Movavi Video Converter combines a smooth eye- blink speed of conversion, user- friendly experience high quality of end results. Upgrade today to get your favorite music movies, TV shows podcasts. Do you have a collection of videoclips with songs? This disambiguation page lists articles associated with the title How. IFunbox allows you install IPA packages from in- house distribution, which is produced with Apple' s Developer Enterprise Program. How to download BBC News video get/ save the rtmp flv this app from Microsoft Store for Windows 10, Windows 10 Mobile Windows 10 Team ( Surface Hub).
Install media clip free download. Personalization Gallery. All- in- one solution: media editor player, DVD/ Blu- ray copy, ringtone maker, recorder, converter, remaker, disc creator cover/ photo stall iOS Apps from IPA package. With Oxelon Media Converter it is possible not only to convert media files but also to extract audio streams from video v 03 · Windows Media Player visualizations .
When it is finished, Windows Live Movie Maker will be stall iTunes on Windows tablet for playing iTunes movies/ music on Windows tablet. Windows Media Player plug- ins.
The latest version of iTunes now comes installed with macOS Mojave. " A progress bar will slowly go across your screen. Follow these simple steps: Step 1: Install Clip Extractor and find the YouTube music video you.
Mar 19, · Graphic Design. It can play many movie files not only MPEGs; it can convert MPEG files between muxed/ demuxed formats for authoring; it can encode movies to many formats, trim , including iPod; it can cut join ET : Cowon Auto Capsule AC1 review The Cowon Auto Capsule AC1 is simple to operate. It automatically captures a 30- second HD video clip when it detects a bump, including up to 15 seconds of video preceding the trigger. MPEG Streamclip is a powerful free video converter player, editor for Mac Windows.
Jun 03 The biggest software directory for freeware , · Free software download shareware download at to know How to Download Music / MP3s / Songs / Audio from YouTube? ITunes is also where you can join Apple Music play offline — over 50 million songs, download , stream — ad‑ free. Ever wanted simple conversion software that can help you quickly change the format of your video files photos other digital media? 11 high- quality programs for the price of 1.
Install media clip free download. From free software to Adobe Photoshop Illustrator resources, we have the tutorials guidance you need to nail that design.
I got a Surface RT, can I install iTunes on my Windows tablet Surface RT? Works perfectly with my Surface Pro 4 ( touch input is a little laggy, but it' s a small price to pay for al the capabilities of this software package). Want to extract music from these files and to preserve exact audio quality? Place a check mark next to " Movie Maker" and press " Install.
Visualizations are colors shapes patterns that move to the music in Windows Media Player Now Playing mode. See screenshots read the latest customer reviews compare ratings for Pic Collage. If an internal link led you here, you may wish to change the link to point directly to the intended article.
Download the latest version of RealPlayer or RealTimes and get the latest features! YouTube Clip Extractor is a free program to download videos from YouTube, convert them to any popular format and turn to a ringtone if needed. Clip Extractor c 14, · VLC Media PlayerLatest Version Full Free Download.
Introduction: VLC Media Player. VLC Media Player was designed as a cross platform media player and may even be used as a server to stream live and on demand video over networks and net in multiple formats. This VLC may be a extremely transportable media player and contains an oversized variety of al Alternative is enabling you to play RealMedia files without installing RealPlayer or RealOne Player.
Keep using your usual media player and enjoy viewing RealMedia files as well.
01, we added the unique and useful " Streaming Checker" feature. " Streaming Checker" help you check the RealMedia streaming media URL( Time Length, Size) information, then you can select the clip range to download. A leaked version of Winamp 5.
8 recently spread over the Internet. Consequently, we have decided to make this new version available to you, revised by us. Depending on which version of Office you have, you can use an Office library of clip art, or get clip art from the web.
In Office and newer versions, there' s no longer a clip art library, but Office still helps you insert clip art.
Click the Add button for Pickit Free Images. Close the Office.


text:
As Computastars, the IT industry's annual sporting event, enters its 24th year, Roisin Woolnough investigates the philosophy...
Roisin Woolnough
As Computastars, the IT industry's annual sporting event, enters its 24th year, Roisin Woolnough investigates the philosophy behind the fun
Sport without fun isn't sport. That is the motto of Computastars, the IT industry's It's a Knockout-style sporting event.
Kicking off on 3 June, Computastars is a mix of weird and wonderful physical challenges to test the stamina, strength and dexterity of contestants. Now in its 24th year, the event is still going strong, with many ITers returning to compete every year.
Gordon Cairns is the brains behind the competition. Cairns, director of microfilming company TMC Services, explains how it all began 24 years ago after he talked to Computer Weekly about establishing a sporting event specifically for IT professionals.
"We had already set up an annual cricket tournament against Computer Weekly people," he says. "Then I was talking to a couple of people from Computer Weekly who wanted to run a golf tournament. But how many people play golf? I wanted something that gets everyone involved. A month later, I was watching Superstars on television and thought it might be a good idea."
For Cairns, the whole point was to create an event that anyone in IT could participate in, regardless of skill, age or gender. "I didn't want it to be for specialists. I wanted something varied enough so that everyone could get involved."
The result was a series of events, including a basketball relay and weightlifting, with the final challenge usually being a steeplechase race in which competitors run 400m and leap over a hurdle into a pool of water.
Although most people dread the steeplechase the first time they do it, Cairns says it has become a real favourite. "It is a good, gutsy event. It is the staple event and is also the spectators' revenge."
Heats take place throughout the summer, with a grand final for the best teams at the end of July. This year, the final will be held in Jersey.
Cairns says the competition has evolved since 250 people took part in the first competition in 1976. "People took it very seriously then," he says. "For example, we had a frisbee throwing heat and they were all standing there with wind gauges.
"I think it was more competitive because there was more company identification. Until about 10 years ago, people working for companies had a very deep loyalty. Then, along came rationalisation and loyalty went out the window and the job for life concept disappeared."
However, loyalty to Computastars still exists. Some people take part year in year out and do a lot of training to prepare themselves. When people feel they are too long in the tooth to carry on competing, many become coaches or "veterans", as Cairns calls them. It is participating that counts.
In fact, Cairns says people need to approach the event with the mentality that it is a fun day out, not that they must win. "People shouldn't come along to win. They should come along to have a crack at everything."
Team spirit is the key to success. Some top athletes have participated in the past and, even though they generally outstrip their fellow contestants in their chosen sport, it is no guarantee that they will win overall.
"We had someone who was part of the Great Britain Olympic running team take part one year. Although she was obviously great at running, there were six or seven other events and she didn't win. The beauty of Computastars is that you need your team - and that is what I wanted," says Cairns.
Each team is made up of five participants, including a team captain, and it is essential that contestants pull together. Even though people don't know what they will be required to do until the day of the competition, there is a strong tactical element to winning, which is why good teamwork is so important.
Cairns says teams find that the whole process does wonders for office politics and staff morale. "It is excellent for team building. Some companies have even used it as a team building exercise. About 10 years ago, one company took 250 people to Amsterdam for the final. It was a company weekend. The director said it was one of the best things they had done."
Cairns gets an enormous amount of enjoyment from the competition. "There is a lot of joy in sport and I love watching people compete. I went to a boarding school where we had to do an hour's compulsory sport a day and you either learned to love it or hate it - I loved it. I was also in the army for nearly three years and found that I was able to retain a reasonable competitive level at every sport I tried," he explains.
However, a couple of serious accidents when he was in his 20s left Cairns unable to play any sport for 10 years. But he came back to it with great enthusiasm.
Cairns has competed in Computastars a couple of times, but found there was a little too much attention and pressure on him from the other entrants. "I had about 200 competitors giving me advice. It was very enjoyable in a perverse sort of a way, but the last time I competed was five or six years ago."
Cairns has given up competing and at some point intends to give up organising the event too. He has a fleet of assistants who run it with him, including his wife Maureen, who also works in IT. "I would hope that someone would step in after me. People tend to identify Computastars with me, which isn't fair, because other people are very involved in it," he says.
Computastars and Cairns are inextricably linked in the minds of many contestants, but with so much support its future is assured.
For more information about Computastars and to register, go to www.computastars.demon.co.uk
Computastars facts
Over 40,000 competitors have participated at over 50 venues in the UK and Europe in the last 24 years
In 1983, a Computastars team of 14 runners and 15-back up crew raced from John O'Groats to Lands End non-stop. It took them 94 hours to complete the 874 mile route .
Famous venues used by Computastars include Crystal Palace, Sheffield Don Valley, FBK in Holland, de Heysel in Brussels and the Rhinestadion in Dusseldorf
Read more on Data centre hardware
Brother extends as-a-service approach to label printers
Welsh secretary calls for taller mobile masts
BCS launches cyber awareness initiative
Belkin aims to boost brand with cycling deal
Reality and Royal London lift the trophies in Cardiff – ComputerWeekly.com
Jersey Computastars – ComputerWeekly.com
Computastars comes to an exciting climax – ComputerWeekly.com

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: R adding element to Dataframe at specific position I want to add a row to a dataframe in R at a specific position. I am aware that there are solutions for this on this site, yet they don't seem to work. I know rbind is rather slow, but given that I only need to do it for a single element it doesn't matter:
Example:
vector_labour_brexit.m <- data.frame("value" = c(1,2,3,4,5,6,7,8,9))

temp <- rbind(vector_labour_brexit.m[1:5,], data.frame("value"=5000),
                            vector_labour_brexit.m[6:nrow(vector_labour_brexit.m),])

The desired result is obviously 1,2,3,4,5,5000,6,7,8,9, yet I get 1,5000,6. Where is my mistake?

