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text:
TINA: THE TINA TURNER MUSICAL | London, Aldwych Theatre
Musical Theatre review
REVIEW: Explosive new #TINATheMusical blows the roof off the theatre, with a standing/dancing ovation long before t… twitter.com/i/web/status/1…
The Prickle (@ThePrickle) June 27, 2018
The last big show at the Aldwych Theatre was incredibly similar, Beautiful: The Carole King Musical, and suffered from being too anodyne; neither true to life nor theatrical. But for all the formulaic similarities, this new jukebox musical about the rise (and fall, and rise) of Tina Turner is both true to life and intensely theatrical. With a killer set list that's "Simply The Best", the musical embraces the wretchedness of Turner's early life and the people around her, as well as her inner fire, Buddhism and ancestor worship.
Director Phyllida Lloyd (Mamma Mia!; The Iron Lady) puts most of the action on an empty stage (a large wooden platform), which allows the story to rocket along without set getting in the way. Psychedelic video designs (Jeff Sugg), realistic soundscapes (Nevin Steinberg) and a few gliding set pieces (Mark Thompson) fill in the blanks when necessary.
The empty stage also allows us to focus on Broadway's Adrienne Warren (Dreamgirls), who embodies the Nutbush singer's charisma and inimitable voice, in a remarkable performance. It is, however, a strange decision to cast such a young actress, when Turner is forty years old for most of the show. Perhaps even more remarkable is Kobna Holdbrook-Smith (Hamlet, with Benedict Cumberbatch) as abusive control-freak Ike Turner.
The book (Katori Hall, with Frank Ketelaar and Kees Prins) omits Turner's award-winning film career (The Who's Tommy; Mad Max: Beyond Thunderdome) and many other milestones, but makes room for a lengthy, dancing-in-the-aisles, mini Turner tribute concert finale. Like Beautiful, this latest West End jukebox bio-musical can seem a bit formulaic and commercial, but there's no denying it's a smash hit.
Sold out, but try the £15 ticket lottery.
Tagged diva, Ike Turner, jukebox musical, Mamma Mia, Nutbush, Phyllida Lloyd, rock 'n' roll, Simply The Best, sold out, Tina Turner
← DAISY PULLS IT OFF | London, Charing Cross Theatre
HOT MESS: TIMEOUT'S EYE OPENERS | London, The Coca-Cola London Eye →

redpajama_set_name: RedPajamaCommonCrawl


text:
Bin Fodder: C2E2 Panel Review – Avengers vs. X-Men
By Tim Blacksmith April 21, 2012 April 21, 2012 Comics, Con, Feature, Review
The Avengers vs. X-Men panel is completely packed, standing room only. I arrived about 10 minutes before the start because I had been covering the Womanthology panel which was right before it. A testament to the popularity of DC these days is that when my compatriots Brandon and Jesse tried to access the DC New 52 panel 10 minutes before the start it was closed due to capacity.
Sitting on the AvX panel is: former Marvel editor-in-chief Joe Quesada, current Marvel editor-in-chief Axel Alonso, senior VP of creative & creator development CB Cebulski, writer Jason Aaron, writer Rick Remender and artist Frank Cho – who showed up late.
Classic Side versus Side View
The discussion about Avengers vs. X-Men ranged over several topics expanding beyond just the comic itself.
They used it as a jumping off point to support their digital initiative which they have clearly heard the blowback about the ridiculousness of using a digital copy (as a standalone thing) to promote sales of the book. Marvel has grown the digital brand and within each digital book is special content you cannot acquire anywhere else; similar to DVD extras, etc. They're calling this ReEvolution.
This was intriguing.
Joe Quesada was a bit proponent of the digital technology and seemed to imply that Marvel would be making a big push in the future towards this market. Though he was always careful to say that local comic shops would always be the best place to get comics…right, sure.
The discussion of the AvX comic covered the main story, which they indicated that unlike previous crossovers would not require you to buy tie-in books to understand, and then proceeded to discuss Avengers vs. X-Men Versus. This is a battle-based-book accompaniment to the main storyline.
The panel talked a lot about how the Avengers and X-men teams had never been involved in the same storyline, to this extent, ever before. That all previous major Marvel Universe stories had always seen these two groups existing separately or not at all within that particular story.
Another point they made was that it was important for them to make sure each team's position in the "battle" was understandable to the readership; that neither side was right or wrong, just coming at it from a different perspective. This was why the idea had taken so long to come to fruition.
I don't necessarily agree that there needs to be such a broad perspective. Let characters be hated. If professional wrestling has taught us anything, and I like to think it has, it's that the heal always gets the fans. The Age of Apocalypse was one of the most popular series' ever, because the most evil character ever ruled the world.
Overall the panel was pretty good, better than I was expecting and I liked who they brought on, though the individual thoughts of each participant was overshadowed by the company speak that perpetuated most of the panel. I may actually read this title, which I wasn't originally planning on doing. It will be in trade form, to be sure, though.
This is your Bin Fodder Guru Tim Blacksmith signing off.
Tagged avengers, Axel Alonso, C2E2, c2e2 2012, CB Cebulski, comics, Con, Convention, Frank Cho, Jason Aaron, Joe Quesada, Marvel Comics, Panel, Rick Remender, X-Men.
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text:
Coppa Nevigata è un sito archeologico preistorico in Puglia, a sudovest di Manfredonia, sulle coste a sud del Gargano.

