Precious Design Boy
Location: St. Petersburg, FL
You may have seen this thread.
Well I thought I'd give it a try, since Burmy and I are friends from Minor League football, I contacted him, and he said I could give it a shot. So I found a picture of a Rhino statue, since it fit what I wanted to do, and went at it. I tried to make it different than the Grand Rapids Rampage logo. One thing with the logo is that, it looks mildly irritated than just pissed off. I made the logo once, then inkscape crashed and I didn't have it saved. The script is modified Kremlin, I thought a blocky font fit. Then he said somehow he'd like the shape of Wisconsin worked in, thus explains the alternate mark.
Here's the logo I made.
C&C?
I like the blocky font for a team named the Rhinos, but I think the logo should mirror that. There are no sharp angles in the logo itself, and I think it could look great with sharp angles. The North Dakota Fighting Sioux logo is sort of the idea I'm thinking, I'm sure there are more out there too.
I love the Wisconsin/R logo pointing to Racine. Good work.
Burmy
Did somebody say AIR?
Location: Racine, Wisconsin
I LOVE that logo! He did an EXCELLENT job here (I can definitely see Coach Moss wearing a hat with that R on it)
I don't mind the non-blockiness, because most of the women on that team have good curves! Plus, it's less likely to startle kids.
Overall, great job! The compensation is on its way...
chickenfish13
Location: Canada, Eh!
I know it doesnt need to be angry or anything, but I think making his face even slightly more menacing would help this. It looks like he's pouting right now. Maybe look at the Grand Rapids Rampage for help on that ( I know you said you didn't want it looking like the Rampage, but it may help )
Other than that, it looks quite good, and Im not sure if you changed any angles in the state of Wisconsin outline... but it does slightly look like a rhino
ChuckDownfield
I Love Hockey.
Location: Clearwater, FL
I think his (or her I guess?), chin is too round, and it looks like the rhino is biting its lip. I think if you opened up its mouth and showed its teeth, it would look great. Fantastic start on this by the way.
1. I like the Rhino with its curvy goodness (Looks more like the mascot outfit will)
2. Rhinos are herbivorous (so I'd rather not have them showing teeth)
The shape was just traced from this. But the thing is I wanted it to differ from the Rampage logo, which has teeth. That and when I searched Rhino teeth, there weren't any good results.
The whole package needs another colour imo. I remember the brief from the requests section and it was the first thing that went through my head then and having seen a design in the flesh as it were it's done nothing to change my opinion.
While in actuality the grey may be a silver, online and if it's for a semi pro team I'll bet for the vast majority of print as well (as metallic inks can be pricey) that silver will actually be grey so what you have in actuality is a single colour print job. The fact there's no bright accent colour also makes it incredibly hard to create any sense of movement or emotion within the piece, it comes across kinda cold and sterile.
The logo is okay, I think especially because of the limiting palette you really need to go HEAVY on the contrast, you want big huge blocky shapes to create a real feeling of boldness and weight. If you dont have the colours available to help communicate emotions then use the stark colours you have to communicate the immense weight and strength of these animals.
On the logotype I'd look at using a second font for the place name, just a personal preference but I always like to use two fonts for that, it means you have more than one option for fonts when it comes to alternate logos or for use in printed materials that reference the logo. I'd also look at opening the kerning in the place name out so it matches the width of Rhinos that way the angled "shadow" underneath will work better as all the text will be on a block that's the same width.
It's a good start but I think you need to push this further to get the most out of it.
And who's giving him the compensation again? I think it's just perfect the way it is!
DelayedPenalty
First draft and you're ready to fork over the dough? Dang, I should have slapped together a concept.
Hmmm, insecure much? Dont get the hump with me because the DESIGNER asked for comments and feedback on THEIR WORK! I WASN'T even addressing you was I? No, I was talking to Ray.
If you're happy thats fine, great pay the man and job's done.
But RAY, the CREATOR, asked OTHERS how THEY could improve it, which by the way he has every right to do whether you think it's perfect or not! I stand by EVERYTHING I said in my feedback and if you dont like that well that's your opinion and your perfectly entitled to it but I could care less if you agree with me or not as the truth is YOU DIDN'T ask for the feedback RAY DID.
I care what Ray thinks, and hope he's more open to feedback than you are. If he chooses to act on some or all of it then great I think it will make the design stronger, if however he choses not to then that's his choice to but I think he's missing chance to create something much much stronger.
I apologize if I came across as antagonizing...it's just that I REALLY love his original design!
Tell you what...I'll be fine with the feedback you give, and even see how he adapts that into revision. All I ask is that he keeps the original version saved so I can compare them side by side and make a decision. Sound fair?
They say your first idea is never the best (whether that's true or not is debateable). Give the design some time to sink in, let Raysox do some changes that the feedback suggests and then see how it comes out. If you like the original, that's great.
Here's a version with some added colour. I thought about an additional colour, but thought that a black and grey scheme would work with a team name like this. The Raiders pull it off really good. I'm not sure if the logo itself is better, but the script pops a lot more. I tried making the back part of the design(Black streaks) to darker grey as just a highlight.
PERSONALLY, as a designer... I like the first better, but Burmy decides it in the end. Any other ideas?
Yes you did, and apology accepted.
Like I said you could hate the feedback I gave it wouldn't bother me a jot, whether Ray acts on it is what's important, and I'd hope if he wants got improve he'll at least consider all the feedback given, and have a good reason for acting on it whomever delivers it. If any designer has good justification for not acting on feedback then that's fine, but they should ALWAYS consider all feedback and have a reason for everything they do and dont do.
As to him keeping his early iterations, I certainly do, but you'd need to ask him to do that not me.
Sorry I have to disagree, as "classic" and "iconic" as the Raiders identity may have become, imo it's also one of the most static and staid in the NFL. Compare it with the Jags, Texans for example, or if you're looking for a team with a similar "theme" check the Bucs identity, there is a ton more life and movement in those identities than there ever will be in the Raiders one. When you're primary colour is silver it's going to appear grey about 75% of the time or more and basically means you're doing everything in black and white. Whereas if you have a strong colour palette to work from you have all those colours to reference, for example in say, merchandise (colours for t-shirts caps etc) or in brochure work or gameday mags you can use those colours for headline colours etc and it helps add value and recognition to everything and can widen the range of tings you can do. Plus you can still have greyscale versions of everything if needs be. But if all you have to work with is black and grey it can be very very limiting when you start to consider everywhere the identity will have to be used.
The script certainly benefits from an added colour. The logo doesn't because with the greatest of respect you haven't added any colour to the logo. As a designer you should be able to come up with a more creative way of introducing that third colour than a frankly unnecessary outline. I'd also question the choice of green, which is known as a pretty stable/calming colour when trying to add a colour to introduce some life and excitement to the piece, but maybe it's in the town colours or something I dont know but it certainly wouldn't have been my first choice.
9ressteve
Actually he did, but if he hadn't it'd look even more like a rhino IMO. Either way, this is probably the most creative use of the Wisconsin outline that I've ever seen.
Thank you all for your feedback...however, both Mike and I still prefer the original, and that is the one I'm going with.
Thank you very much though-good to hear that!