A: We can use add_row to add a specific row at a location
library(tibble)
add_row(vector_labour_brexit.m , .before = 6, value = 5000)
#   value
#1      1
#2      2
#3      3
#4      4
#5      5
#6   5000
#7      6
#8      7
#9      8
#10     9

The issue in the OP's code was due to drop = TRUE by default when there is a single column or row, it drops the dimensions
vector_labour_brexit.m[1:5,]

If we add drop = FALSE while subsetting, it would work

A: Your problem is that when indexing data.frames that only have one column in the result, the returned value is simplified to a vector which confuses rbind. To be safe you can do
vector_labour_brexit.m <- data.frame("value" = c(1,2,3,4,5,6,7,8,9))

temp <- rbind(vector_labour_brexit.m[1:5,,drop=FALSE],
              data.frame("value"=5000),
              vector_labour_brexit.m[6:nrow(vector_labour_brexit.m),,drop=FALSE])

redpajama_set_name: RedPajamaStackExchange


text:
English / Sprache
World of Echo—a 30th anniversary love letter (guest article by Jake Bellissimo)
von Jake Bellissimo · Veröffentlicht 8. Mai 2016 · Aktualisiert 22. November 2016
World of Echo—a 30th anniversary love letter
by Jake Bellissimo
"I'm so happy that I met you and came to find/
This evening you gave me good advice
And more and then, oh…"
The awkwardly rhythmic intro to "Tone Bone Kone" greets me as I drowsily open my eyes and let out a huge yawn. I realize that I accidentally fell asleep with my phone on shuffle, but unlock my phone to turn off shuffle and listen to the rest of the album.
This is how I usually end up listening to World of Echo*, Arthur Russell's groundbreaking 1986 collection of solo pieces: it starts off as an accident, which turns into a thought, and then becomes an action. A fitting description of my listening habit, this perspective also serves as a great outline of the album itself. Sourced from a collection of recordings developed via live performance that Russell gave around New York City in the 80s, World of Echo occupies a sound world that appears (at first glance) almost alien in the context of NYC minimalism. Consisting of 18 pieces that center around amplified cello, amplified voice, and touches of percussion/electronics, the album takes listeners on a journey from the mind of a man who couldn't (or just didn't want to) tell Ravi Shankar apart from the Velvet Underground and the Bee Gees apart from Steve Reich.
The pieces on this album have a variety of sources, but to understand the meditative quality of the music it is important to keep in mind Russell's background in disco. Despite having studied with Charles Wuorinen, putting out ensemble pieces through Philip Glass' record label, and recording some very far-out country music, most of Arthur's pioneering can be traced back to his underground disco sensibility. Unfortunately his name was rarely spoken due to his multiple monickers, but the concept of repetition and pulsating rhythm was always of utmost importance to his compositional style, regardless of the music. Given that some songs are even renditions of previously recorded songs ("Let's Go Swimming" on World of Echo is particularly jaw-dropping when compared to the disco version), it is easy to see this thread throughout the record.
However, Russell was never the one to be completely straightforward. With the clear influence of disco via bow-slapping techniques and pulsating rhythm is layered with harmony coming straight from a La Monte Young sense of progression. Pieces like "Soon-To-Be Innocent Fun/Let's See" give a feeling of weightlessness, moving through AB form at a pace akin to molasses. This serves as a good introduction to another asset of this music: the influence of ragas, improvisation, and Indian classical music. The cello playing represents a very stream-of-consciousness form of composition, although this improvisation appears to be applied very strictly. Because there is no sheet music available, I have always assumed that the pieces are very composed, but in sections. It often seems like Russell structured the pieces in multiple parts and let himself fill in the gaps during performance. Because these pieces are very uniform and meditative, this technique also serves the organic compositional process and the listening process.
One of my favorite aspects of the album comes up quickly in "Soon-To-Be Innocent Fun/Let's See": Russell's ability to play with the production and effects, pulling the soundworld in and out with little preparation or indication. This produces a really surreal effect—he will highlight some words with a booming resonance, only to pull it in for an absurd amount of dry intimacy. No matter how many times I listen to it, the effortlessness with which he plays with the environment always has me hooked.
On World of Echo, Arthur Russell has a fluid language that spans many extended techniques and performance practices, but he navigates it with the ease of a folk songwriter playing I—IV—V progressions. Throughout the rest of the album (two favorites are the aforementioned "Let's Go Swimming" and the eternal tease "The Name of the Next Song") Russell makes use of various extended techniques, quarter tones, and a heavy sense of bow control. While listening to this it is clear that Russell was well-trained (otherwise he wouldn't have had the consistency that he did) but was not afraid to throw that aside. This is a compositional move that can really make or break a project, but thankfully it worked out to Russell's favor. Heavily planned decisions and sections are mixed with moments of improvisation and relativity, not unlike many of his American minimalist colleagues.
Another highlight are the lyrics, which ride the line between childish and divinatory. In simple observations from his old Iowan past, songs like "Lucky Cloud" and "Treehouse" deliver a poignancy masked with innocence. These moments of juvenile delinquence are juxtaposed with harsh reality ("Our Last Night Together") to provide a delicate balance of insight and humility.
Clocking in at just over an hour, World of Echo is a minimalist sprawl that has accompanied me at many highs and lows ranging from when I graduated high school (and afterwards drove as far away as possible) to when I was depressed in upstate New York watching snow fall and now in 2016 on this Megabus (where I am writing this now).
However, no matter how many times I listen, my mind always goes back to the release date: 1986.
To think this came out 30 years ago is jarring; even in 2016 I can't help but label it futuristic. Over the years it has become an essential influence on me as both a listener and composer, forcing me to redefine my definitions of, well, everything. I'm labeling this as a 30th anniversary tribute because there is little information about the actual day/month the album was released. But, this vagueness follows with the appeal: like the available footage of Russell's performances during this era, with World of Echo we see a blurry, dimly-lit view into a unique project—perhaps it's better that the lights never fully come on.
*I should note the edition of the album I am talking about is technically a deluxe version from the 2004 (the original only had 14 tracks). I speak about this version because of the nostalgic significance of all 18 tracks.
Jake Bellissimo
Composer and Arranger, Violist, Music Producer
Tags: Arthur RussellBee GeesJake BelissimoLa Monte YoungPhilip GlassRavi ShankarSteve ReichVelvet UndergroundWuorinen
Nächster Beitrag Everything that is wrong in "Mozart in the Jungle", Season 2, Episode 6 "How to make God laugh"
Vorheriger Beitrag op. 111 – Eine Analyse in 335 Teilen – Takt 4


text:
Q: How can I remove a file from a Docker image that shows permissions only as question marks I have issue removing files on a Docker image. I am trying to remove the file db.opt but getting a message that this file doesn't exist and I see its permission as question marks. How can I force remove that file?
[root@0c68ac3b27ec mod_hpcdb]# ll
total 4

-rwxrwxrwx 1 root root 65 May 2 07:28 db.opt

[root@0c68ac3b27ec mod_hpcdb]# rm -rf db.opt
[root@0c68ac3b27ec mod_hpcdb]# ll

ls: cannot access db.opt: No such file or directory

total 0 ?????????? ? ? ? ? ? db.opt

A: Typically if there are question marls like that for permissions and ownership, that means that the permissions are above your current user's default permissions. Meaning you should use sudo like this to force removal of the file via super user access:
sudo rm -rf db.opt

But in this case it seems like you are already logged in as root. So I would guess that db.opt is connected to some running process. Possibly MySQL? As explained in this article here:

If you get this error message when you are tying to drop a MySQL database say my_database then the reason for this is File Permissions (Error code 13).
Whenever we crate a database, a directory is created under mysql/var/ ( XAMPP : XAMPP/xamppfiles/mysql/var/) with the same name as that of your database, this directory contains a file called db.opt which contains metadata related to the database.

So the issue is not really deleting db.opt as much as permissions for the parent directory that is somehow preventing MySQL from deleting it's own table.
I would recommend stoping the MySQL service checking the ownership and permissions of the parent directory and getting them to match what MySQL requires and needs. If not, then just run a chmod 777 on the parent directory, restart MySQL and then run the DROP DATABASE <database_name> on the database you wish to drop and all should be good again.
I personally would also recommend you reinstall MySQL again to ensure that permissions are fixed. But knowing how Docker continuers work that might mean destroying and rebuilding the Docker image so hey… Your choice.


HP Laser Glossy Brochure Paper 100 Pack White at.
Save on our amazing HP Inkjet Matte Brochure Paper 1 0 gsm CH01 A with Free Shipping when you buy now online. HP Inkjet Print Brochure Flyer Paper.
11 inch 00 Gram. Manufacturer Part Number HEWQ 0 A. HP Brochure Flyer Paper lb Bright 1 x 11 White 1 0 Hp Brochureflyer Paper Hewq6608a Sheets Inkjet Paper at. Buy HP HEWQ 0 A lb Glossy Brochure Paper 100 Pack White at.
HP Brochure Flyer Paper Evolis Badgy Thin Pvc Plastic Cards Bdgcbgc0020w. Letter 1 x 11 0 lb Basis Weight 0 Recycled Content Glossy Brightness 1 0 Pack White.
We have the best office copy paper brands in all sizes. HEWQ 0 A lb Glossy Brochure Paper 100 Pack White at. Shop quality printer copy paper at Grand Toy. Letter 1 x 11 lb Basis Weight 0 Recycled Content Glossy Smooth Brightness 100 Pack White. HEWC 1 A HP Brochure Flyer Paper. HP Brochure Flyer Paper White 100 Pack Quantity.
Buy HP HEWQ 0 A.
Get our best deals when you shop.
Letter 1 x 11 lb Basis Weight 0 Recycled Content Glossy Brightness 1 0 Pack White.