La frequentazione umana sul sito, situato ai margini della costa, con facile accesso al mare e numerose risorse naturali, risale al Neolitico, ossia intorno al 6000 a.C. Nell'età del Bronzo - intorno al 1750 a.C. - si sviluppa un insediamento notevole, che vanta anche contatti con la civiltà minoica: si praticava ampiamente l'estrazione della porpora dai murici e la spremitura delle olive, dimostrando così l'antichissima tradizione culturale legata all'olio d'oliva in Puglia. Alcune aree prossime alle fortificazioni e alla riva della laguna furono adibite ad attività collettive, connesse sia alla conservazione e al trattamento dei cereali, che all'estrazione della porpora; in seguito queste attività si spostarono all'interno dell'abitato. L'insediamento era provvisto di mura difensive in pietrame a secco.

Attualmente il sito è scavato periodicamente da una missione della Sapienza di Roma, sotto la direzione di Alberto Cazzella.

Bibliografia
 P. Boccuccia, Ricerche nell'area sud-orientale di Coppa Nevigata, in "Taras", 15 (1995), pp. 153-174
 S.M. Cassano, A. Cazzella, A. Manfredini, M. Moscoloni (a cura di), Coppa Nevigata e il suo territorio, Roma 1987
 A. Cazzella, L'insediamento di Coppa Nevigata fra tarda età del Bronzo ed età del Ferro, in "Archeologia Classica", 43 (1991), pp. 39-53
 A. Cazzella, La Puglia come area periferica del mondo miceneo: il caso di Coppa Nevigata, in "Atti del II Convegno Internazionale di Studi Micenei", Roma-Napoli 1996, pp. 1543-1549
 A. Cazzella, M. Moscoloni, La sequenza cronostratigrafica di Coppa Nevigata fra XVI e XIV secolo a.C., in "Rassegna di Archeologia", 10 (1992), pp. 533-543
 G. Siracusano, Le indagini archeozoologiche nel sito stratificato di Coppa Nevigata: una visione d'insieme, in "Origini", 15 (1992), pp. 201-217

Siti archeologici preistorici
Siti archeologici della provincia di Foggia
Storia della Daunia