Wishing you all a Happy, Peaceful and Meaningful Christmas 2009.
Another year is going by, with its ups and downs and in-betweens. Lets make this time of the year special for one and all. Midst the festivities, running around, and getting exhausted – let us not forget that we all have immense potential to make a difference to others lives. And when you think of less fortunate people, remember that they remain so because of us. Because we do not do all that we can and because we dont start somewhere.
So let this Christmas and holiday season be way you want it to be.
Happy, peaceful, meaningful and merry.


There's no doubt that booking and planning for an Africa photo safari is an exciting time, especially if it's your very first venture. As a photo safari tour leader, I'm used to the process. Nevertheless, I still behave very much like a child in anticipation of what Christmas brings. As your departure date draws nearer, your thoughts move to packing for your trip. Although the appropriate clothing is essential, these trips are really about amazing wildlife encounters, shared experiences and capturing memories. It's time to think about your photography equipment, – your gear.
It's time to pack your camera bag!
Before I dive in, I would like to state that this article represents my tips for maximizing your experience while on an Africa photo safari. It's a guide with a mix of opinion and facts based on my on-location, in-the-field experience. It's a summary, an introduction and not a laboratory review and therefore should be treated as such.
Secondly, I always recommend photography enthusiasts choose a safari designed explicitly with photographers in mind. General 'tourist' safaris have their place, but they're much more likely to be governed by a species timetable. Lion, check. Move on. Buffalo, check. Move on. You get the picture. On a dedicated Africa photo safari trip, not only will you share a vehicle (often customized for photographers) with liked minded people, you'll also benefit from being able to spend much more time with an individual animal or group of animals. You'll be able to witness unusual behaviors and explore different angles and lighting situations. Explicit and invaluable guidance and advice are also on tap.
Thirdly, you'll notice that I've included my camera settings below a number of the images. These settings worked for me in those particular situations, under certain conditions to produce the type of image I was after. I suggest you use these posted settings as a guide only. Instead, think about how these images might look if you were to adjust the shutter speed, aperture or ISO. Then, take that information into the field with you. The relationship between these elements can create widely different outcomes and also help you to define your style.
Notice I have stated 'cameras' in the title and not 'camera.' I recommend you take at least two camera bodies with you. On the surface, this may seem like overkill or even a touch extravagant, but there are valid reasons why.
Firstly, it's peace of mind. Imagine the heart-sinking moment if your camera fails. That emotion is tenfold if it happens on day one of a two-week photo safari! Whether you take two DSLRs, two mirrorless cameras, a combination of both, or an alternative solution, possessing a backup prevents any unnecessary anxiety. Before I purchased a second camera body, I used to hire one for my Africa trips. I still do this on occasion. It's a great way of testing and trialing gear in the field beforehand and working out what works best for you.
Secondly, Africa is an extraordinarily harsh and dusty environment. Sand and dust particles are the enemies of sensitive camera sensors. Consequently, eliminating the need to swap lenses while on location can be a huge plus.
Furthermore, having two cameras armed with different lenses (for example a telephoto lens and a mid-range zoom), you'll find it easy to switch between them. Switching between them is useful when wildlife comes too close, or if you are pulling away for a wide shot of wildlife in context of its habitat. Being able to adapt to shifting conditions can mean the difference between capturing, or not capturing the shot.
Not everyone is in a position to take two cameras. It also doesn't matter whether your camera is full-frame, crop-sensor or another type, as there are pros and cons to all. What is fundamental is that you know your camera intimately. Practice on your dog, your cat or deer in a local park. Whatever you can. The more familiar you are with your camera's features, the quicker you'll be able to adjust to conditions that unfold in front of you with confidence.
Super-telephoto lenses with a focal length of 300mm plus are the staple for most Africa photo safaris. For crop-sensor cameras, 300mm should be ideal. If you intend to photograph birds as well as large game, the longer the focal length, the better. Full-frame cameras usually need lenses of 400m+.
Although my go-to lens is a 500mm, I believe the versatility of zoom lenses make them ideal for African safaris. There's such a wide variety of birds and mammals of a degree of varying sizes and distances that a good lens option would be something like the 100-400mm.
A short-zoom lens in the range of 24-70mm is also a great option as it provides the flexibility to pull away to present wildlife within its environment, adding real context to an image. Because I'm also a landscape photographer, I also favor super-wide lenses in the range of 16-35mm or 14-24mm.
Much of Africa's wildlife is active in the early mornings and late evenings meaning you'll be battling low levels of light. Lenses with larger apertures, such as f/2.8, allow more available light into the camera, so you'll be able to use a reasonably high shutter speed for much longer. These lenses are a luxury item though, so an alternative solution is to increase the ISO. Doing so most certainly increases noise, but most photographers would rather have a sharp shot with an acceptable amount of noise than an out of focus shot with no noise. In many cases, you can eradicate most noise in post-production.
I often use filters when composing landscape images, and on an Africa photo safari there are most certainly circumstances when the use of a filter is advantageous. For filters that reduce glare, saturate colors and darken skies, I recommend using a polariser filter.
If you need help to correctly expose bright skies, while preserving exposure detail in the foreground, then I recommend an ND filter.
Bean bags are my go-to support, especially in East Africa. They are a simple, yet extremely effective support for your camera. Bean bags can be used to rest your lens on a vehicle's doorsills, window frames, roof rails and the actual roof itself. Also, wildlife is often on the move, so you're not limited to one position within the vehicle. Many reputable Africa photo safari tour operators provide beanbags. However, that said, it is always worthwhile double-checking beforehand. Bean bags can pack light and get filled with rice or beans on arrival. Some photographers prefer to fill their beanbags with lightweight polystyrene balls before they leave. It's bulkier but a lightweight alternative. I've been using a couple of Kinesis SafariSacks 4.2™ for a while. As well as being a great support, the quick release straps secure the bags in place, so you never lose them in the bush.
Unfortunately, bean bags are not a universal solution, contrary to what you may have read in certain books or magazine articles. Although they're a fantastic solution in East Africa, they're not as useful in Southern Africa (including South Africa, Botswana, Zambia, and Zimbabwe). The reason is that the vehicles there are radically different. Safaris in Southern Africa use open Land Rovers and Land Cruisers with no sides at all – often there isn't even a windshield! So, there is nothing on which to rest the beanbag. In Namibia, both open Land Rovers and closed vehicles are in common use.
If a bean bag is not an option, a monopod offers a lightweight and more practical alternative to use within the confines of a safari vehicle. Especially in Southern Africa. You don't need to extend it entirely, and it takes the strain from your arms and shoulders while seated. It's surprising how effective it can be. I have tested many monopods over the years and have found that Gitzo Monopods™ best suit my needs. I also use a Really Right Stuff™ lever-style, quick release that makes the process of taking lenses on and off the monopod very fast.
A tripod is useful or even an essential piece of kit for evening photography, longer exposures or for around the camp. Although, the wide-spread tripod legs make them impractical and ill-advised for most safari vehicles. However, if you're in an open vehicle on your own, or perhaps with one other, a tripod can be rigged to provide an excellent platform for larger lenses. To avoid badly damaging your camera from vehicle shake, always remove your camera from the tripod while on the move.
Some airlines take a dim view of tripods, and you may find it difficult to persuade them to let you take it in the cabin as part of your hand luggage. If it's going in the hold, it can take up more of your baggage weight allowance.
I often use a ball head or gimbal head on a Manfrotto® Superclamp that can be bolted almost anywhere, including a vehicle's roof bars. If I'm on my own, or part of a tiny group, I may even have several of these clamps placed in strategic points around the vehicle making it extremely easy to switch from side to side and back to front.
You could easily take 300-500 images a day. Trigger-happy photographers may even have over 1,000, so a small laptop with external hard drives are useful for securely backing up your photographs. If weight restrictions allow, two hard drives that mirror each other is a great solution. Remember to pack essential items such as connecting cables, chargers and memory card readers.
An alternative solution to external hard drives is to bring extra memory cards. You can file these away at the end of each day. That way, you are safe in the knowledge that your data remains untouched until you arrive home. If you don't like the idea of swapping out memory cards too often, go for larger capacity ones such as 32GB. That said, I don't like to put all my eggs in one basket, and therefore I opt for 2 or 3 smaller cards in favor of one larger one.
Get to know what you can expect out of your camera with regards to battery life and take enough spares to get you through each day. Cold is a battery's nemesis, so make sure they're not getting too cold overnight. I have two spare batteries for each camera body, and that's always been more than adequate for my purposes.
Remember lens cleaning cloths. I would also recommend a camera and lens cover that helps protect your camera in the event of a rain shower and for protecting your gear against the dust mentioned above.
Don't forget your smartphone, binoculars, head torch, notepad and pen, personal medication, malaria medication, toiletries, money, your passport, and visa.
For detailed, up-to-date information on vaccinations and more, you are best to consult an official website.
I recommend packing high-value items like cameras, lenses, and laptops in your hand luggage. Some airline safety requirements require you to pack batteries in your hand luggage, so ensure you charge your items, as airport security often requires you to demonstrate that laptops and cameras are all in full working order. A simple rule of thumb is to pack items essential to your photography, travel, and health in your hand luggage.
Pack your gear very carefully with disruption in mind. Some Africa photo tours can consist of two or three successive flights to get to various destinations in Africa. There may be two or even three layers of airport security on each of these flights. You may be required to unpack large cameras, lenses, and laptops. If you can, avoid placing smaller accessories on top of larger items that you may need to take out repeatedly and re-pack. Pack cables and batteries together in small pouches rather than loose in your bag.
Your camera bag should be large enough for your gear but small and light enough for all cabin limits. When packed you should be able to safely lift your bag in and out of the overhead lockers without assistance. Check the maximum sizes and weights for all the airlines and be aware that different flights often have different rules.
For small internal charter flights within Africa, total baggage allowance (hand luggage plus hold luggage) can be as little as 20kg and bags must be soft and pliable.
An Africa Photo Safari is an incredible experience. For many, it is a-once-in-a-lifetime opportunity both to experience incredible scenery and wildlife and to take amazing photographs.
There's no doubt that it can be a daunting experience packing expensive and essential photography equipment for a safari. Even for seasoned photographers. Just remember to seek out advice. If you are booked on a photographer-specific tour, you can request support from your guides and or Africa safari tour facilitator. They have the experience and knowledge to help you make it the through this process with as little stress as possible.