text:
Generally, a slot machine is a device that spins and offers payouts. These devices are generally activated by a button or lever. They accept cash, and may also accept paper tickets with barcodes. Payoffs can be won by matching symbols on a payline, and may also come with bonus features. The payouts vary from machine to machine. Most of these games have a theme, and a specific number of paylines and symbols. The payouts for each combination are listed in the pay table, which is usually found above the wheels or on the machine's face.
There are also machines that use electronic components to offer more interactive elements, more video graphics, and advanced bonus rounds. Some of these machines are even programmed to weight the symbols in order to increase the probability of a payout.
These types of games use a feature called Hold&Spin, which allows the player to re-spin the reels with a special symbol. The feature can be triggered by pressing the "service" button on the machine. The special symbol stays on the screen until another symbol lands. The player can also create additional winning combinations with the Hold&Spin feature. The feature is not new, but it is a popular feature among slot fans.
In the past, slots were only found in casinos. In the United States, slot machines were regulated by state governments. The United Kingdom is not as strict about slot machines, although it does have a Gambling Act that classifies machines into different categories. In addition, the Gambling Commission defines certain slot machines as "slot machines" and "games machines."
Slot machines were also found in small shops before the Internet became popular. In 1992, slot clubs became popular in Russia and the U.S. Some of the most popular slot clubs were Taj Mahal, Vulcan 777, and Vulcan 777. These establishments were banned in many places because they were considered gambling establishments. However, the popularity of slot clubs waned. Despite this, many of these slot machines have survived. They are a great way to enjoy the thrill of the game without having to go to a casino.
Slot machines are also available online. These games are easy to play and can be played by almost anyone. They are a great way to enjoy gambling while also earning a payout. They can be found in many places, but it is important to understand the rules of the game. It is important to choose a reputable establishment to play at.
Pragmatic is a popular iGaming provider that has a portfolio of more than 150 video slots. They have a hold&spin feature that is popular with slot fans, and they also offer fast spins. Their slot games are not all the best looking or the most unique, but they offer a chance to win big. They also offer sound effects and intro screens.
Although Pragmatic has many popular slots, they also produce a wide range of other games. They offer games in different themes and styles, and they have a megaways engine that allows them to adapt older hits.
How to Win the Lottery
Opening a Sportsbook


text:
MAC Announces Partnership With Bahamas Bowl
By: Nathan Wiseman
The Mid-American Conference formally announced the creation of the Bahamas Bowl on Monday morning. The bowl game was created in partnership with Conference USA and the American Athletic Conference and will feature all three leagues competing in it on a rolling basis over the first six years.
The MAC announced the creation of the ESPN-owned Boca Raton Bowl last week which brings the conference's total bowl tie-ins to five beginning in the 2014 season. The MAC will play in the first two years of the Bahamas Bowl facing an AAC team in 2014 and a C-USA team in 2015.
The bowl game will annually be played in Thomas A. Robinson Stadium in Nassau, Bahamas. It is the only bowl game to be played outside of the United States.
After their loss to Central Michigan this weekend, Ohio still needs two more wins this season to become bowl eligible.
"Our commissioner and our office have positioned us to have spots for the really, really good football teams in the MAC," Ohio football coach Frank Solich said.
Coming off of a 45-14 win over Louisiana-Monroe in the 2012 Independence Bowl, Ohio has won two straight bowl games. The 'Cats will look to bounce back this weekend with a contest against the Eastern Michigan Eagles on Saturday in Ypsilanti, Mich.
MAC Announces Partnership With Poinsettia Bowl MAC Announces New Boca Raton Bowl Bid Mid-American Conference's Newest Bowl Game Gets A Sponsor MAC Announces Tie-In With Miami Beach Bowl


It looks like a bunch of websites I have been writing for have gone online during my tour of duty (bonus reference!) Here is a sampling, with some background info that you don't need.
Harris Communications: Charlotte area provider of wireless solutions for business and industry.
Carolina Records Storage: Pretty much what it sounds like. Again, from the Charlotte area.
Flatfish Island Designs: A fun one. A long time Charleston area residential architecture firm decided to start a new venture, selling coastal-style home plans.
Other than that, it's the usual mix of websites, print ads, product brochures, and maybe some more videos scripts coming over the horizon. Speaking of the horizon, do you remember the closing shot of John Wayne's The Green Berets? Duke and the little kid stand on the beach watching the sunset. Did you ever question the logic of that shot, seeing as Vietnam has only an EASTERN coast? If you did, you are a commie.
I find myself in the familiar confines of the video edit room. Specifically I am in the jump seat, that second chair situated close enough that the editor can smell your Thai-food breath and feel your project-completion anxiety.
So, how was edit day? We had the usual technical difficulties to begin with, ones that happen every single time and are largely expected. The problem is that it has been a LONG time since I had a project this big, so when 10:30 rolls around and you are ALMOST fixin' to get ready to begin…you start to sweat! But eventually we got rolling and proceeded apace.
Aside from the technical aspects, there are also the work-style issues to consider. I have known RA for years now, but we have only actually worked together a couple of times. He is a 1-man shop used to hammering an edit out by his lonesome, without much explanation. Historically speaking, so am I.
Before I was a writer, I was a producer/director/shooter/lighter/editor in a 2-man shop. I did not have the time nor the inclination to explain my every move…and really never had to. One of my chief talents was convincing the client that there was nothing more boring than watching someone edit, so there was no reason to attend.
These days, it's a different handicap. I communicate with the written word almost exclusively. So there were a couple of humorous moments (as in, NOW we can look back and laugh) where I tried to explain my "vision" of quarter-frame portraits dissolving up, top-left, while zooming forward and fading out just in time for the next element to appear bottom right and…well, let's just say there was a slight communications gap. I can't speak for the editor, but I was more amused by it than I was frustrated. The irony? Finally he said, "Just let me explain what I am seeing here…" And he described exactly what I was looking for!
In the end, we churned out a fully-realized, damn near complete piece in 8 hours. We have 3 more to do, but we have made 90% of the style and execution decisions so, one would hope (pray) that the rest go quickly. My hope is that I will have access and permission (but mostly access) to share these pieces with you when they are complete.
¿dónde usted ha estado? the Legion of Fan inquires, in Spanish for some reason. Where have you been?
Gah! No excuses for blogging negligence. I will say that, in addition to everything else, I have been embroiled in a massive project for a certain huge hospital supply company in the Midwest. A testimonial video wherein I interviewed 14 internal people who happened to be either veterans or who are still serving in the armed forces. It is a piece designed to show that Veterans Administration health system that this hospital supply company really understands their mission and their needs. And, for once, straight up, this is actually the case.
I interviewed guys and gals who served from Vietnam til today…guys who were on a 30-day furlough and heading right back to Iraq…guys who have kids over there right now…guys who reached a breaking point and openly sobbed on camera. It was powerful, I will admit.
There is a crush deadline, and a coordination between web, video and print. And it must all break by Veterans Day (that's November 11, pinko.) So, forgive me. This blog, despite whatever clues you might have received lately, is deeply important to me. I look forward to sharing the final results with you. And that may actually be possible. Stay tuned!


text:
Descended from a long line of diplomats and by family tradition dedicated to this career, Lepri was the Italian Consul in Monaco and Brussels before resigning in 1942 to devote himself exclusively to Painting. His first exhibition, in 1946 at the Galleria La Finestrina in Rome, proved that he belonged to the fringe of surrealism, like Léonor Fini, whom he greatly admired. Lepri created amazing effects by assembling figures, nude or in period costume, in a closed or deserted space (The Banquet, 1945, Museum of Modern Art, New York; The Red Beach, 1964), implying impossible human relations or apocalyptic threats. He fully exploited the dramatic effects of the baroque to imagine a tree figure with rootlike hands, children suckled by a giant cat, a human pyramid, the raft of La Méduse run aground in the countryside or an investiture. Sometimes his inspiration took a macabre turn, evoking a meditating youth surrounded by skeletons, a man rising from his grave, death's-head harlequins, fighting horsemen and haunted abysses. He made the sets for numerous ballets, including L'Œuf à la Coque for Roland Petit and the Ballets de Paris at the Théâtre Marigny (1949), and Stravinsky's Apollo Musagetes for the Opera of West Berlin (1958). He also illustrated Le Voyage aux États de la Lune by Cyrano de Bergerac for the Société Normande des Amis du Livre. His paintings can be found in modern art museums in Paris, New York, Rome and Lodz, Poland.
Stanislao Lepri
Born 1905 in Rome; died 1980 in Paris.
The Death of the Just, Oil on Panel, 1949
Copyright 2014. Sponsored by Art Spectre. All rights reserved.
Surrealism | Surrealist Art | Surrealist Artist | Surrealist Movement


After four years of preparation and debate the General Data Privacy Regulation (GDPR) was approved by the European Union (EU) Parliament on 14 April 2016. Enforcement begins 25 May 2018, at which time organizations in non-compliance may face heavy fines.
It's important to note that GDPR applies to data on EU citizens, regardless of where your business is headquartered. If you are a US company, but sell to citizens of the EU, you need to comply with the GDPR.
This page brings together for you in one place a number of resources around GDPR.
A useful website with resources to educate the public about the main elements of the General Data Protection Regulation (GDPR).
Data Privacy has always been a strategic differentiator for SugarCRM, and GDPR is no different. We are excited to be planning for changes to the core Sugar product in order to further enable our customers to carry out their data privacy responsibilities as controllers. We believe we have an industry-leading solution.
The data privacy related functionality is currently planned for general availability in the Spring 2018 (Sugar 8.0) release of Sugar and will be included in all editions and for On-Premise, Cloud and OEM customers. This release is expected to be available end of April.
GDPR applies to any company or organization that targets individuals residing in the EU. Said more simply: if you have a Website or market your products or services via the Internet (and who doesn't) you need to be aware of GDPR. Here's a handy chart that will help you determine if you are affected by GDPR.
GDPR won't be the end of data-driven marketing. In fact, it may help companies be more effective because they'll more often be working with people that have indicated they are "ok" with sharing personal data with your company. If an individual understands why they're opting into your messaging – and can see the value they'll gain, that is the beginning of trustful relationship.
However, the new GDPR rules limit the amount of data that marketers can collect about Europeans, who now have more options about what data companies can see about them. Marketers will need to implement new processes and technology when working with customer data. Here are some of the key things to think about.
Any company, regardless of its geographical location, that processes the data of EU residents needs to ensure they are in compliance with GDPR mandates.
To achieve compliance, a number of processes and procedures must be put in place when it comes to handling the data of any EU residents. Organizations are also responsible for ensuring their contracted third-parties comply with GDPR mandates.
GDPR will be a global priority throughout the next several months. To help you prepare, here are few things to think about.
The Right to Data Portability- what does it cover and when does it apply?
In essence, data portability provides the ability for data subjects to obtain and reuse "their" data for their own purposes and across different services. This right offers an easy way for the data subjects to manage their personal data themselves.
Full TEXT OF REGULATION (EU) 2-16/679 OF THE EUROPEAN PARLIAMENT AND OF THE COUNCIL of 27 April 2016 on the protection of natural persons with regard to the processing of personal data and on the free movement of such data, and repealing Directive 95/46/EC (General Data Protection Regulation).
The material on this website is of the nature of general comment only and expresses solely the opinion of the authors and how they interpret the GDPR requirements as of the date of the publication.
The purpose of this Website is to share thoughts on some aspects of GDPR. It does not, and is not intended to provide comprehensive guidance on the GDPR nor is it offered as legal advice on any specific issue or matter and should not be taken as such. It should not be used to determine how the GDPR applies to you and your organization. You are encouraged to obtain specific legal advice on the how the GDPR applies specifically to you and your organization and how best to ensure compliance.