redpajama_set_name: RedPajamaWikipedia


text:
Browns vs. Falcons: Why Cleveland Gets the W
Taking a look at three reasons to be feeling good for Sunday...
By Zach J Miller Nov 20, 2014, 9:23pm EST
Share All sharing options for: Browns vs. Falcons: Why Cleveland Gets the W
I hadn't been that excited for a Browns game in a long time, as I was for Sunday against the Texans. I had gone to Cincinnati for the Bengals beatdown. I guess I was still riding high from the energy in the stadium.
Then Sunday happened.
What a letdown. Not only was I excited for last week's game, I genuinely thought the Browns would win (easily, I might add). Obviously that wasn't the case, quite the contrary.
So here we are now. An opportunity to get a home win in November that was meaningful to playoff chances. That was a blown opportunity. But now the Browns hit the road with a very important away game. So let's take a look at why I'm feeling optimistic this week...
1. Clarification at RB
After weeks of instability at running back the Browns cut ties with Ben Tate this week.
Browns Waive RB Ben Tate
Zach J Miller
Cleveland adds some clarity to RB situation, waive Tate.
It's no secret that Tate was unhappy in Cleveland. His post-game comments after Sunday's loss to Houston all but said it.
When approached by the media Sunday, Tate said, "Why do you want to talk to me? I didn't play a down."
Clearly the Browns front office felt it was time to move on, waiving Tate on Tuesday. They'll now go forward with Isaiah Crowell and Terrance West in the backfield.
Listen, I'll be the first to state that I was really excited to see Tate sign with the Browns. I thought it was a good scheme fit, his opportunity to get out from Arian Foster's shadows, and a chance to be the lead back. However, clearly things got sour, fast.
But this is a good thing for the Browns. Sure, Tate may be a very talented back, but he'll be replaced by Crowell and West, both of whom are more than capable backs. Tate may be a talented back, however look at his numbers recently:
@JAX
@CIN
Now, in review of the above chart, it's easy to point the blame on Tate and his incredible decline, but that's not entirely fair. One can easily look at that chart and say "Week 6 is when Alex Mack got hurt." That's correct. And of course Mack's injury has completely altered the way the team runs the ball, let alone the entire offense.
But, the fact still remains true that Tate lacked explosion in recent weeks. I mean, Mack is great and everything, but Tate carries some burden for the lack of success.
What the coaching staff now has is two rookie backs who have shown a lot of promise. Instead of worrying about: Who should be getting touches? Is Ben Tate upset? Etc. They can now go forward with the two baby-backs.
Waiving Tate is a decisive move from the front office and coaching staff. One that will carry weight throughout the locker room. Ultimately it's a decision that I applaud, and expect to have a positive impact on this team going forward.
2. Atlanta's Defense
Statistically speaking, Atlanta has one of the worst defenses in the league. They rank 24th in rush defense, 32nd in pass defense, and 32nd overall. That's not very good, at all.
In their defense, we've seen the Browns not fare all that well against bad defenses, but this time it seems different.
The Falcons are giving up a league-worst 281.2 yards a game through the air. A large factor into giving up that many yards is they're giving up the 'big play'. The Falcons are one of only four teams in the entire NFL to give up double digit receptions of 40+ yards so far, allowing 11 of them. The Browns have established themselves as a run-first team, but they also love to take shots deep off of play-action. The Browns currently sit top-10 in both 20+ yard pass plays, and 40+ yard pass plays. They have 43 pass plays of 20+ yards, good for 4th in the NFL, and 8 receptions of 40+ yards, tied for 9th.
Clearly Atlanta has shown they are vulnerable through the air. Football Outsiders also ranks them as the worst total defense, and last in pass defense. So pretty much everyone agrees, they're struggling to stop people.
With the Browns relying so much on the pass last week, Hoyer's 50 attempts is far from his norm, I expect the Browns to come back to the mean. In the previous bullet I mentioned the clarity the Browns now have at running back, which I also think will carry over to the pass attack. I expect the Browns to get into a rhythm offensively by running the football and taking shots deep.
With the Falcons' susceptibility to large chunks of yards through the air, it sure is handy that the Browns will be getting back...
3. Josh Gordon
You didn't think that I'd get through this entire piece without mentioning Josh Gordon did you? If you did, something's up, go see a doctor.
Obviously this has been the talk of the town this week year. And rightfully so. The Browns are getting one of the most dynamic playmakers in the NFL back for a stretch-run. That's undeniably huge, especially given their lack of weapons presently.
I've already covered how spotty the Atlanta secondary can be, but what adds insult to injury (literally), is the fact that Robert Alford suffered a broken wrist last week and will be out against the Browns. So how the Browns matchup offensively against the Falcons certainly favors the Browns, at least through the air.
Getting Gordon back is a huge boost to the receiving core. With Jordan Cameron still sidelined with a concussion, and who knows at this point if he'll return this year, Gordon's return couldn't have come at a better time. I've been incredibly impressed with the receiving core, one in which I didn't have a ton of faith in at the start of the year. However, Andrew Hawkins, Miles Austin and certainly Taylor Gabriel have all proven to be adequate thus far. Throw Gordon into the mix and suddenly this looks like a pretty solid receiving core.
I'm not expecting Josh Gordon to come back and do what he did in his debut last season, 10 catches, 146 yards and a touchdown. But, that's not out of the realm of possibility. I think Pettine saying they're going to ease him in is a bunch of bull. I expect him out there for snap one with the offense, and if not then, I'd be shocked if he's not out there for snap two. Does that mean he'll play every down? Of course not. But I expect Gordon to get looks early and often Sunday, and to put up a big game.
I've listed my three reasons that I feel optimistic above. I think they all piggy-back off of each other. I am confident in the Browns ability to head south and get a win, but there's reason for concern as well.
The injuries along the defensive line, and the injuries to Jabaal Sheard and Karlos Dansby are contributors to my nervousness. However, the good outweigh the bad for me this week.
My excitement level for Josh Gordon's return is through the roof. My excitement level is also through the roof to see how this team responds to the dud from last week, as well as their matchup against a weak secondary.
Why are you optimistic for Sunday?
Cleveland Browns vs. Atlanta Falcons - Week 12 Coverage
Pokorny's Game Review: Browns vs. Falcons
Browns vs. Falcons: 5 Questions w/ the Enemy
Weekly Browns Mock Draft: Trade up edition A strong move to get a top flight receiver for Cleveland this week
Senior Bowl Diary: Tuesday Many blue chip players displayed their talent for coaches and scouts