on Jul 14, 2005 at 22:54 UTC ( #475079=modulereview: print w/replies, xml ) Need Help??
Item Description: Lightweight, yet powerful, date manipulation.
Date::Simple - This module has become my first choice when needing to work with dates. It is what it is named. A simple, intuitive interface to date manipulation.
Rather than a review, this is an assessment with a stub for a proper review. It was valuable, since it led me to click on the link to see the docs, but not as useful as it could be, if you fleshed out the bullets.
That is a good point and I will definitely expand it so it will be more usefull. Thanks for the feedback!!


text:
Box Office Report: Remastered 'Raiders of the Lost Ark' Extends Run in Theaters
10:44 AM PDT 9/14/2012 by Pamela McClintock
Indiana Jones and the Raiders of the Lost Ark Film Still - H 2012
The classic 1981 film, starring Harrison Ford, was directed by Steven Spielberg and produced by George Lucas.
Paramount is extending the run of Steven Spielberg's remastered Raiders of the Lost Ark by another week.
Raiders of the Lost Ark commenced its one-week exclusive run on Sept. 7 in 267 Imax theaters, and has grossed a strong $2.4 million to date. As of Sept. 14, it will be playing in more than 300 regular digital theaters across North Americal (it's Imax engagement has ended).
PHOTOS: Steven Spielberg on Set
"The re-mastering efforts by Steven, George and their team were incredible and the movie's hugely successful run in Imax last week was a sure sign that audiences were excited to see the film again on the big screen. We are thrilled that audiences will have that chance again as part of this extended theatrical run," said Paramount vice chairman Rob Moore.
STORY: 'Raiders of the Lost Ark' to Get Imax Rerelease
Under the supervision of Spielberg and sound designer Ben Burtt, the classic 1981 film --- starring Harrison Ford and produced by George Lucas -- was meticulously restored with careful attention to preserving its original look, sound and feel its release in theaters and on Blu-ray.
Indiana Jones: The Complete Adventures debuts on Blu-Ray Sept. 18 from Lucasfilm and Paramount, and includes seven hours of bonus material, including a brand new two-part documentary titled On Set With Raiders of the Lost Ark -- From Jungle to Desert and From Ad. It also features nearly an hour of rarely seen footage from the set of the film and archival interviews with Spielberg, Lucas and Ford.
Pamela McClintock


NORWALK, CT - June 8, 2016 - ReedPOP, the world's leading producer of pop culture events, is writing a new chapter for BookCon - the one-of-a-kind consumer book event where storytelling and pop culture collide - by debuting BookCon @ NYCC as part of New York Comic Con 2016. BookCon @ NYCC marks the first expansion of the BookCon brand reaching a whole new audience of book lovers. Access to BookCon @ NYCC is included with a valid NYCC Badge for that day and will bring books to life through a series of Panels, Autographing Sessions, Meet and Greets and more for four full days of content. BookCon @ NYCC will be hosted a short walk from the Javits Center at Hudson Mercantile (500 West 36th Street) during NYCC - October 6-9, 2016.
The initial guest list for BookCon @ NYCC brings together bestselling Authors with the hottest new talent in publishing, including beloved children's author Ann M. Martin (The Baby-Sitter's Club series, Missy Piggle-Wiggle and the Whatever Cure), YA sensation Danielle Paige (Dorothy Must Die, Stealing Snow), Chuck Wendig (Star Wars: Aftermath, Star Wars: Aftermath: Life Debt) and Naomi Novik (Temeraire series, League of Dragons). R. L. Stine (Goosebumps) will also be at BookCon @ NYCC to discuss his new middle-grade novel Young Scrooge: A Very Scary Christmas Story. This is only the start of a power-packed lineup that will continue to be unveiled leading up to the event in October.
The world's most influential publishers will have their authors present including Gallery, Macmillan Children's Publishing Group, Bloomsbury, Del Rey and others. Gallery will also showcase the new Millennials of New York book by Connor Toole and Alec Macdonald. Created by the top editors at Elite Daily, Millennials of New York is a satirical social media phenomenon done in the photo essay style of Humans of New York that parodies the plights of millennials today such as waiting for a brunch table or taking the perfect selfie.
"BookCon @ NYCC is a testament to the continued success of New York Comic Con as the Show grows beyond the Javits Center," said Lance Fensterman, Global Senior Vice President of ReedPOP. "We are continuously striving to reach new audiences and provide more of the programming and events that Fans are looking for and the robust lineup of authors and events at BookCon @ NYCC will allow us to do just that. It's a privilege to connect leading publishers and authors with throngs of NYCC Fans and to unite two great New York City events for our Fans to experience."
Additional exciting details about New York Comic Con events, talent and sponsors will be announced in the coming months. For more information, please visit NewYorkComicCon.com and NYCC's social media pages (Facebook, Twitter and Instagram).


text:
Q: How to use an object without knowing the objects' name I'm not too sure how to word this so it makes sense, but I'll try my best.
Say I have 2 classes. My main class, and a Person class.
My main class will create some Objects from the Person class like this
public class Example {

   static Person bob = new Person(23);//Age
   static Person fred = new Person(34);
   static Person John = new Person(28);
   //..and so on

   public static void main(String args[]){

       ..