text:
Amy Herzog, Film & Media, CUNY
Professor of Film & Media, Queens College & The Graduate Center, CUNY
Programming & Curatorial
Amy Herzog is a media historian whose research spans a broad range of interdisciplinary subjects, including film, philosophy, popular music, gender and sexuality, urban history, pornography, gentrification, parasites, amusement parks, and dioramas. She is Professor of Media Studies at Queens College and a faculty member in the Departments of Theatre and Music at the CUNY Graduate Center, as well as the programs in Film Studies and Women's and Gender Studies. She has also taught as Visiting Associate Professor at the Lewis Center for the Arts at Princeton University.
Herzog is the author of Dreams of Difference, Songs of the Same: The Musical Moment in Film (University of Minnesota Press, 2010) and co-editor, with Carol Vernallis and John Richardson, of The Oxford Handbook of Sound and Image in Digital Media (Oxford, 2013). Her writing has appeared in several collections and journals, and she has presented her work at numerous venues including the Guggenheim Museum of New York, the New Museum, Dixon Place, New York Academy of Medicine, and The Morbid Anatomy Museum. Her most recent research project explores the history of peep show arcades in Times Square, New York.
"Breaking the Bubble: Mika Rottenberg's Industrial Attractions." Exhibition catalogue essay. Mika Rottenberg. Paris: Palais de Tokyo, 2016. 60-67 (in French); 77-83 (in English). PDF
"The Art of Undressing: Automation and Exposure at the Margins of Cinema." Film, Fashion, and the 1960s. Ed. Eugenia Paulicelli, Drake Strutesman, and Louise Wallenberg. Bloomington: Indiana University Press, 2017. 34-48. PDF
"Assemblage, Constellation, Image: Reading Filmic Matter." Discourse 38.2 (2016): 215-234. PDF
"Star Vehicle: Labor and Surface-Level Pleasures in Under the Skin." Jump Cut 57 (Fall 2016), http://www.ejumpcut.org/currentissue/-HerzogSkin/index.html
"Architectures of Exchange: Feminism, Public Space, and the Politics of Vulnerability." Feminist Media Histories, special issue on Materialisms, ed. Caetlin Benson-Allott, 1.3 (2015): 66-94. PDF
"Memento Mori: Reflections on the Art of the Tableau." The Morbid Anatomy Anthology, Vol. 1. Ed. Joanna Ebenstein and Colin Dickey. New York: Morbid Anatomy Library, 2014. 48-65. PDF
"Architectural Fictions: Renderings, Rats, and the Virtualization of Urban Space." Semiotic Review, special issue on Parasites, ed. Matthew Wolf-Meyer (April 2013), https://www.semioticreview.com/ojs/index.php/sr/article/view/32/32
Continue reading "Recent Work"
Select programming & curatorial work, 2009-2017
Mediating the Archive (2014-2016)
The Glass House, Zoe Beloff
Led by Amy Herzog and Edward Miller, the Mediating the Archive research group (2014-2016) focused on how archival studies dovetail with the scholarly and artistic legacy of queer activism through visual art, film, digital media, and dance. Their work ensures such counter archives are a part of public discourse. The group was part of The Seminar on Public Engagement and Collaborative Research sponsored by the Center for the Humanities at the CUNY Graduate Center, and was made possible by the Andrew W. Mellon Foundation. Continue reading "Programming & Curatorial"
aherzog@gc.cuny.edu
Fashions of 1934 (dir. Dieterle/Berkeley, WB, 1934)
Peep show production stills. Richard Kornbacher Collection
Peeps installation view, Tim Soter, 2009
William Kornblum et al, "West 42nd Street: The Bright Lights Zone" (NY: The CUNY Graduate Center, 1978)


text:
Eskön är en by i Hille socken i Gävle kommun belägen på ön med samma namn belägen cirka 20 kilometer nordost om Gävle. För bebyggelsen i byn och grannbyn Eskörönningen belägen på västra sidan av Eskösundet har SCB avgränsat och namnsatt småorten Eskön-Eskörönningen.

På Eskön bodde enligt jordeboken 1541 Monss i Äsköne. Namnet är det fornsvenska ordet "äske", askbestånd, ställe där det växte ask. Namnet Eskön betyder alltså ön där det växer ask och uttalades förr i tiden "Ä-schön".

På södra delen av ön återfinns sedan 2020 småorten Hamnskär och Smörsten.

Referenser

Orter i Gävle kommun
Svenska öar i Bottniska viken
Småorter i Sverige
Gästriklands öar

redpajama_set_name: RedPajamaWikipedia


Discover smart furniture for every room in your home. Whether you need to furnish a living space, kitchen-diner, bedroom, bathroom, home office, hall or the kids' rooms, you'll find designs that are good looking and practical.
Bring comfort and style to your living room with our sofas and armchairs, essentials such as coffee and console tables and footstools, and the units and shelving you need for the TV and the family's stuff. Kit out the hall with clever storage for shoes, boots and coats. Make bedrooms chic with upholstered beds together with the wardrobes and chests of drawers that'll keep clothing and accessories neat.
You can put the home into home office, too, with our handsome desks, chairs and storage solutions, plus create kids' rooms that'll grow with them with our bed, desk and shelving choices.


KoKo House est une superbe maison privée située dans une rue résidentielle calme du centre de Franschhoek, à deux minutes à pied du centre du village et de ses restaurants, galeries et magasins primés.
L'utilisation exclusive de notre maison est offerte sur une base autonome, et est une retraite idéale pour une famille ou des amis, et une base idéale pour explorer les magnifiques vignobles. Le Cap est à une heure en voiture.
★ Des séjours de 1 ou 2 nuits sont possibles moyennant un supplément. Pour les longs séjours, nous sommes heureux de proposer des tarifs réduits.
Offrant une vue sur la montagne, la maison est située dans de grands jardins isolés conçus par Franchesca Watson.
La maison peut accueillir 10 personnes confortablement dans 4 suites doubles indépendantes et climatisées (la grande suite sud dispose de 2 lits doubles), avec la possibilité d'en dormir deux autres (12 au total si nécessaire) à l'aide de l'étude (avec un salle de douche et WC) en tant que chambre supplémentaire - pour plus de détails, veuillez consulter le plan de la propriété • Salon avec cour extérieure • Cuisine • Salle à manger • Salle de télévision • Bureau • Petite terrasse • Terrasse extérieure • Salle à manger en plein air • Piscine d'eau salée de 12 m située dans un grand jardin clos • Entretien ménager • Wi-Fi • Parking en garage • Remises proposées - contactez directement kokohousefranschhoek. com. Des courts séjours de 1 ou 2 nuits sont possibles moyennant des frais supplémentaires. Veuillez nous envoyer un message.
We were four couples traveling to the winelands for 4 nights. KoKo House surpassed all of our expectations. It is a gorgeous and well-maintained villa just one street away from Franschhoek's main road--shops, galleries, restaurants. It's worth visiting this villa for the art alone (not to mention the pool and back yard mountain view)! The kitchen was fully-equipped and the daily maid service appreciated. The owner was very responsive (as was the house manager), to include providing valuable information about local restaurants, many of the best within walking distance (Reuben's, Foliage). We were all blown away by the property and highly recommend it.
A wonderful place to stay!!!
We all loved Koko house! The house is beautiful and located in the center of the village; the rooms were spacious, clean, sunny, with all the modern accessories; the kitchen was especially large and well equipped, with room for 13 around the dining room table; the outside space was perfect, both for the morning and afternoon sun; the art was exceptionally wonderful (!) and added elegance to the whole house. We all loved hanging out at Koko House and would highly recommend it to others! Thanks to the owners for giving us the opportunity to enjoy their wonderful home!
We loved this spacious home with its spectacular setting. Our rental was run smoothly and the location is within driving distance of many of the Cape's sight seeing spots.
Our expectations for KoKo house were pretty high but we were absolutely delighted and excited on arrival at the prospect of staying in this amazing house. It was warm and welcoming and grand! Several rooms lead to the outside, either a private courtyard with its own water feature or to the magnificent gardens and spectacular pool. Two of the ground floor bedrooms opened out directly to the garden, one directly to the pool and garden. We felt like film stars staying there. If you haven't been to Franschhoek, then you haven't lived. From the house to the high street took two minutes and there we were surrounded by wonderful restaurants, and lots of shops and galleries, and the whole of the wine valley. After a day of shopping and dining, going back to the house just ensured that our wonderful day continued. The bedroom suites in the house were equally grand, comfortable and clean, in fact the whole house was very well kept. We felt spoilt and we can't wait to go back again next year. We would highly recommend it to our friends and family.
Lovely property but very disappointed to have money deducted from our deposit for damage we are certain we did not do. It leaves a very sour taste.
A memorable holiday in an exceptional thatched property set in a quiet location within a short walking distance of Franschhoek's shops, excellent restaurants and art galleries. KoKo House is immaculate inside and out and is tastefully decorated to a very high standard with local art adorning the walls. It offers very comfortable en suite bedrooms. The lounge areas are spacious and comfortable. it is ideally suited and equipped for both small and larger groups. Outside is a good sized pool set in lovely gardens with several areas for relaxing on loungers etc. Not far away are numerous wonderful wine estates and, for those that wish to travel further afield, Cape Town and Hermanus are within easy reach. I will definitely be back.
Niché entre de magnifiques montagnes, Franschhoek est célèbre pour abriter certains des plus beaux vignobles d'Afrique du Sud, ainsi que pour ses restaurants de classe mondiale. Koko House est située dans une rue calme à proximité du village, à 2 minutes à pied de la route principale où se trouvent de nombreux restaurants, galeries et magasins. Le village est facile et sûr, avec un style très décontracté. Nous vous recommandons de réserver vos restaurants à l'avance et de vous conseiller sur les endroits où manger.
Le tram à vin est très populaire auprès des clients et se trouve à 2 minutes à pied.
PLEASE ENQUIRE (kokohousefranschhoek . com ) FOR DISCOUNTS ON LONGER STAYS ● Full terms and conditions on request or listed on kokohousefranschhoek . com. Terms & conditions will be mailed at time of booking ● Booking only confirmed once 50% deposit has been paid, and contract with terms and conditions signed and returned. ● We require full contact information related to the booking, including South African ID number or Passport number, contact address, email and phone numbers. ●Check in/out times Unless agreed otherwise, Check in is after 14.00hrs on day of arrival. Check out is before 10.00hrs on day of departure. ●Occupancy It is agreed that the property shall not be occupied by more than the number of persons agreed at the time of booking. No parties or events allowed. ●Domestic Services This property is self catering. The cleaning of bedroom suites & living areas is included Monday – Friday. The Housekeeper will service all suites and living areas each day, Monday - Friday. The Gardener will keep the outside areas swept and tidy each day, Monday - Friday. Bed linen will be changed weekly. Personal laundry services are not included. If Guests require personal laundry services, or additional housekeeping at weekends, please inform the Property Manager to arrange. There will be an additional charge, and this should be settled with the Property Manager prior to departure. ●Electricity Electricity is included in the cost of your stay. If however guests us excessive amounts of electricity there will be an extra charge for the additional units used. ● Damages deposit required. ●Security Property has a 24hr response alarm fitted. 2 x small safes for guests' use.