Today is a bead posting day, with part of the afternoon spent in the studio. I'm not going to do too much. It's almost crunch time, with my first show in years coming up in November. I'm doing Taos Folk at the Stables Gallery here in Taos, which I'm really looking forward to. It just means I have to make a lot of beads in these next few weeks. I think I can do it. I have to do it.
And tomorrow we're going to Santa Fe to look for a car for me. Rick bought his little Toyota truck back from the friend we sold it to before we went on our trip. He's happy to have it back, and I'll be happy to trade the BAT (BigAssTruck) in on something smaller, for me.
Busy times. Feel it? I know it's like this for a lot of people right now. Maybe I should be taking the rest of today off to... rest. There's a lot of activity swirling around in my little world. Might be wise to pause, take a breath, say Yay Me for all I've done so far this year, and try to go into this next round with grace and balance. Yes. Good idea.
Happy Labor Day to all the hard workers out there. Yay you! Take good care of yourselves. You make the world go 'round.
I have a bag I fondly refer to as my "Frida bag", that someone made and I purchased off of Ebay years ago. The same picture and all :)! I *love* the one you made! We were working for Labor Day, cleaning out our camper and getting ready to go back to school and work. I didn't get to create anything beautiful like you, but I do have clean towels and three excited kids lol.
For hating sewing I think you made an adorable bag!
Your bag is darling. Good job!