   }
}

and in my Person class..
public class Person{

    private int age;

    public Person(int age){
        this.age = age;
    }
    public int getAge(){
        return this.age;
    }
}

Now, if I wanted the age of fred, I'd just call Fred.getAge();.
But, in my program, I don't know what person I'm getting the age of. It randomly selects one, and I need to get the name without directly calling the object. For example, I would have something like this in my Person class:
public static Object getPerson(){

    //Some code to get a random integer value and store it it Var
    switch(Var){
    case 1:
        return bob;
    case 2:
        return fred;
    case 3:
        return john;
    }
}

What I would expect this to do is return an Object that I could then use like this:
public static void main(String args[]){

        System.out.println(Person.getPerson().getAge());

}

What I thought that would have done was first call getPerson() which randomly returns either bob, fred, or john, and then it would call getAge(). So if getPerson() returned fred then it would be the same as doing fred.getAge();
Now, this doesnt work, and this was the only way I thought of that made sense to me.
How do I do this so it actually does what I want?
I'm very new to Java, and OOP, and this is my first time really working with different Objects. So I'm sorry if I'm using the wrong terms and explaining things weirdly.

A: Change
public static Object getPerson(){

to
public static Person getPerson(){

You can't call getAge on an Object, because the Object type does not have getAge() defined.

A: Why not put the name as a property of the Person class?
class Person {
    // ... your existing code for age...
    private String name;

    String getName() { return name; }

    // add name to constructor...
    public Person(String name, int age) {
        // set them up here...
    }
}

The way I see it, is that name is for you as a human, but variables john are irrelivant to the program and computer.... you can even use p1 = Person("Joe", 42);
To get a person by age, you can use a Map with age as key, and person as value.

A: It could be the case that this is a misunderstanding, but how I'm interpreting the issue is as follows:

*

*You need a (better) place to store all of your Person objects instead of having them as static variables.

*You need a way to randomly select from wherever you're storing those objects.

Let's address the main issue first.  You're creating these as static variables when they probably shouldn't be; they should just be created as entries into an array.
The way to do this is through this declaration:
Person[] people = new Person[] {new Person(23), new Person(34), new Person(28)};

The main issue now is that you have no way to refer to which person's age belongs to whom since you haven't attached a name field to any of these instances.  You could do that easily:
public class Person {

    private String name;
    private String age;

    public Person(String name, int age) {
        this.name = name;
        this.age = age;
    }

    // getters for name and age
}

...then you can instantiate your Person with two values.
new Person("Bob", 23);

Now that we've addressed one concern (which was where to store the people in the first place), now we need a way to randomly access them.
For that, we can use Random#nextInt().
Random rand = new Random();
System.out.println("Person's age - " + people[rand.nextInt(people.length)]);

This will randomly pull a Person out of the array and print their age.

A: If you want to get a random person within the person class you could store a reference to each person created, and then select randomly from that list
public class Person {
    // A List of every Person Created.
    private static final List<Person> allPeople = new ArrayList<People>();

    // A source of random numbers
    private static final Random rand = new Random();
    ...
    public Person(int age) {
       ...
       // Every time we create a new Person, store a reference to that person.
       addPerson(this);
    }

    // synchronized as ArrayLists are not thread safe.
    private static synchronized addPerson(Person person) {
       allPeople.add(person);
    }

    ...
    public static Person getRandomPerson() {
        // Get a random number between zero and the size of the list.
        int random = rand.nextInt(allPeople.size() -1);

        return allPeople.get(random);

    }

Now this code is not what I would do in a production environment but it the question sounds like an exercise. A better way would be to store the people created in a List in your Example class. But trying to answer the question as you asked it.