A Map Across Time – C.S. Lakin Interview, Review and GIVE AWAY!
I want to meet all of them! I think especially Joseph, since I relate to him so much. I suffered a family betrayal and have written a modern day novel based on his story.
What would be the first question you would like to ask him?
How did he know God was with him all through his trials, and how did it feel to see God's hand in his life, using him to save the nation of Israel, his family.
A ballerina. But that wasn't going to happen!
I am a fanatic! My husband and I watch some Star Trek show every week, although lately it's been nightly, going through Deep Space Nine and now TNG. But, I have no idea why you asked that in regard to The Map across Time. That book is more like Back to the Future to me! Maybe you can give me a hint!
Always tell the author you think their book is the best they've ever read! No, just kidding. I appreciate a thoughtful, honest review and personal reflections of how the story moved them and what they learned from it. It's so neat, being an author, to hear those things and helps encourage me to keep writing.
My Review – I found this story absolutely enchanting! The author did an amazing job of painting the picture of Sherbourne in its fullest. The characters quickly endeared themselves to me. I found myself crying at Adin's pain and wanted to hold him in my arms and tell him everything would be alright. Aletha has such a strength of character that made you love her as well. The supporting characters of Reya, Jered, and O'lam added laughter and wisdom to the story.
It is a story of good versus evil, but it is definitely a fresh tale with some very cool twists. Another nice thing with this story is it is very entertaining for adults, but I think children will enjoy the story as well. The antagonist is very apparent and evil but I don't think he would cause nightmares for younger children. My twelve year old was going to read it until he realized it was not on the Accelerated Reading List and he could get points for reading. I think this summer he'll read it.
If you enjoyed the Chronicles of Narnia you will enjoy this story. This story is for anyone who wants to escape to another world and be lost in its beauty and wonder and learn how they recapture their freedom.
Contest – You have the opportunity to win a copy of this wonderful book. Leave a comment with your name, the state you live in and your favorite fairy tale. Open to those in the United States and chances of winning are based on the number of entries. The winner will be chosen using random.org on Friday, March 18, 2011 at 9:00 PM PDT.
I did receive this book from the publisher, but my views are strictly my own.
We are huge sci-fi fans in this home and have watched the Star Trek Voyager series so many times we can quote it 🙂 I think my entire household would love to read this book! Thank you for the opportunity to win a copy. Personally, my favorite fairy tale (as in Disney) would be Beauty & the Beast.
Forgot to say that Carman sent me!
My favorite fairy tale is Cinderella, I think. 🙂 They're all pretty good though! I live in Nebraska.
My favorite fairy tale is The Emperor's New Clothes. It always makes me laugh.
Carman sent me! And I live in California.
Carmen sent me…and Wow. this is a great review and giveaway.
Oh, and Carman sent me!
I do like Star Trek (not Star Wars). Please add me to the giveaway!
I live in Oklahoma. My favorite fairy tale was Snow White. Thank you for entering me.
A favorite fairy tale is Bambi.
My favorite Fairy Tale…is…Oh I hate these questions!(wonders what it might be) I'm going to say..Little Red Riding Hood?
Hi, THANKS for the opportunity to learn about and win a copy of C.S. Lakin's new book. Wow it does look very interesting. Could you please put my name in for the drawing.
Thanks for sending me here Carman!
My favorite fairy tale is "Beauty and the Beast".
My name is Kristi and I live in Hawaii. 🙂 This book sounds like it would be a great way to get my mind off of school and relax a bit, LOL. I can't just choose one fairy tale! Um, how about "Cinderella"? Thank you for the opportunity to win!
I'm from Tennessee and my favorite fairy tale is Cinderella. Carmen sent me.


text:
Q: What is the ranking of these synonyms in terms of a sense of importance? As far as I can tell "imperative", "critical" and "utmost importance" are synonyms. Are any stronger than the others in terms of conveying a greater sense of urgency or importance?
I fond the following definitions:
imperative: of vital importance; crucial.
critical: having the potential to become disastrous; at a point of crisis.
utmost: most extreme; greatest
(all of these definitions were found from typing into Google.com "define:" followed by the word, I don't know how to link to them)

A: The common overuse of these words reduces our sensitivity to their levels of urgency. Context is also important.
My rankings:
critical (being in or verging on a state of crisis or emergency: a critical shortage of food) seems to me to be the most serious, as it implies an impending loss of life. Certainly there are things worse than that, but it's hard to think of many. It also carries the weight of applying to other areas: critical temperature, critical condition, go critical (or a nuclear reactor).

*

*A high degree of sterility assurance is of critical importance for the sterilization process. (this is fairly true; non-sterile instruments in medicine cause death and disease. Same is true of clean water, etc.)

*Selecting an advisor is of critical importance when planning for your future. (This is hyperbole; you won't die if you choose the wrong advisor.)

utmost importance (of the highest or greatest degree, amount, or intensity; most extreme) would be next on my list; I would say something was of the utmost importance to avoid a critical situation.

*

*Safety is of the utmost importance when working with electricity or electronics because severe consequences and health hazards can occur if specific safety procedures are not implemented. (True enough. Same with nuclear power plants, military decisions, etc.)

*(of "pants or jeans") Choosing The correct key phrases is of the utmost importance. (hyperbole)

imperative (absolutely necessary or required; requiring attention or action) connotes to me a command to pay attention; it is important but not vital, that is, it doesn't endanger life.

*

*War Crimes Tribunal is Imperative. (fair enough.)

*Teaching teens life skills is imperative. (fair enough.)

*(about fish tanks) Careful, day To day observance of your tank is imperative. (Clearly, my son doesn't agree with this and his fish. turtles, etc. are all still alive.)

A: There are no such things as "real" synonyms. As to placing these words in an order of "importance", that is difficult, because I would associate them with different circumstances.
Imperative I would use when describing something that plays a vital role in the successful completion of a task or project.

It is imperative that we have the test-scenarios in place before we call in the QA team.

This means that it is basically useless to call in the QA team before we have the test-scenarios ready.
Critical I would use in two situations:

*

*something can go wrong (or went wrong), and it really endangers the success of a task or project.

*something is playing such a role in a task or project that if it were to fail, the task or project would be in danger.

The database encountered a critical error, due to which our production systems were unavailable for hours!
  The database server is a critical part of our production environment, so we should ensure we have a fail-safe back-up solution.

Something that is of utmost importance could be any action or product that is simply very, very important, but not necessarily critical at this point in time.

While we keep developing, it is of utmost importance that we keep communicating with the customer to ensure we can manage expectations.

I guess that this is indeed a bit less important that if it were imperative. In this case, we can still go on developing, even if we do not manage to communicate with the customer enough. It's just that we might end up building something else than what the customer expected...

A: *

*critical

*imperative

*utmost

Why?
Critical is like a point of no return. Or as you say having the potential to become disastrous.

So you need to do something RIGHT NOWWW!!!! Or else BOOOMM!!

Imperative is "just" of vital importance but not yet critical. It is however vital enough to start issuing imperatives or orders to get stuff done.

"It is imperative that we keep our troops moving, otherwise the enemy
  will get there first. So we should give out orders now to keep on moving."

utmost is just very important without any need for any action yet. It's more long term. No orders need to be issued yet. It's not yet imperative. It is just extremely important. It's a comparison to something else. I.e. non or less utmost important things.

"It's just very very very important, it has outmost importance that we
  keep this in mind for the future. So we should put this at the top of
  our to do list."

Or per the definitions below. This item is furthest away from being non-important. Or it's of highest importance on our list. Yet that's all it is. Like the outmost pretty woman on the planet. No action is required but it might be desired none the less.

utmost |ˈətˌmōst| adjective [ attrib. ] most extreme; greatest: a
  matter of the utmost importance. noun (the utmost) the greatest or
  most extreme extent or amount: a plot that stretches credulity to the
  utmost. PHRASES do one's utmost do the most that one is able: Dan was
  doing his utmost to be helpful.
  ORIGIN Old English ūt(e)mest 'outermost' (see out,-most).

-

imperative |imˈperətiv| adjective 1 of vital importance; crucial:
  immediate action was imperative | [ with clause ] : it is imperative
  that standards be maintained. 2 giving an authoritative command;
  peremptory: the bell pealed again, a final imperative call. • Grammar
  denoting the mood of a verb that expresses a command or exhortation,
  as in come here!

-

critical |ˈkritikəl| adjective 1 expressing adverse or disapproving
  comments or judgments: he was critical of many U.S. welfare programs.
  2 expressing or involving an analysis of the merits and faults of a
  work of literature, music, or art: she never won the critical acclaim
  she sought. • (of a published literary or musical text) incorporating
  a detailed and scholarly analysis and commentary: a critical edition
  of a Bach sonata. • involving the objective analysis and evaluation of
  an issue in order to form a judgement: professors often find it
  difficult to encourage critical thinking in their students. 3 (of a
  situation or problem) having the potential to become disastrous; at a
  point of crisis: the flood waters had not receded, and the situation
  was still critical. • (of a person) extremely ill and at risk of
  death: he had been in critical condition since undergoing surgery. •
  having a decisive or crucial importance in the success or failure of
  something: temperature is a critical factor in successful fruit
  storage. 4 Mathematics & Physics relating to or denoting a point of
  transition from one state to another. • (of a nuclear reactor or fuel)
  maintaining a self-sustaining chain reaction: the reactor is due to go
  critical in October.