When the battalion's craggy, squint Kanterovitch had popped into the room seeking volunteers for the exercise, my two Russian roommates had quickly copped him a sufficiently withering attitude. Someone else's officer did his duty and claimed he needed him. I, however, was free. Of course, during the subsequent exercise briefing, delivered by a woman soldier in that rapid and humorless style designed to deflate and deflect any desire for anything, Kanterovitch himself had begged off, "to drink a coffee." Which in the army is about as good an excuse as any.
The makeshift briefing room had until only months ago been the military courthouse for Hebron. I had discovered it a few chilly nights before. There was no need for a flashlight — the abandoned room's overhead flourescents were on constantly — indeed the only hindrance to my investigation was the lack of a heater. Across the judge's raised table lay strewn crumpled empty soft drink cans and laserprinted transcripts; although the trials had taken place as recently as September 2000, the documents seemed to come from a bygone era. They told of men incarcerated for 5 to 8 months for attacking soldiers and their lawyers going through the motions of pleading that they were first-time offenders and hadn't meant much harm.
I peered around into the big and empty adjoining room's uneven formaica floor. On the wall was a notice in Hebrew and Arabic. "Shmor al-ha-Sheket", read the Hebrew — literally, "Preserve the Quiet"; quite respectful, and even a political plea. A corridor led to two cell-like waiting rooms where the peach walls were covered in Arabic graffiti, punctuated here and there with drawings of AK-47 rifles and illustrated with a crude map of what the artist would call Palestine. A built-in bench ran around each room's walls. One had a toilet behind a wall; there was no need though it seems for an accompanying handbasin.
That I knew. I also knew that my need to hear it from someone else pointed to a lack of resolve. There are many ways to get out of the army. I know people who have threatened suicide, others who have paid a private psychologist to diagnose them as emotionally unfit to serve. Marianne, my beautiful half-German, half-Indian Israeli friend who had very much enjoyed her own 2-year army service, reminded me that I was a Scotsman, that I should stand up to them and simply not do it. What about freedom? Didn't I remember the movie Braveheart?
After an abortive middle-of-the-night visit to Ichilov Hospital in a lame attempt to have a limb declared injured, I made my way resignedly down to the base. On the last leg of the trip, riding an army-chartered bus through the lovely landscape of the national park near Kiryat Gat, I met Itai. A handsome upstanding Israeli, he was back from a couple of years travelling in India and smiling radiantly. "I've seen a lot of things now and I'm not going to point a gun at anybody," he explained matter-of-factly. "I'll help out in some other way but I'm not going to use a weapon." Itai was beyond steadfast; he was enviably serene, a ripe candidate for the mental health officer.
So I returned to Tel Aviv, not released, just a deserter. Within a couple of days I started getting calls from the unit, and back down to the base I went, on the condition that they let me see a doctor first thing. Which they did. I sat on a bench outside his office rehearsing my story, trying to make my situation a little worse than it was. But he wouldn't pass me along to the mental health officer as I requested, and instead brought in the battalion commander, who was having none of it. Indeed, seeing all the fellows there getting on with their business, and being unable to spin a wild fabrication, I lost my resolve, just as I had suspected I would once I got there, and with just a little bit of anger remaining I embraced my own imprisonment and accepted my usual lot: washing bathrooms and pots. As I changed from my own suddenly dear clothes into the prisoner pyjamas of an army uniform, I ruminated that at other times in other countries I would have been one of the majority: insufficiently wilful, decisive, resourceful, clear-thinking, in love with life to escape one way or another; then too I would have agonized after receiving my papers then meekly shown up to do my duty. But with the familiar smells and pockets — whoever has you as an 18-year-old, has you — I forgot these dark thoughts and grew embarrassed about the minor fuss I'd made. "Yes, they paralyze your nerves, pretend they need you," Barak admonished by phone. But I had already slipped back under the system that I hated and kept resolving never to reenter.
Despite the Biblical truth that toil is our punishment for disobedience, for me it's more likely the result of obeying. Day after day I worked in the kitchen, washing dishes, pots, floors, garbage cans and more dishes. I was often teamed up with Pavel, a huge Russian nurse with smooth skin, particularly yellow teeth, and posture so bad as to suggest brewing insanity. Punch drunk in the middle of an extended dishwashing session, he repeatedly exclaimed in English: "Simply fuckingly!" — grammar he found very amusing. Practically all the Russians in the battalion were studying English. Apart from Pavel, though, who seemed to like the language itself, English seemed mainly a means to another language — C++ — and a job at Intel.
During our breaks we stood smoking on the steps outside the kitchen. Pavel considered my enrapture with the landscape around us to be almost criminally misguided. "Ba-ba-ba-ba-ba," he would say, firing an imaginary rifle in the general direction of the adjacent farm. The Arabs are the enemy, he tried to explain to me. I knew that, but it didn't make the scene any less picturesque. Over a span of days, the farmer and his donkey were gradually ploughing some dozen fields, his regular "Heh!" punctuating the valley. I called my sister, who lives in a Tel Aviv suburb, to tell her about the farmer and the donkey, trying to paint her a pretty picture. She was horrified. "No, I don't want to hear it," she exclaimed; I forgot she abominates the use of animals for their labor. As the days passed I spied more of the farmer's family, with children rambling about and a couple of women bent over in the fields harvesting. One morning I saw the man with the donkey shouting at another small figure — his grown son or nephew I guessed — then shoving him about. While their daily routine was infinitely more pleasant than ours in the kitchen, being outdoors and on their own land, it was nonetheless also a curtailment. They too had their drudgery, albeit due not to a giant, perhaps evil, semi-blind system that had picked them up and plunked them down, but to the lack of one.
Every few days the supply truck arrived and we had to cease the mission of the moment and go unload stacks of desserts, fruit, frozen chicken breasts, vegetables, Shoprite spaghetti and other fine supplies. It was invigorating, being part of a human chain that extended not just into these pantries and walk-in refrigerators but back out from the truck driver every step of the way into civilian life — perhaps even to farms like the one next to us. In her autobiography, Margaret Thatcher mythologizes that it was by seeing goods entering her father's grocery shop from around the world and finding their way to whoever wanted them that she became awed by the system of free enterprise. Though in the army there's no metaphysically beautiful invisible hand of demand and supply — there's merely demand; static, bureaucratic and controlled — the sheer scale of co-operation is itself impressive. Out in the world we manage each in our own way to get lunch, but soldiers are helpless in that sense and the organization must take care to feed them. Which it amazingly does, in pretty much the same way every day for tens of thousands of people stretching back into past decades, into the foreseeable future, and across the country. And always on the same damn plastic plates that it was my turn to wash.
One day after lunch I couldn't get started with my stacks of dirty dishes and cutlery because, as I was told, the water truck was late. With the local land obviously none too short of water, policy was nonetheless to truck it in. For the strange little village that is the Adorayim army base, the natural surroundings were less mother than lethally unruly adolescent. This army base, this village, is motherless — though it does have a family: a nation-state for a father and another larger one as a grandfather, as the row of parked Humvees and Korean War ambulances attested.
One of the cooks, Yehuda, was Black, and when everybody's usual questions of ethnic and national origins came up, he told me he was from Ethiopia. Which was a sensible enough answer since Ethiopians constitute one of Israel's great immigrations. But I was nonetheless surprised. "Did you think I was American?" he asked, wide-eyed. "No, not American, just, well, Israeli," I replied, my theory of spontaneous negrification marking me an idiot. It was because his gold necklace was heavy, his posture in moments of fatigue at the stove too weary. Indeed, as I've noticed since then on Egged buses, Ethiopian Israelis' clothes, style and manner of speech are becoming, unlike African-Americans, more like African Britons': indistinguishable from the majority's. But this social good comes with a cost: gone is a deft, birdlike carriage that speaks of happiness and an incorrigible generosity.
Well, perhaps not entirely gone. I was at the pots and Yehuda came to speed things up one evening. Taking the hose, he established a second washing station on the floor. He didn't crouch, the ground simply became a working surface. "Now I can definitely see you're not American," I said to him. "Americans don't know how to use the floor." Would he take this as an insult? No, he smiled and seemed pleased.
He called in the other two cooks — he was, it turned out, the most senior — and we started a chain of dishes and pots. There was yelling and spray and I raced to keep up. One can enjoy, briefly, the company of men. Then, after the kitchen was done, Yehuda asked me if I had anything to smoke or drink. As I stepped out into the night he wrestled with his skepticism, but I returned from Islay to the cooks' room with a bottle of whisky. A big nargilah pipe appeared from behind their cracked black faux-leather sofa, as did a couple of large cardboard boxes filled with treat rations that had not quite reached their bureaucratically-intended destinations (we belonged to a tank unit, by the way). Pavel, who claimed he didn't drink, had some sips that were simply fuckingly good. In the nargila burnt sweet apple tobacco. There were pears from the kitchen. Yehuda put a film in the VCR. It was Braveheart .