redpajama_set_name: RedPajamaStackExchange


text:
Maja Ruznic
"Money can't buy you happiness." Sadly, it wasn't long ago that my response to that idiom was, "Well that must be something rich people say." From the start, we're taught that there's value in the things that earn us money. I've shared my belief, in What Do You Do?, that people are much more than their professions. The ideal, however, is that an individual is able to make a living doing what they love. This Friday's dose of inspiration comes straight from a woman who's forged a career out of her passion for art.
When I reached out to Bay Area Artist, Maja Ruznic, I did so because I was totally inspired by her story. Born in Bosnia & Herzegovina in 1983, Maja and her mother came to the United States as refugees in 1992. Maja went on to receive two degrees from UC Berkeley and compete as a member of Cal's Track and Field Team. All the while, she continued to explore her love for art. Maja describes her most recent drawings and paintings as that of:
"People, objects and memories of experiences that evoke a sense of failure and trigger a sense of psychological unease that echoes my childhood refugee experience. In documenting these people, objects and events with highly editorialized and projected-upon personae, I am simultaneously preserving them and destroying who they actually are." ( her artistic statement)
Her passion and talent have garnered her much success and she was recently awarded the 2012 cover of New American Paintings. I'm drawn to telling and exploring the stories of people who have the courage to acknowledge and pursue what they love. In interviewing Maja, she impressed me even more. I was amazed and pleased to find that, beyond her overcoming the struggles of being a refugee to go on and receive a diploma from a prestigious institution, her current professional success as an artist was never fueled by the promise of financial return. She's done what she has for the love of her work and nothing more. Perhaps that's why she's found such a warm welcome in the artistic community. Maja never asked what the work could do for her, she's constantly creating and innovating to see what she can give back. As such, her paintings and drawings are as honest, nuanced and compelling as their author.
Thankfully, I got the chance to ask Maja about her work and sources of inspiration:
When did you realize that art was your passion?
I remember being obsessed with drawing ever since I was 6 years old. I used to be more worried about my art class projects in middle school than my math exams and always knew that this was a bit unusual. There was a strong urgency to draw, to record things, people and events around me. I suppose it was from a very early age—this urgency to capture what was happening around me. Aside from painting and drawing, I was always very interested in dance, music, and theater—creative languages that elevate life to some extent.
Was there ever a doubt in your mind that you'd be able to professionally pursue your artistic work? If so, how did you work beyond this?
My desire to paint was never driven by the belief that I would ever make a living as an artist. I love to paint and draw—this was always true and that love has brought me to where I am today. I studied Social Welfare (Psychology emphasis) and Art at UC Berkeley and wanted to work with children upon graduation. Art was always something I did for fun.
After graduating from Cal, however, the need to push my ideas stood in the way of becoming a Social Worker, so I started working on a portfolio. I kept myself financially afloat by taking on odd jobs and working up to 7 days a week. I had a corporate job for a brief moment, thinking that the financial stability would make my life better. I quit after just one week, knowing that it was not something I was meant to do. I went back to doing retail and teaching as much as I could. Despite the drastic decline in my monthly income, I was much happier—and this happiness allowed me to continue making art. There have definitely been moments where I felt that I was perhaps wasting my time—but this is mainly because I was comparing my life with my friends'. Many of them were getting married and started buying houses. Perhaps there was something wrong with me, I thought. Going to the California College of the Arts, however, was a transformative experience. I realized that my life would be dedicated to ideas, images and aesthetics and the traditional comforts no longer concerned me. This realization in itself brought great relief.
Where do you go/what do you do when you're in need of inspiration?
I pay close attention to everything that is around me. I never know what will trigger a set of ideas. It could be something a friend says, or something I hear on the bus. It could be a limp I notice in a stranger's walk or a color I see on a building. For the most part, I am interested in personifying emotions, thoughts and feelings—things that don't have a physical form but can be intensely felt.
In what way has your work helped you confront the complexities and realities of your experience as a refugee?
I started painting and drawing before the war. I was about eight years old when the war started and I began drawing when I was about 6 years old. Mark making (I'll call it that and not differentiate between painting and drawing) was something that brought me great joy and, in retrospect, I see how this creative outlet was psychologically very nurturing. I don't remember making pictures about the events that were happening around me (in a journal-entry type of way), but the act of making marks on paper and creating pictures was extremely transformative and cathartic.
My work has become a way through which I attempt to de-tangle my childhood and its impact on my adult life. Today, painting and drawing are tools through which I speak about things that are difficult to express with words. There is magic in this process—in the discovery of new ways of communicating with others.
Do you have any advice for aspiring painters?
Stay curious, question everything and start forming your own theories! The most challenging aspect of being an artist can be to stay inspired and the best way to do this is by surrounding yourself with positive people. Listen to your intuition–if something feels important, it probably is! What new symbols can you give to the art world?
Maja Ruznic, the other woman, 2013, Mixte Technique on paper, 20 x 15.5 cm
Thomas Müller Télérama Sortir Paris
Max Neumann Télérama Sortir Paris
Lance Letscher interview november 2017 for Modern Painters
Une nuit au musée de l'Ermitage
William MacKendree
In Télérama
Geometrie subtile – Katrin Bremermann
Pius Fox et la couleur des souvenirs
Article de La Montagne sur Pius Fox
Article Paris Art sur Pius Fox
Le galeriste
Presse Katrin Bremermann
Artpress Octobre 2015
Télérama Sortir 01 /2015
Telerama Sortir English
Critique Télérama Olivier Cena
Critique Télérama Sortir
Critique Artension octobre 2014
Critique l'œil novembre 2014
Critique l'agora des arts septembre 2014
Critique Télérama septembre 2014
Katrin Bremermann Art Press 09/2014
Critique télérama 9/04/2014
Max Neumann dans la Gazette de Drouot
Bernard Vidal – Nathalie Bertoux – Art Contemporain | Bernard: 06 19 47 74 55 | Nathalie: 06 76 66 82 42 | NEWSLETTER SUBSCRIBE


Largest version RAAK B-1412 "discus" sconces in very good condition. Opaline glass disc attached to a bakelite wall mount. When lit the lamp gives a beautiful light effect, also usable as flushmount. Dutch company, RAAK Amsterdam, was founded in 1954 by C.O. Lockhorn, a previous employee of Philips lighting. RAAK, which means`to hit' in Dutch, implies design which precisely `hits the nail on the head'. RAAK lighting is best known for their organic modern design of the 1970s which combined glass and metals for a sophisticated futuristic style.