I got the definitions from the 10.9.2 OS X Mavericks built in dictionary.


text:
« Interview: Nancy Harrow | Main | Who Were the Kim Loo Sisters? »
Interview: Carlos Lyra
Just before the British Invasion turned American teens into screaming consumers, a new style of romantic music with a jazzy Latin feel captured the hearts of young adults in the States. Known as the bossa nova, the Brazilian music was a cooler cousin of Cuba's cha-cha-cha and a sophisticated folk form that was highly melodic and notably relaxed. What's more, the bossa nova crossed borders effortlessly and was highly addictive, a rage not only in Brazil but also in France and the U.S. [Photo above courtesy of Carlos Lyra]
The bossa nova was born in the mid-1950s in the Copacabana district of Rio de Janeiro,where husky-voiced guitarists sang their potent melodies and those written by friends. In essence, the form took the Brazilian samba and let the air out of the parade music's tires a bit, focusing less on energy and stamina and more on passion and seduction. Among Rio's original bossa nova singer-songwriters in the 1950s were Carlos Lyra and Antonio Carlos Jobim, along with the lyricists Ronaldo Bôscoli and Vinicius de Moraes.
Now dig this—on May 26-30, Carlos Lyra will be making a super-rare appearance on guitar at New York's Birdland with pianist Marcos Valle (Summer Samba), who was part of the bossa nova's second wave of singer-songwriters in the early 1960s. To hear Carlos and Marcos perform together at Birdland in New York (presented by Delta Air Lines and produced by Pat Philips and Ettore Stratta) is sure to be a stunning, historic event for lovers of the bossa nova. Together, they have enough knee-weakening music in them and slow heat to ignite hearts. Don't miss this one. [Photo above, from left, Marcos Valle and Carlos Lyra]
Last week, I had a chance to catch up with Carlos Lyra and interview him on his music and the bossa nova's birth and evolution...
JazzWax: When you were writing bossa nova songs in the late 1950s, what was your poetic inspiration? Love? The sea?
Carlos Lyra: My inspirations are never the sea, the moon or the flower or passion. Having a classical formation, not a romantic one, I would choose love, life and people as my big inspirations. [Photo of Carlos Lyra in the 1950s]
JW: For example what are a few your favorite songs, where did you write them and what inspired you?
CL: My song, Menina, was inspired by a true event. There was a young girl, a friend of mine, who had an admirer from Rio's lower class. They were in love and the girl's family was very upset with the relationship. My lyrics and melody were inspired by what she was going through and they came together at once. The inspiration for Maria Ninguém (Maria No One) was a song by the famous Brazilian composer Noel Rosa. His song was called João Ninguém (John Doe). My song's lyrics pay tribute: "If John Doe is my name, I claim my Maria is Maria No One." When French actress Brigitte Bardot heard it, she loved it and recorded it in Portuguese.
JW: Was the song really a favorite of Jackie Kennedy?
CL: Saxophonist Paul Winter, who used to perform at the White House in the early '60s, told me that Maria Ninguém was Jacqueline Kennedy's favorite bossa nova song.
JW: You were there at the beginning of the bossa nova. Did the bossa nova surface because the samba couldn't express the love songs that you, Jobim and others had in mind?
CL: Samba is a very popular form of music. Bossa nova is middle class and yet a classical form of art. Therefore it is cool and discreet. Samba is usually romantic, exuberant, more expressionist than impressionist. The spirit of bossa nova was free of sadness, and its songs talk about love in a happy way, without suffering.
JW: Why did the bossa nova emerge when it did?
CL: The bossa nova was a cultural boom. We simply used to get together at friends' houses to show what we were composing and writing. A group of us younger writers, trying to do something new, with the impulse of creating a new form of Brazilian music that we could listen to, that expressed how we felt. [Photo of Antonio Carlos Jobim at the piano, with lyricist Vinicius de Moraes behind him with arm raised]
JW: Was West Coast jazz an influence?
CL: Yes, but much more. At that time we were listening to West Coast Jazz as well as American classics, Mexican boleros, French songs and the classical impressionists. You have to remember, there was no Brazilian music at the time that expressed the aspirations of our middle class.
JW: Where was the term bossa nova first used?
CL: At the Hebraic Club in the Flamengo district of Rio in 1957, where lyricist Ronaldo Bôscoli, guitarist Roberto Menescal, singer Sylvia Telles and I performed. At this place, the event manager of the club announced us as a bossa nova group. He used a slang that was not very common and we accepted this title. At the same time our group was getting together, other groups were also doing the same thing. We became aware of each other at gatherings on the beach at night. There was no one single place where the bossa nova happened. I met João Gilberto for the first time at Rio's Plaza Hotel, in the Copacabana district, in the hotel's Boite Plaza piano bar. [Photo above: Carlos Lyra]
JW: Was the cool sound of Chet Baker's voice a direct influence? And if so, how did you hear these records?
CL: Oh yes. We had access to all the West Coast jazz albums, including records by Gerry Mulligan, Shorty Rogers, Stan Kenton, Barney Kessel and the Modern Jazz Quartet. We had excellent record stores that imported those albums. We were always in there looking for new releases. As I mentioned earlier, there were two forms of art—classicism and romanticism. Bossa nova is pretty much identified with classicism. Classicists are the impressionists like Ravel, Debussy, Stravinsky, Villa-Lobos, Ira Gershwin, Richard Rodgers and West Coast jazz. The romantics are Beethoven, Liszt, Mendelssohn, Irving Berlin, John Coltrane and New York jazz. This is the reason why the spiritual distance between Rio and Los Angeles became shorter than the one between Rio and New York.
JW: Where and when did you first meet Antonio Carlos Jobim?
CL: I met Jobim through João Gilberto, and we all influenced each other. João was especially informative to me as a guitar player. João, at that time, was new in Rio. He didn't have a house to live in. Sometimes he slept at my house and sometime at the homes of others. I met João in the mid-1950s at the Plaza Hotel's piano bar. He was playing guitar in a very strange way that held my attention. [Photo above, from left, João Gilberto and Antonio Carlos Jobim]
JW: Singer Sylvia Telles was first to record one of your songs—Menina—in 1955, yes?
CL: Yes. And the day Sylvia Telles's single was released, with Menina on one side and Jobim's Foi a Noite on the other, with lyrics by Newton Mendonça. João, who was staying at my house, called Jobim from my phone and introduced us. I remember Jobim asking, playfully, "Is this the other side of the record? I liked your song very much! I send you a kiss!" Bossa nova hadn't even been baptized yet. [Photo above of Carlos Lyra and Sylvia Telles]
JW: Where you at the Telles recording session?
CL: No, I wasn't there. Actually, Sylvia (above) was one of the very first to record bossa nova. She also was a very liberated woman for her times. There were no real bossa nova clubs in the mid-1950s but she was at the Boite Plaza piano bar in the Plaza Hotel almost every night. The big attraction was pianist-songwriter Johnny Alf, one of the precursors of bossa nova.
JW: Were you excited when João Gilberto recorded three of your songs on his 1959 album, Chega de Saudade? Were you at the recording session?
CL: No, I wasn't there. I was recording my own first album, but I was very excited by João's recordings. It was João's idea to record our songs. João isn't really known as a composer but an interpreter. That's why he decided to record three of my songs and three of Jobim's, plus the two songs he had composed at the time.
JW: What was the inspiration for your Saudade Fez un Samba?, a gorgeous song.
CL: As far as I know, the music came to me from nowhere. The lyrics were written by Ronaldo Bôscoli (above). I played my song for him at home, and he wrote the lyrics on the spot. He loved the melody. As he told me, his palms sweat a lot when he liked what he was doing. And they were sweating.
JW: Your first album, Bossa Nova (1959) remains a landmark recording. So little is known about it in the States. Who arranged the orchestration?
CL: It was not released in the U.S. The arranger was the late maestro Carlos Monteiro de Souza, a very dear friend.
JW: Many artists like Gilberto, Jobim, Walter Wanderley and others relocated to New York and recorded here starting in the early 1960s. You didn't. What kept you from coming to the States to record steadily?
CL: Actually, I did record with Paul Winter, on a 1962 LP for Columbia called The Sound of Ipanema. It was produced by John Hammond and released in the States.
JW: But you didn't remain in New York the way Jobim and Gilberto did. Why not?
CL: After I performed at the first bossa nova concert in the U.S. at Carnegie Hall in late 1962, I stayed until the beginning of '63. I returned to New York in 1964 and remained there until 1966. Meanwhile, I toured with Stan Getz in the U.S., Japan, Brazil and Mexico. I also performed with Stan Getz in 1965 at the Newport Jazz Festival.
JW: And that was it, yes?
CL: Yes. The Newport Jazz Festival concert was my last performance in the U.S.—50 years ago this year. Also, while I was in the States, I recorded with Tony Bennett. When he recorded his album If I Ruled the Word: Songs for the Jet Set album in 1964, they called me to the studio to record guitar on the bossa nova tracks because nobody could play them at that time. The songs were Song of the Jet, Corcovado and How Insensitive.
JW: Is the Plaza Hotel still standing in Rio?
CL: Yes, the Hotel Plaza is still on Princesa Isabel St., in Copacabana. But the Boite Plaza piano bar is not there anymore. Now it is the hotel's lobby.
JW: So what will you and Marcos play at Birdland?
CL: Mostly our standards—plus a new song that we wrote together. It's called Até o Fim (Till the End).
JazzWax tracks: For albums by Carlos Lyra, go here or to iTunes or Spotify.
JazzWax clips: Here's Carlos Lyra singing and playing his song Ciúme from his 1959 album Bossa Nova...
Here's Carlos with daughter Kay Lyra in 2011 singing two of his biggest hits—Você e Eu and Coisa Mais Linda.
And here's the great Marcos Valle, playing and singing one of his big hits, Crickets Sing For Anamaria...
JazzWax notes: A big thanks to Marcos Valle; Magda Botafogo, Carlos Lyra's wife; and Pat Philips. For more information on Carlos Lyra, go here and here.
Also, James Gavin (Is That All There Is?: The Strange Life of Peggy Lee) had a piece on Lyra in Sunday's New York Times (go here).
Tags: Antonio Carlos Jobim, Carlos Lyra, Joao Gilberto, Johnny Alf, Marcos Valle