text:
import unittest
import os
from ffmpeg_cli import FFmpegCLI

_path = os.path.dirname(os.path.realpath(__file__))

class FFmpegCLITestCase(unittest.TestCase):
    def setUp(self):
        self.test_img1_path = os.path.join(_path, 'mq_video-short-doom-4.jpg')
        self.test_video1_path = os.path.join(_path, 'mq_video-short-doom-4.mp4')
        self.cli = FFmpegCLI()

    def test_is_available(self):
        self.cli.is_available(lambda result: self.assertTrue(result))

    def test_version(self):
        self.cli.version(lambda code, out, err: self.assertEqual(code, 0))

    def test_take_screenshot(self):
        if os.path.exists(self.test_img1_path):
            os.remove(self.test_img1_path)

        def _assert_screenshot_taken(code, out, err):
            self.assertTrue(code == 0)
            self.assertTrue(os.path.exists(self.test_img1_path))
            os.remove(self.test_img1_path)

        self.cli.take_screenshot(self.test_video1_path, 5, self.test_img1_path, _assert_screenshot_taken)

    def test_ffprobe_get_info(self):
        def _assert_get_info(code, out, err):
            self.assertTrue(code == 0)
            self.assertEqual(err.index('ffprobe version'), 0)
            # print(out)

        self.cli.get_info(self.test_video1_path, _assert_get_info, trim_ffprobe_info=False)

        def _assert_get_info_trimmed(code, out, err):
            self.assertTrue(code == 0)
            print(err)
            self.assertFalse('ffprobe version' in err)
            self.assertEqual(err.index('Input #0'), 0)
            # print(out)

        self.cli.get_info(self.test_video1_path, _assert_get_info_trimmed)

if __name__ == "__main__":
    unittest.main()

redpajama_set_name: RedPajamaGithub


Come on down to Bay City Brewing on March 28th for a celebration after Opening Day. We'll have food, a raffle for charity, and friends! Included in this pod is a clip from the hang we had a last year. Things are better!


text:
Hawarden Old Castle () is a Grade I listed medieval castle near Hawarden, Flintshire, Wales.

The castle's origins are indeterminate and the oldest fortifications on this site may date back to the Iron Age, later being used as a Norman Motte-and-bailey castle which was reportedly destroyed and replaced in a short period during the 13th century.

The castle played an important role during the Welsh struggle for independence in the 13th century. At Easter 1282, Dafydd ap Gruffudd attacked Hawarden Castle, thereby starting the final Welsh conflict with Norman England, in the course of which Welsh independence was lost. King Edward I's sense of outrage was such that he designed a punishment for Dafydd harsher than any previous form of capital punishment; Dafydd was hanged, drawn, and quartered in Shrewsbury in October 1283.

A sense at the wider outrage caused by Dafydd's attack being made at Easter can be read in the account of the Chronicle of Lanercost;

". . . the Welsh nation, unable to pass their lives in peace, broke over their borders on Palm Sunday, carrying fire and sword among the people engaged in procession, and even laid siege [to some places – probably referring to Flint and Rhuddlan]; whose Prince Llywelyn, deceived (more's the pity) by the advice of his brother David, fiercely attacked his lord the King; as we read written about Christ, 'him whom I loved most hath set himself against me.'"

In 1294 the castle was captured during the revolt of Madog ap Llywelyn.