text:
Being Like Them: Cultural Exchange as Theft and Honor
Culture China Fashion
The tyrannical asymmetry of cultural exchange between Asia and the West.
Five Alive
Latest Podcast Sunday Afternoon Lo-Fi Hot Takes To Study To ('Escape From Plan A' Ep. 239)
by Plan A Editors
I once slashed dozens of immaculate knock-off Birkin bags with a box cutter in a 50th floor conference room above Manhattan with a lawyer named Gioconda. He was large — fat with pale baby skin, a droopy smile, and round-frame glasses propped up by a pudgy pointer finger. His cherubic appearance did not mask his aggression, but instead signified an insatiable appetite, a clue to where his aggression came from. A man that hungry is prone to anger, and behind his always sweaty forehead was a mind that channeled all that anger into deviously complex court motions and strategically timed phone calls. He was a good lawyer.
The U.S. Marshals busted up the trunk sale last night, Gioconda said. He recounted how the hotel manager unlocked the door, and the Marshals swarmed in ahead of him while he got to hold the warrant above his head. One woman fainted. This wasn't a Canal Street sidewalk sale, he reassured me, these knock-offs go for as much as the real thing. The discount is simply finding one for sale. The Marshals gave him the entire haul to take back as evidence in a lawsuit by Hermès, but we were to "irreparably impair" the function of the articles in question.
Though I slashed the tasteful doctor's bag-like contraband with a mindless glee, there was a tyrannical method to this madness. Gioconda was selling his venerable client a simple but deadly serious statement: they can't be like you. Injunctions and money awards were not enough. These counterfeit class signifiers had to be disfigured and displayed in public, a humiliating example made of those who were too good at being a fake.
The knock-off bags were of Chinese origin. Their near-perfect craftsmanship was itself the great offense, their disturbing quality of stitching and dyeing the very cause of the raised eyebrows somewhere in the 8th arrondissement of Paris, and which led to an attorney engagement letter and a directive for the chubby American lawyer to melt the wings off of these faceless Chinese Icarii. They can't be like us. We finished mutilating the bags and ordered dinner from Shun Lee Palace.
That was over ten years ago. This year, the year of worldwide irony, another Parisian fashion house with the Spanish name of Balenciaga — helmed by a Georgian prank artist who overthrew the stultifying originality of his predecessor, Alexander Wang —extended this tyranny: but we can be like them. Balenciaga's creative director Demna Gvasalia is renowned for his provocatively brazen theft of low culture — particularly the kitschy ephemera of Asia — and selling it back to Asians at overpriced, over-hyped pop-up reenactments of Asia's own native street bazaars. It is a partially complete symmetry of hawking Asian knock-offs of European luxury to desperate buyers: the sale of European re-creations of Asia's artifacts to wide-eyed fashion fanboys.
Hong Kong fans of Demna Gvasalia's Vetements brand line up to buy clothing out the back of a DHL truck.
What is left out is the repercussions, the willingness to say 'no.' What is missing is an instinct akin to Gioconda's own unquestioned mantra that they cannot be like us. And what is left out of this near-complete symmetry means everything. The theft of Asia's culture is not theft, instead it is an honor bestowed upon Asia's people. To think that a fashion house of such natural prestige as Balenciaga would bother to copy, or even to merely recognize, the significance of the hongbailan (red-white-blue) shopping bag in daily Asian life, is an honor. The theft and obscene mark-up is a subtle yet clear signal that the tastemakers of Paris recognize that the life of an Asian can in fact contain such evolved and complex emotions as nostalgia and kitsch. This mere recognition of mutual humanity is itself the validation of those emotions, without which Asians assume themselves invisible to Westerners. And for that Western validation, Asia's youth will line up and spend competitively.
Sydney police saying 'no' to cultural appropriation and the theft of Western intellectual property.
The Europeans copy Asians brazenly and sell it back to them at a markup. The Asians copy Europeans secretly and sell it back to them at a discount. This is the difference.
Western fashion industry watchers shake their heads at Gvasalia's pranks-as-art sensibility, comment upon the ethical thorniness of cultural appropriation, and critique the originality of his stunts when compared to the more politically committed performance art of Banksy. The West's own instinct for cultural property is so strong that sometimes it even takes on the consistency of an actual ethical system.
Balenciaga's expensive knock-off of a cheap Thai original.
By contrast, Thailand's national government reassured Balenciaga by way of an unprompted official statement that their handbag would not be treated as intellectual property theft of the ubiquitous tote the Thai know affectionately as the "rainbow bag." And in a final despairing act of official clarification, the government reassured its own people that traveling abroad to Europe with an authentic rainbow bag (costing 75 baht, or roughly $2) probably does not violate Balenciaga's intellectual property rights in Europe, though for such matters it is not the authority.One can see in this a kind of post-traumatic stress response to a modern history in which Westerners can freely take and adapt and resell Asian culture, and celebrate their own ingenuity and open-mindedness, whereas Asians must approach Western culture as if in a museum. Look, but don't touch. Except maybe in the gift shop.
Naomi Wu, aka RealSexyCyborg, who cannot exist in the Western mind.
In this year of irony, we have also seen the DIY hardware hacker culture of America — or, more accurately, the nostalgic revival of it — reveal its one-way-only policy towards the same hacker ethic of Asia. In Asia, the hardware hacking culture known as shanzai first took root in Shenzhen, the "world's workshop" (it's where your iPhone was both conceived and born). It is a kind of electronic moonshiner culture, where rogue employees of the great corporate electronics manufacturers — which infamously outsourced their handiwork to southern China — realized they could make this stuff themselves, at a small scale, and in a bazaar setting (I wrote a little bit more about shanzai culture here, including a link to a great primer video). The outcome of shanzai was to fundamentally recenter the global tech economy in southern China.
In America, the mid-century hardware hacking culture that gave birth to Hewlett-Packard, Apple, ham radio enthusiasts, and Radio Shack was lost almost entirely to Asian outsourcing, only to be found again by hobbyists as a revivalist hardware hacking culture. As is de rigeur in the America of today, it was commercialized and corporatized into a niche media and events company called Maker Media. Maker Media considers itself to be a social movement, and acts as if it were the big brother to shanzai. The Chinese government has partnered with Maker Media, and allows it to hold a giant Maker Faire, its signature convention event, in Shenzhen.
The irony of course is that the Maker movement was born out of the vacuum created by Shenzhen's shanzai economy itself. One of the more famous Chinese social media figures of China's Maker culture is Naomi Wu, aka RealSexyCyborg, who combines computer-controlled devices and lighting elements into futuristic clothing concepts. She has big fake breasts and a penchant for wearing next to nothing in public. She's also highly outspoken about the Maker movement's distaste for women like her, and calls attention to the conspicuous lack of women in a supposedly egalitarian social "movement."
Dale Dougherty, Maker Media founder and CEO, was so angered that a Chinese woman would criticize his movement, that he simply denied her existence via Tweet* and destroyed her hard-won reputation in an instant:
I am questioning who she really is. Naomi is a persona, not a real person. She is several or many people.
*Author's note: for more background on this, I suggest reading Andrew Huang's insightful blog post.
China's hardware hackers are, by definition, thieves. They're understood by the West to have stolen its intellectual property, only to make laughably inferior knock-offs. It is the land of ePads, Pear phones, and fake Apple Stores. What was stolen from America by the Chinese was then corrupted into an unrecognizable culture of bandits, thieves, and cheats. Shanzai is, in the eyes of America, the very embodiment of dishonesty and dishonor. America's hardware hackers are, by contrast, leaders of a social movement. They cannot steal, because everything within the movement is shared. It is the culture of authenticity, self-empowerment, and ingenuity. It is the very embodiment of Western exceptionalism and ethical intellectual culture.
This, again, is the difference.
Shanzai has nothing to teach America. But shanzai must learn the refinements of a foreign revivalist corporation-cum-movement which exclusively retains the spiritual essence of innovation, if not its revenues and industry. And if you are a Chinese woman who dares to say something like this:
I don't have a problem with foreigners but FFS you don't need to lick their boots clean the moment they step off the plane. People here in the tech community have zero self-respect.
Then you simply cannot exist. That's the result of trying to be like them. Slashed and mutilated, "irreparably impaired" like a knock-off handbag seized by federal authorities. Asians can never be like the West, because by its own act of self-definition the West is off-limits to everyone else, yet without limits of its own. The West is not leather craftsmanship or electronics ingenuity. It is Gioconda insisting: they can't be like us. And it is Balenciaga demonstrating: but we can be like them.
Like this article by Five Alive?
Become a Plan A Patreon to support our writers!
Bonus podcast episodes
Patron-only Discord server
Want to know why we started a Patreon? Click here
Shut Up, You Dyed Your Hair Blonde! ('Escape From Plan A' Ep. 4)
Escape From Plan APodcasts
FUCK YEAH FRIDAYS — 12/29/2017 — One Down, Three Left
Fuck Yeah FridaysMusic
Comments powered by Talkyard.
Plan A Mag © 2022


Not much turnaround time for the Huskies, who are flying back to Seattle as I write this, will practice this afternoon upon arrival and then play Idaho State tomorrow at 3 p.m. at Edmundson Pavilion.
For now, here's some reading material.
First, here's my game story on the win Saturday at LSU. And here's the notebook focusing on Quincy Pondexter and his solid game. As you can read, Pondexter was pretty adamant that this was a beginning of something good for him, not just a one-game blip.
As we pointed out last week, the LSU game loomed critical for UW's post-season hopes — realistically, it seemed a must-win. Now that UW got it, its computer picture is a lot brighter. The Huskies are up to 90 in the RPI which is high enough if they take care of business in Pac-10, and have a strength of schedule of 65 nationally that is second in the Pac-10 behind only Arizona, which has the No. 1 SOS in the country.
Here's a view of the LSU game from the other side, including this game story (though one minor error — Artem Wallace did start the second half, he just didn't play much, but he did have a layup in the early second-half run). There's also this story on how LSU's two big guys were great early but muted late.
As for Idaho State, the Bengals don't have anymore turnaround time than does UW. Idaho State beat Division-II Northwest Nazarene 71-66 Saturday night (details here) to improve to 3-9 on the season (the only win over a D-I school came in overtime against Idaho). Here's some more on Idaho State's win last night. Here's ISU's season-to-date which already includes three decisive losses to Pac-10 teams.