I am having a control where I am using DropDownGrid cell and on click of the drop down I am opening a new grid by overriding DropDownContainerShowingDropDown method.
When I try to resize the child grid, it disappears. If on the other hand I select a cell in the child grid and then resize it, then it works.
I have tried your condition that you have mentioned here in the Grid.Windows\Samples\2.0\DataBound\GDBGwithDropGrids sample by including the code snippet that you have sent for the child grid. And I was not able to reproduce the issue. The child grid gets resized without any problem.
I am also sending you the video clip for your reference - http://www.syncfusion.com/Support/user/uploads/F67352_f6cc1092.zip.
Please look into the above details and modify the sample to reproduce the issue if you still finds any issue with this. Dont hesitate to contact us if you have any questions. We will be glad to assist you.
I am using the DropDownGrid control from the sample, version is 4.3.0.30.
How do I force the size of this DropDownGrid control so that it would have the same width as the cell it was expanded from. I saw a sample using DropDownContainerShowingDropDown method but it was resizing the control based on parent grid.


text:
Franciaország
Nançois-le-Grand, település Franciaországban, Meuse megyében
Nançois-sur-Ornain, település Franciaországban, Meuse megyében


The TH you are following.
2015-The trail is well marked, you're following: Brothers Creek Forestry Walk start past a gate and rocky wide path to the second TH, go right. At the branch go left.
Crossover Trail (has a picnic table)...keep going up.
At the branch #5 you'll want to see the Candelabra Fir. keep going to 5 & 6. Go right at #6. Once you've seen this large Fir, then return the way you came and once out the trail continue on right.
Not long after you'll come to Brothers Creek Bridge. If you go right for 485 meters for a trip to Lost Lake. It's worth it. Lost Lake can be a perfect lunch spot. Once finished return the way you came. Go right & cross the bridge. After you cross the bridge, there's a trail to the right for 1.2 Km's to view, Blue Gentian Lake. Once back on the main trail, turn right and follow the path down past two TH sign posts.
Go left, down Skyline. You'll go down some nature made stairs, rocks and man made stairs. It's slippery here, take your time. Go over a bridge and a powerful waterfall is there to greet you. Continue up the stairs where it's steep. Be careful as you walk up the wet & slippery stairs.
Now you're back in the forest crossing many bridges. After quite awhile in the forest go down a skinny trail to branch, go right. Follow trail down the rocky wide trail to the street where you parked earlier.
Watch your footing near the stairs on the waterfall and you won't loose any if your nine lives near the waterfall. Happy & safe hiking.
Directions: To get to British Properties and the trail head for Three Brothers. From Hwy one take the Taylor Way exit, you'll come to one roundabout. Turn left onto Southborough Drive and left at Highland Drive. Drive up the hill to Eyremount Drive, turn left here and right onto Crestline Road. Turn left at Henlow Road and then right on Millstream Road. You'll see the trail head at the end of the road. You can park close to the a TH or where ever you can find parking.
"Candelabra Fir, an old growth tree (now a dead snag) that is 60m tall and over 9m in circumference." Vancouver Trails.
A short trip to a beautiful lake.
Rain drops on Lost Lake.
Web & I @ Lost Lake...18 years later, we're still the same!
A beauty of a trail.
When you walk down the stairs a cascading & powerful waterfall greets you.


text:
Everything that Happens Will Happen Today
About Lyrics and Credits Press Related
Lyrics and Credits
Byrned to a crisp
Brian Eno and David Byrne reunite in the return of the digital masters
Song of the Day: David Byrne and Brian Eno - Strange Overtones
Via KEXP Blog
KEXP Blog, 17 December 2008 [Link]
Every Monday through Friday, we deliver a different song as part our Song of the Day podcast subscription. This podcast features exclusive KEXP in-studio performances, unreleased songs, and recordings from independent artists that our DJs think you should hear. Today's featured selection, chosen by Morning Show host John Richards, is "Strange Overtones" by David Byrne and Brian Eno from the 2008 album Everything That Happens Will Happen Today on Todo Mundo.
David Byrne and Brian Eno - Strange Overtones (MP3)
For the dedicated fans who awaited a return to the magic that first occurred back in 1981 when Brian Eno and David Byrne created My Life in the Bush of Ghosts together, the twenty seven years that have passed since could not have ended soon enough — and they almost never did end. But almost offhandedly, a new project began as a casual conversation over a dinner table in New York between the two visionaries, progressed separately thereafter (Eno on instrumentation and Byrne on vocals), and culminated as the 2008 album Everything That Happens Will Happen Today. Steeped in the heritage of American music, it burst forth this year laden with folklore and tales of dark and light, good and evil. Over the years, Eno discovered he was drawn to the gospel sounds that have been the unacknowledged backbone of our country's music since the awakening of our independence, stating that the song "Surrender to His Will" by Reverend Maceo Woods and The Christian Tabernacle Choir was the first gospel song he "ever really responded to" while working with the Talking Heads on their previous album,More Songs about Buildings and Food. Considering Everything a sort of "electronic gospel," Eno imbued the album with the spiritual and nurturing force that flows freely through its tracks. After a year of living with the pulsating, tribal vibrations that Eno had given shape and form, David Byrne was struck by the folk spirit these sounds contained and, with his head also filled with images of journeys within Africa after reading a David Eggers book (What Is the What?), he completed the first song, "One Fine Day." The tone for the album was set. Song by song, the duo created the rest in a similar fashion, Eno's music first, then Byrne's lyrics. The end result is something new and not new, a brilliant product by two creative forces that could not have been achieved by one without the other.
Starting in January, David Byrne will be touring the songs of Everything That Happens Will Happen Today, first in Hong Kong, then across the Pacific, through Japan and Australia, and eventually winding his way through the United States. Seattle listeners should pick up their tickets now for the February 18 show at Benaroya Hall. Other dates and a lot more information is available at David Byrne's website. For now, here's a short film of "Strange Overtones" by Jon Yeo:


text:
Huawei Wins The European Consumer Smartphone Award For The Third Time
Staff ReporterAug 17, 2015 05:46 PM EDT
In spite of the setbacks that Huawei encountered, especially in terms of trust and security, it has still remained on top in a lot of aspects. For one, it is still one of the top 3 smartphone makers in China, as well as one of the top 5 smartphone makers in the world. And yet another reason is the fact that Huawei's Ascend model has won the "European Consumer Smartphone" award for the third year in a row.
The European Consumer Smartphone award is conferred by the European Imaging and Sound Association (EISA). Since 2013, a Huawei Ascend had earned that award:
2013: Huawei Ascend P6
The Huawei Ascend P8 was most likely given the same award for the same reason why the Ascend P6 earned it: For being a "surprisingly well-equipped smartphone at a very attractive price."
Indeed, with these specs:
Processor/Chipset: Octa-core made up of a 2 GHz quad-core A53 Cortex, and a 1.5 GHz quad-core A53 Cortex processor
GPU: Mali-T628 MP4
Internal Storage: 16 or 64 GB
Connectivity: HSPA, LTE, Wi-Fi 802.11 a/b/g/n, and WiFi Hotspot
Expandable Storage: Yes, with a microSD card slot with a capacity up to 128 GB
Display: 5.2 inches, with a resolution of 1080 x 1920 pixels and ~424 ppi pixel density, protected with Corning Gorilla Glass 3
Cameras: 13 MP with an output of 4160 x 3120 pixels, dual-LED (dual tone) flash, autofocus, and optical image stabilization on the Primary Camera; 8 MP for the Secondary Camera
Battery: A non-removable 2680 mAh Li-Po battery
Bells and Whistles: A splash-resistant nano coating
Huawei managed to pack these premium specs into a $530 phone. This is the price for the 16GB model, while the 64GB model costs $630. With specs that rival the Samsung Galaxy S6, which costs $579.99 for the 32GB model, or $659.99 for the 64GB model on T-Mobile, it still has an edge over the mainstream flagship phone, as the Huawei Ascend P8 has a microSD card slot and waterproofing. Plus, the Ascend P8's 2680 mAh battery lasts a little longer than the S6's 2550 mAh.
Although Samsung has leveled the playing field for rival offerings like that Huawei Ascend P8 by slashing its flagship model prices, for some users, one tiny detail such as waterproofing or the presence or lack of a microSD card slot makes a world of difference.
Apparently for the European Imaging and Sound Association, this is the difference that determines to which phone they give the "European Consumer Smartphone" award.
More: Huawei Ascend, Huawei Ascend P8, Huawei Ascend P7, Huawei Ascend P6, European Imaging and Sound Association, EISA, European Consumer Smartphone Award, European Consumer Smartphone