After the English Civil War in the 17th century the castle was slighted on the orders of Oliver Cromwell.  Its ruins are on the New Hawarden Castle estate and are open to the public on some Sundays, typically the second and fourth Sundays in summertime.

References

 Alan Reid, The Castles of Wales (Letts Guides, 1973).

External links
 Visitor Information: Hawarden

Castles in Flintshire
Castle ruins in Wales
Grade I listed castles in Wales
Grade I listed buildings in Flintshire
Grade I listed ruins in Wales
Scheduled monuments in Flintshire


INUVIK, Northwest Territo ries, Canada—For 10 days in March, seismic‐survey work in the vicinity of Old Crow, in the northern Yukon, was halted be cause a federal forest manage ment officer felt that the work was causing undue damage to the environment.
The company then agreed to do its blasting and measuring of underground reverberations in such a way as to minimize damage to land, lakes and wild life, especially the fur‐bearing muskrat.
"They squawked and hollered for 10 days and went back to work the way they should have," said Wilf C. Taylor, the homespun officer who cracked down.
The Government has chosen not to announce this environ ment‐protection action, the first of its kind in Canada, to spare the company embarrassment. As for the lesson other companies might learn, "the word gets around," an Ottawa offi cial said.
Mr. Taylor's action was but one manifestation of Canada's concern for protecting the Far North—the Yukon and North west Territories, especially above the treeline — from the possible scars and ecological disruptions of oil and minerals development.
Elsewhere in Canada, such matters are subject to provin cial jurisdiction but are less troublesome than in the North because in warmer climes na ture heals herself more rapidly.
Legislation to regulate the use of, and reduce pollution of use of, and reduce pollution of, pending in Parliament.
Ottawa technicians are writ ing regulations that will govern where oil companies and seis mic crews may work in the Arctic this summer. Areas most susceptible to being torn up will be put off limits.
The thin, delicate layer of vegetation on the tundra—thie yast, empty lands above the treeline — serves as insulation.
If broken, thawing of the permafrost—peremanently fro zen subsoil—and erosion may result. The land still bears scars of bulldozers and cat‐trains that were used recklessly years ago.
The oil companies' middle level field managers know that their head offices have prom ised to minimize disturbance to the environment. But they also know their companies' time tables in the hot competition to find Arctic oil, and the habit of meeting such targets is deeply ingrained.
Perhaps encouraged by pipe line advocates, there is much talk in Canada, north and south, about the threat of pol lution if supertankers are per mitted to carry crude oil from Alaska to the United States East Coast through the ice choked Northwest Passage.
Millions of birds nest along the Eastern shores of Baffin Is land, facing the waters the tankers would use, according to John S. Tener, director of the Canadian Wildlife Service.
Events such as the 1967 wreck of the tanker Torrey Canyon off England had shown that seabirds tend to alight on oil slicks and that the oil is invariably fatal to them. Clean ing up crude oil spilled on very cold water has proven to be extremely difficult.
To avert such pollution, Canada last week asserted jurisdiction over shipping within 100 miles of the Arctic archapelago. Washing ton promptly disputed the claim.
In fact, the Arctic waters problem may be years away.


text:
//----------------------------------------------------------------------------
// Copyright (C) 2003  Rafael H. Bordini, Jomi F. Hubner, et al.
//
// This library is free software; you can redistribute it and/or
// modify it under the terms of the GNU Lesser General Public
// License as published by the Free Software Foundation; either
// version 2.1 of the License, or (at your option) any later version.
//
// This library is distributed in the hope that it will be useful,
// but WITHOUT ANY WARRANTY; without even the implied warranty of
// MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.  See the GNU
// Lesser General Public License for more details.
//
// You should have received a copy of the GNU Lesser General Public
// License along with this library; if not, write to the Free Software
// Foundation, Inc., 59 Temple Place, Suite 330, Boston, MA  02111-1307  USA
//
// To contact the authors:
// http://www.inf.ufrgs.br/~bordini
// http://www.das.ufsc.br/~jomi
//
//----------------------------------------------------------------------------

package jason.stdlib;

import jason.asSemantics.DefaultInternalAction;
import jason.asSemantics.TransitionSystem;
import jason.asSemantics.Unifier;
import jason.asSyntax.Term;
import jason.asSyntax.StringTerm;

/**

Internal action: .kill_agent.

Description: kills the agent whose name is given as parameter. This is a
     provisional internal action to be used while more adequate mechanisms for
     creating and killing agents are being developed. In particular, note that
     an agent can kill any other agent, without any consideration on
     permissions, etc.! It is the programmers' responsibility to use this
     action.

Parameters:

+ name (atom or string): the name of the agent to be killed.

Example:

 .kill_agent(bob): kills the agent named bob.