Can someone explain the context where you use this expression ( GET OFF IT)? Do you use it when you don't believe something someone is saying in a humorous way? Can you give me some examples of contexts where you usually use this expression, please?
the idiom is 'come off it', and is used when a person is saying something far-fetched or not believable.
John:"I can't ask her for a date. She'd never go out with me."
Pete: "Come off it mate. She went out with Ian and you're better looking than he is."
He: "I get 45 miles to the gallon in this little beauty."
She: "Come off it. My car has a smaller engine and even I only get 35."


The biggest improvement belonged to ESPN's "Monday Night Football," which was up 8 percent over last season. The most-watched game was the Nov. 17 matchup between Kansas City and the Los Angeles Rams, which attracted 16.7 million viewers. The game was originally scheduled for Mexico City, but it was moved to Los Angeles due to poor field conditions at Azteca Stadium. The Rams won 54-51 in the highest-scoring game in the series' 49-season history.
"The league is finally giving ESPN a strong package of games. For many years I thought it wasn't good, but at the beginning of the season I thought their ratings would improve because of the schedule they had," Pilson said.
The CBS Sunday afternoon package and NBC's "Sunday Night Football" both experienced 6 percent gains. CBS averaged 16.5 million viewers, and had three of the five most-watched games. The Nov. 22 Thanksgiving Day game between Chicago and Detroit averaged 26.6 million, which was second across the league. Two games featuring the Pittsburgh Steelers — Dec. 16 vs. New England (24.6 million) and Dec. 23 at New Orleans (24 million) — also placed in the top five.
CBS has the Super Bowl on Feb. 3 and is expected to have an update on ad sales next week when it holds a briefing with reporters about the network's plans for this year's game.
"Thursday Night Football," which was down at midseason on Fox, had many strong matchups in the second half and finished with a 4 percent increase, averaging 14.9 million viewers. Last season's 10-game package, which was split between CBS and NBC, averaged 14.1 million.
Fox's Sunday afternoon ratings were flat at midseason, but finished up 2 percent for the year, averaging 18.0 million. The Thanksgiving Day contest between Washington and Dallas was the most-watched game in the regular season with 30.5 million viewers. The Cowboys' Dec. 2 game against the Eagles was third at 25.2 million.
Pilson thinks the league's ratings momentum should carry into the playoffs, which begin Saturday. As far as a Super Bowl matchup that could deliver the best rating, Pilson favored Dallas-New England or Dallas-Kansas City.


text:
Biografia

Sergej Vasilievič Maljutin nacque a Mosca in una famiglia di mercanti, ma trascorse l'infanzia e l'adolescenza a Voronež, dove frequentò un corso di contabilità.

Avvicinatosi all'arte studiò, seguendo gli insegnamenti di Illarion Michajlovič Prjanišnikov, Vladimir Makovskij e Evgraf Sorokin, alla Scuola di pittura, scultura e architettura di Mosca, dal 1881 al 1886, dove ricevette premi per le sue opere,inizialmente raffiguranti scene di genere ispirate dal mondo contadino o dalla politica, oltre che opere riguardanti eventi storici.

Una volta terminati gli studi, si dedicò all'insegnamento, all'Istituto Elisabetta di Mosca (1891-1893), alla Scuola di pittura, scultura e architettura di Mosca (1903-1917) e allo Studio di arte libera statale (1918-1923).

Maljutin divenne membro e aderì a numerosi movimenti e gruppi artistici, quali Mir iskusstva nel 1900, l'Unione degli artisti russi nel 1903, la Società d'arte moscovita nel 1923, la Società degli artisti realisti nel 1927, oltre che membro fondatore dell'Associazione degli artisti della Russia rivoluzionaria nel 1922.

Collaborò per le scenografie del Teatro Mariinskij di San Pietroburgo (1911-1913) e dell'Opera di Mosca.

Maljutin illustrò le pubblicazioni di tradizionali fiabe russe (1890) e le opere di Aleksandr Sergeevič Puškin (1897, 1898, 1910, 1913).

Come architetto progettò la Biblioteca Teremok a Talaškino (1901-1903), il Museo storico russo a Smolensk (1904-1905).

Maljutin collaborò, disegnando manifesti, con l'Agenzia Russa del Telegrafo (1918-1921) e con il Sindacato dei Lavoratori dell'Arte Provinciale di Mosca (1919-1923).

Si dedicò alla ritrattistica realizzando opere in uno stile realistico negli anni venti e anni trenta; alcuni dei suoi ritratti più famosi sono a pastello (G. P. Perederij, 1919; N. D. Vinogradov, 1919), che si caratterizzarono per una maggiore originalità rispetto a quelli a olio.

Contribuì a numerose mostre, dal 1881 con la Scuola di pittura, scultura e architettura di Mosca fino a quella degli Artisti del RSFSR nel 1934.

Anche senza aderire ai modelli di arte popolare tradizionale, Maljutin valorizzò il patrimonio nazionale figurativo e divenne uno degli anticipatori della corrente russa dell'Art Nouveau.

Opere principali

Ritratto di Elena Konstantinovna Malyutina, 1890, Galleria Tret'jakov
Autoritratto, 1918;
G. P. Perederij, 1919;
N. D. Vinogradov, 1919;
Ritratto di Dmitri Furmanov, Galleria Tret'jakov, 1922;
Ritratto di N. Gibner, 1922;
Ritratto di Ivan Rylsky, 1922;
Ritratto di A. Grigoriev, 1923.

Note

Bibliografia

Voci correlate
 Arte russa
 Mir iskusstva

Altri progetti

Collegamenti esterni


text:
Facebook now faces antitrust probe from 47 states
By Megan HenneyFOXBusiness
Does Facebook promote 'inflammatory speech'?
Democratic Strategist Laura Fink gives her perspective on why Facebook should be regulated and describes Tulsi Gabbard as a 'marginal candidate' in the 2020 Democratic presidential race.
Attorneys general from 47 U.S. states and territories plan to join a New York-led antitrust probe into Facebook, New York Attorney General Letitia James announced on Tuesday.
The multi-state investigation into the social media behemoth first began in September but has rapidly expanded since then.
"Our investigation now has the support of 47 attorneys general from around the nation, who are all concerned that Facebook may have put consumer data at risk, reduced the quality of consumers' choices, and increased the price of advertising," James said in a statement.
MORE ON FOXBUSINESS.COM...
FACEBOOK COMMITS $1B TO HELP TACKLE CALIFORNIA'S AFFORDABLE HOUSING CRISIS
TWITTER DEVELOPING 'SYNTHETIC MEDIA' POLICY TO COMBAT DEEPFAKES, OTHER HARMFUL POSTS
The broad bipartisan suit comes amid increased federal scrutiny on Facebook, and the role it plays in American elections.
The Federal Trade Commission also announced a separate antitrust investigation into the company in July, as lawmakers across the political aisle question whether big tech needs to be broke up. In July, Facebook agreed to pay a record $5 billion fine for privacy violations.
The DOJ, at the end of July, opened a sweeping investigation into big tech to determine whether their online platforms have hurt competition, suppressed innovation or otherwise hurt consumers.
"Without the discipline of meaningful market-based competition, digital platforms may act in ways that are not responsive to consumer demands," DOJ antitrust head Makan Delrahim said in a statement at the time. "The department's antitrust review will explore these important issues."
Attorneys from Arizona, Arkansas, Connecticut, Delaware, Idaho, Illinois, Indiana, Kansas, Kentucky, Louisiana, Maine, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Montana, Nevada, New Hampshire, New Jersey, New Mexico, North Dakota, Oklahoma, Pennsylvania, Rhode Island, South Carolina, Texas, Vermont, Virginia, Wisconsin, Wyoming and the territory of Guam joined the suit.
GET FOX BUSINESS ON THE GO BY CLICKING HERE