text:
HOW I GOT THE STAGE NAME, OJOPAGOGO, IN 1986 – POPULAR YORUBA ACTOR, RASAQ OLAYIWOLA
Why He Likes To Act An Old Man's Role
He is very popular in the Yoruba Movie industry for playing elderly roles. In most movies, where he features, if not all, Ojopagogo usually plays the role of an old man spotting grey hair And he has a peculiar way of trembling on his feet like an old man who is in his 80s. In real life, however, Rasaq Olasunkanmi Olayiwola is a young man, who started acting at an early age.
A few weeks back, City People's Publisher, SEYE KEHINDE, spoke with him about his career. Below are excerpts of the interview.
You have been acting, for many years now. How did it start?
17 year's of Marriage and still counting; Meet Moji…
HOW I GOT MY STAGE NAME, OKELE – POPULAR COMIC…
This Popular Yoruba Actor Babatunde OwoKoniran…
I started acting on stage in Iseyin, many years ago, but I am from Oyo town. But, I was born in Iseyin. I grew up there. When I got to Ibadan, I joined a group.
Alao Sorunke was the group I joined to come to Ibadan. Then, the group I left in Iseyin was called Ilumokin Theatre Group. The leader was Jelili Raji Aboderin. He is the Baale of Larinka (Ifakeu) in Ibadan. He is one of the board members of trado medical association.
When I got to Ibadan, some people discovered that a boy had just come to Ibadan who acted with Alao at Idikan then. That was Labake Theatre Group. I went to act with the group.
At that time they were about to go to Oyo to act for Alaafin. I acted Eru Oba.
While acting, somebody began to shout Omo Ojopasekere and he started hailing me. Another person shouted him down. Shut up Ojo Pa Sekere Ko, Ojo Pa Gogo ni. It was funny to Baba Alaafin then. He then gave me money. Since then, people, who travelled with us began to call me Ojopagogo. That was in 1986. I didn't first use that name on stage, people just used to call me that as an alias. Later, theatre people began to use it on stage. That was how I got the name.
How did you start acting?
I started theatre from the Koranic School (Ile-Kewu). The school was owned by my brother. It was run in the same house we lived in. We now wanted to do Malud Nabib. They said we should organise a drama play then. We did.
Then, in primary school, I used to participate in entertainment and cultural activities. When we did the Koranic school play, many people attended. The man I mentioned Jelili Raji Aboderin of Ilumokin Theatre is a friend of my brother so, he also came.
When we finished the play, he called me and asked if I could act with him, adding that he has a play he is working on. That he needed a small boy like me to act in it. That was in 1983. I agreed. I went to the location. They auditioned me. That was how I started. That was how we did rehearsals and travelled with the play all over the schools in Iseyin, showbiz play. That was how I became popular. As I walked on the street, people would be hailing me, Adekunle Omo Adeoye.
All the art theatre producers and directors, then wanted me to act with them in their stage performances. Things now changed positively for me. Oga Alao lives in Ibadan.
He used to tour and travel all over Oke Ogun and other neighbouring towns and villages. On this one member of cast disappointed him in one play in Iseyin. That was how they called on me from school that I should come and play that role.
So, I went to join them and I saw that they were more professional than my main group. They also appreciated me more than the group I acted with. That Oga now began to take care of me. At a point, he sat me down. He asked me what work I wanted to do when I grow up. When he came the 2nd time, to stage a play, I was already in Form 5. I was preparing to sit for my WASC then. I told him that I was thinking of going to do Law. He now advised me that it seemed I was good in acting, that I should keep to Theatre Line. He said I had the gift for acting, but that he would encourage me to read my books and get educated. I said ok, should I follow him after my school cert. He said No No. No. He said I should read more. I said No problem.
But the man I was in his group at Iseyin said he was going on tour, that we should go together that once we started staging the particular play we would leave Iseyin for Ibadan. In those days when they mention Ibadan, it's like a visa to London. That was how I rushed and followed them. I didn't tell anybody. I didn't pack all my things I just left for Ibadan. That was how we began moving from Village to village, all the towns between Ibadan and Oyo. After 2 weeks, he said he was going back home. I told him I can't go back because of the way I left home. I said I was not going back. There are some young people like me who came with this same Oga Alao to Iseyin, who said they were going to Ibadan. So, I followed them to Ibadan. That was how I, found myself at Labakes place in Idikan. They have their own group but they did not function. I asked them why. They said because there was no poster, there was nobody who could book, there was nobody who could go round to schools to book or come in to stage plays. I did posters for them. I was into sign writing then. I was into artistic work. I did posters for them. That is how my name became popular. Members of the group said there was a young boy in Ibadan, who could do posters. Other theatre people who couldn't pay for printing press came to me. I did for Olofa Ina. That was how the man discovered me. the 1st-day Olofa Ina saw me, he embraced me. He said I should start coming for rehearsals, performances. It was from there that we went to act for Alaafin and the stage name, Ojopagogo came out.
Why do you like to act the role of an elderly man in movies?
I am a travelling theatre actor. That was how I learnt on the job. When I worked for 4 to 5 years with my Oga, I fell sick. They now sent me back home. I spent months at home. After I got better my parents now sat me down to talk to me. When you fell ill, we took care of you. We didn't see any of your ogas to bring money to take care of you.
They said after this, if you leave this town again to say you want to go and meet Oga Alao again, you would see what would happen to you. I felt sad. I thought about it again and I felt, well what they said was that I shouldn't go back to Oga Alao. They didn't say I should not act again.
I didn't plan to set up my own group. At that time, all my friends in Iseyin who were actors had begun setting up groups. They had become champions, while I was away. So when they heard I was back, they began to use me. I was acting for them and they were giving me peanuts.
One of my brothers now called me and advised me to, organise my own group. That's how I started off. All my younger sisters rallied round. I took drums from our house. That was how I started, that's how I made it. That's how I began to travel.
Now, when we travelled to a town, we used to find ways of saving money to enable us to cover our cost. I thought of a scenario about mothers who give their sons wives' problems. I now imagined that what would it feel like if we have a father who gives his sons wives' problems. That was how I wrote the story. When we staged it, many people came to watch it. By popular demand, we did it the next day. On the 2nd day, we had more people. Some of those who watched the stage play said I should turn it into a film. When I decided to do a film I played an old man's role. When Alade Aromire saw it he appreciated it. But he did not support me to come out with the performance, then because he didn't think too many people would come out to watch one old man shaking and trembling.
But my mind told me that if I could produce the play, something tangible would come out of it. Then, I tried to do the first film in 1995/1996 and it came out in 1997. It was based on that storyline. It is called Baba No Go Die, that's how it became big. That's how I began to take on the role of an old man. That's how I took to playing that role and people began to call me. I don't like to be stereotyped into one role. I want to be able to act so many roles. But I was not discovered that way. I am gifted to act so many roles. I used to tell them playing an Arugbo role is not my focus.
"All The Biggest Boys Are On My Desk, I Have Taken Over" – Bobrisky
Check Out Photos Of The Expensive Bag Actress, Lilian Afegbai Bought For Over $20,000


text:
Der Aktionär. Internationales Zentral-Organ für den Mobiliarbesitz und das Versicherungswesen war der Titel einer Zeitschrift, die seit der Mitte des 19. Jahrhunderts von 1854 bis 1922 in Frankfurt am Main unregelmäßig etwa wöchentlich mit knapp 4000 Ausgaben erschien. Schwerpunkt des Blattes waren neben Informationen zu Aktiengesellschaften auch das Immobilien- sowie das Versicherungswesen.

Das Blatt enthielt mitunter verschiedene Beilagen namens Frankfurter allgemeiner Verlosungsanzeiger sowie
Anzeiger für amerikanische Fonds und Effekten oder Verlosungs- und Aktien-Kalender für ....

Der Nachfolger des Blattes hieß Vereinigte Zeitschriften Finanzherold und Aktionär.

Weblinks
 Der Aktionär ... in der Zeitschriftendatenbank

Einzelnachweise

Wirtschaftsmagazin (Deutschland)
Immobilienmarkt
Börsenportal
Versicherungswesen
Zeitschrift (Hessen)
Antiquarische Zeitschrift (Deutschland)
Medien (Frankfurt am Main)
Ersterscheinung 1854
Erscheinen eingestellt 1922


text:
Charlotte AWFJ.org review
by CinemaSiren March 24, 2022 March 24, 2022
Perhaps you've heard about Art Spiegelman's Pulitzer Prize-winning Holocaust-era graphic novel Maus, which has gotten a lot of press lately for being banned in Tennessee. That press probably made it even more famous and widely read. It's a gorgeous, culturally valuable book, and it should be celebrated. So too, should Leben? Oder Theater? (Life? or Theatre?), an autobiographical series of paintings representing the graphic record of artist Charlotte Salomon's life.
The parallel is fair, because Jewish-German artist Salomon lived through Hitler's rise to power, and was captured and sent to Auschwitz, where she died the day she arrived. This chronicle of her life, which is comprised of 769 paintings created between 1941 and 1943, is one of the most important bodies of work in the 20th century, but much like the art of so many other female artists, it has been all but erased from history. If the folks in Tennessee have a problem with Maus, this collection of paintings, which includes illicit sex, murder, suicide, Nazis, and violence, many by a member of 'the fairer sex', would make their heads explode.
There have, since the release of the book Leben? Oder Theater? always been devoted and passionate devotees of Charlotte Salomon's work. A committed collection of such fans, including directors Eric Warin and Tahir Rana, producer Julia Rosenberg, and actors Marion Cotillard and Keira Knightley recently got together to created the animated feature film Charlotte, about Salomon's life and work. Charlotte is, above all, great storytelling, so hopefully it will bring wider appreciation to Salomon's art and life story.
As you may have surmised, Charlotte is decidedly adult animation. The film is a coming-of-age story about a young girl fully growing into adulthood, as Charlotte Salomon was only 26 when she died 5 months pregnant on October 10th, 1943.
As a young adult, Charlotte (voiced by Marion Cotillard in French version, and Keira Knightley in the English) discovered that, not only did her namesake and aunt commit suicide, so did her mother and grandmother, the latter of the two having done so before Charlotte's eyes. It was these experiences, and her fear that she too would die young, that drove her to embark on the project of painting the story of her own life. She painted over 1000 paintings between 1941 and 1943, all relating her experiences, and she expressed both joyous and tragic events with equal candor and insight. The animated feature retells what led her to create this visual chronicle of her life, from the relationships to family from childhood to young adulthood, to a first love that validated her art, to navigating the harsh realities of Nazi Germany and the occupied parts of France, and most of all, her ever-expanding understanding of herself and her place in the world. She tells her story with a staggering, sometimes even disturbing level of honesty.
Though there's a lot to love in the many ways the film Charlotte speaks the artist's truth, what is most poignant and inspiring is that optimism and appreciation for the beauty of life are central to its visual storytelling and theme. Even as some of the darkest moments of Charlotte's experience are happening, there are, for example, rays of sunshine, or the palette of Spring colors, or rich, bucolic landscapes juxtaposed against the subject matter in the scenes. That parallels Charlotte's own beliefs. Though she feared she'd succumb to the same depression so prevalent in the women in her family, she actively chose to see the beauty in life, no matter what was happening around her. She believed joy has more power than sadness.
To read the review in its entirety, go to AWFJ.org HERE.
Tags: AnimationAWFJ.orgCharlottecharlotte salomonCinema SirenEric WarinholocaustJulia RosenbergKeira KnightleyMarion CotillardTahir Rana
Previous Article32 Sounds SXSW AWFJ.org review
Next ArticleFantastic Beasts: The Secrets of Dumbledore AWFJ.org Review
Faya Dayi AWFJ.org review
GIFTED Review: Chris Evans brings charisma to this cliched yet cathartic indie
April 7, 2017 December 15, 2018