The US Government handed him a new identity, and strict orders not to make contact with anyone from his past. As far as society was concerned Sergeant Jeremiah Abbner was dead, and buried six feet under.
Not having contact with his ex-wife would be easy. She was a manipulator and a cheater.
Beau Morgan, aka Jeremiah, settles down in a town far away from everything he's ever known. Coping with the trauma he's experienced and discovering a new life Beau finds himself the most aggressive he's ever been. His blood simmers with rage while his fists are thirsty to let it all out .
In the middle of his own living hell he never expected to run into an old familiar face. And to top it off, one who recognized him as Jeremiah.
He's vowed never to love again, but as circumstances land him in the arms of a woman, Jenni Lee, this time he may not have a choice, as she rarely takes no for an answer.
Can Beau Morgan control his temper long enough to settle into his new life? Or will resentment taint him forever?


Exciting things are happening Down Under, where Sydney-based Clarity Pharmaceuticals is doing work that could be particularly effective in the treatment of childhood cancer. Managing Director of Clarity, talks about the company's research.
In brief, what does the company do?
Clarity Pharmaceuticals is a personalized medicine company focused on the treatment of serious disease. The company is a leader in innovative radiopharmaceutical technology, developing targeted therapies, and assisting in the drug development pipeline of novel therapies for companies globally.
Describe Clarity's background and what it aims to achieve.
Clarity was established in 2010 as a private, Sydney-based life sciences company. Its platform technology allows biopharmaceuticals to be radiolabeled and visualized using PET imaging. The imaging data generated provides powerful information on targeting, clearance, and biodistribution of the product, which aids in early drug development. This de-risks the development process and allows making early decisions regarding biopharmaceutical drug candidates. Clarity offers this capability as a service to biopharmaceutical developers worldwide while utilizing the expertise to develop its own clinical pipeline.
Clarity utilizes its strong imaging capability and proprietary technology to develop radiopharmaceutical-based targeted therapeutics. Its in-house drug development program is focused on developing novel targeted therapeutics in oncology using a theranostic approach. Clarity's lead compound, SARTATE, is entering a Phase 1/2a in neuroendocrine tumor patients. Clarity will also commence a Phase 0 imaging trial of SARTATE in neuroblastoma, an aggressive childhood cancer. In other serious diseases, Clarity is developing imaging based companion diagnostics in areas including cardiovascular disease and fibrosis.
Clarity's lead candidate, SARTATE, is a novel radiopharmaceutical compound for treating cancer. It employs personalized medicine to better diagnose and treat cancers by using Clarity's proprietary SAR Technology. SARTATE has the ability to deliver isotopes of copper directly to cancers. It utilizes Copper-64 and PET imaging to diagnose where the drug goes in the body and confirm targeting. For therapy, it uses Copper-67, which kills cancer in a localized manner and has more favorable characteristics than alternative isotopes on the market, making it safer and more effective to use.
By leveraging this novel theranostic approach, SARTATE allows the determination of dose during the diagnostic stage with Copper-64 and delivers the right amount of radiation to the tumor for therapy with Copper-67. SARTATE targets the somatostatin receptor type 2 (SSTR2), which is highly expressed in the large majority of neuro-endocrine tumors (NETs), neuroblastoma as well as other children's cancers.
Neuroblastoma is a childhood cancer affecting 10.2 per million children under 15 years of age in the U.S. Current therapies for neuroblastoma lead to a number of immediate and long-term side-effects, including heart or lung problems, slowed growth and development, changes in sexual development and infertility, and changes in intellectual function and development of secondary cancers, such as leukemia. The potential to personalize dose makes SARTATE extremely promising for use in children. By tailoring dose and delivering the optimal amount of radiation to the tumor site, SARTATE increases the likelihood of treatment efficacy, minimizes the side effects of the therapy, and thus improves patients' quality of life.
What will the next steps for the company be?
Following the first-in-human study, Clarity has commenced SARTATE's development as a cancer therapy for NET patients in a Phase 2a efficacy trial using Copper-64 and Copper-67 pairing. The same product is also being developed for the treatment of neuroblastoma and other children's cancers. Clarity will leverage these studies to demonstrate the commercial potential of SARTATE as a product and create new opportunities for the platform SAR Technology to be used for other cancers.
Modern day medicine is in a war on cancer, so this analogy is appropriate: chemotherapy is like sending in a nuclear bomb – it kills everything, both good and bad cells. SARTATE is like sending in a SWAT team. It kills cancer in a localized manner, minimizes side effects, and increases efficacy.
Clarity is looking for venture capital and strategic investors, such as pharmaceutical, biopharmaceutical, and biotechnology companies, to develop its clinical pipeline and expand its contract research business.
Dr. Alan Taylor, Clarity's Executive Chairman: "SARTATE's successful development to date is a great example of how collaboration between academia and business improves Australian innovation. By working together with the brightest scientists and clinicians in the field, we are hoping to translate their research into internationally successful treatments that will ultimately help save lives and reduce treatment side effects.".


from Spencer's Benefits Reports: Americans rank choosing health care benefits as the second most difficult major life decision, behind only saving for retirement, according to a recent survey from health care company Aetna. The Empowered Health Index Survey noted Americans ranked choosing health care benefits more difficult than purchasing a car, making decisions about medical tests or treatments, parenting, and selecting homeowners, renters, or auto insurance.
Consumers who found health care benefits decisions difficult cited the following reasons: the available information is confusing and complicated (88 percent), there is conflicting information (84 percent) and it is difficult to know which plan is right for them (83 percent).
While reducing health care costs continues to be a major political and social issue, many consumers do not monitor their own costs closely: 43 percent said that they rarely or never track how much they spend on out-of-pocket health care costs.
More than three-quarters of consumers believe that all of the key elements of health care reform are important for their families or them. However, 41 percent of respondents said that they need more information on health care reform to understand its impact.
The survey includes responses from 1,500 individuals age 18 years or older. For more information, visit http://www.aetna.com/news/newsReleases/2012/0917-Aetna-Empowered-Health-Index.html.


text:
Monica nebo Monosa (584 m n. m.) je třetí nejvyšší vrchol Cerové vrchoviny.

Nachází se ve střední části pohoří, asi 3 km východně od Radzoviec. Zabírá jižní část rozsáhlého masivu s horským hřbetem, který tvoří ještě vrch Belina (501 m n. m.) a Belinská skala (466 m n. m.). Souvislý hustý porost neumožňuje výhledy.

Přístup
Téměř na vrchol vede  žlutě značený turistický chodník ze Šurice a z Beliny, přístup na nejvyšší bod vrchu je pak možný lesem. Z osady Obručná je přístup po  červeně značené trase přes sedlo Monica.

Reference

Související články
 Seznam vrcholů v Cerové vrchovině
 Cerová vrchovina

Externí odkazy
 Poloha na turistické mapě

Hory a kopce v Cerové vrchovině