  @see jason.stdlib.create_agent
  @see jason.stdlib.stopMAS
  @see jason.runtime.RuntimeServicesInfraTier

*/
public class kill_agent extends DefaultInternalAction {

    @Override public int getMinArgs() { return 1; }
    @Override public int getMaxArgs() { return 1; }

    @Override
	public Object execute(TransitionSystem ts, Unifier un, Term[] args) throws Exception {
        checkArguments(args);
        String name;
        if (args[0].isString())
            name = ((StringTerm)args[0]).getString();
        else
            name = args[0].toString();
        return ts.getUserAgArch().getRuntimeServices().killAgent(name, ts.getUserAgArch().getAgName());
	}
}


text:
The Hungarian Parliament Building in Budapest, Hungary.
picture by: Daniel Olah
Nature and Privation in Three Romani Poets
Noemi Elliott
The "Gypsy question" rose to prominence following Hungary's defeat in the Second World War and the establishment of the Hungarian People's Republic.
Historically a travelling ethnic group without a homeland, Hungarian Roma had spent centuries on the periphery of society. Official reports documented the Roma as "avoiding work and living a vagrant lifestyle," thereby validating in the eyes of party figures their harsh treatment.1 The identification of the Roma as "vagrant" was commonplace in many official documents.2
In 1959 reports estimated that the Roma population stood between 150,000 and 200,000. This population was categorized as follows: settled Roma; Roma dwelling on the outskirts of cities and villages; partially settled Roma; and nomadic Roma. According to Sándor Vendégh, the head of the Nationalities Department of the Ministry of Culture, the latter two groups constituted 80% of the Roma population.3 As only 20% of the population corresponded with the official perception of the ideal Roma, questions were raised as to what to do with the remainder.
On 21 June, 1961 a motion entitled "various tasks related to the improvement of the Gypsy populace" was passed by the Central Committee of the Hungarian Socialist Workers Party, which "laid the foundation for the single-party state's policy of forced assimilation."4 In terms of education and employment, records from the National Archives of Hungary showed that the latter two groups were believed to constitute a burden on society due to their "inability" to retain higher levels of education and adopt Hungarian culture.
Therefore, Hungarian officials wanted the Roma to be dispersed among the non-Roma population and work under an official employment framework.5 Specifically, the Political Committee noted: "Employment and settlement have a defining role in the evolution of the situation of the Gypsy population. The creation of these two prerequisites still meets many obstacles."6
Despite the will of high-level officials (though consistent with the pessimism of the Political Committee), conflicts arose between local councils, the interests of the non-Roma population, and leaders in Budapest. By the 1980s, it had become clear that complete assimilation was not possible. Nevertheless, the question of settlement remained a fundamental one for the Roma across the second half of the 20th century. The forced transition from itinerance to settlement also saw pushback from Hungarian educational institutions, town councils, and companies, and Roma who accepted government edicts often faced animus from local Hungarians in their destination communities.7
Several generations of postwar Roma poets developed their artistic sensibilities against this challenging sociopolitical backdrop. Those who came of age shortly after the end of the war endured fascist persecution as children and socialist party pressures as adults. The generation born after the war was raised amidst the turmoil of social transformation, evolving governmental edicts, and the challenges of dwelling among often unwelcoming ethnic Hungarians. The poetry of these postwar Roma poets reflects these challenges.
This article focuses on the work of three such poets: Jozsef Choli Daróczi (b. 1939), Karoly Bari (b. 1952), and Gusztáv Nagy (b. 1953). While their work is variegated and wide-ranging, it also evinces commonalities — one example is the poets' exploration of contemporary and historical Roma lifeways through the lens of nature. This article considers this lens comparatively, beginning with the work of Nagy, the youngest and least known of the three poets, followed by the work of Bari and the contrasting worldviews between his and Nagy's narrators. Finally, the article turns to Daróczi to demonstrate that important themes in contemporary Roma poetry date back to the older generation. While all three poets are well known in Hungary — especially Daróczi and Bari — each deserves greater attention among anglophone readers. Hopefully, this article can contribute to fostering this attention, expanding even further the reach of a poetry reflective of the cultural and political experiences of the Roma people — and inseparably connected to the natural world.
Gusztáv Nagy
Born into a family of eight children and raised by his uncle, Gusztáv Nagy's childhood encompassed the lifestyles of both pre- and post-World War II Roma: travelling in the summer and remaining stationary in the winter. Summertime movement encouraged both familiarity with surrounding nature and interactions with other Roma families, playing an integral role in shaping Nagy's perspective as a poet. In interviews, Nagy recalls riding in horse-drawn carriages and knowing "every tree and bush along the way" and how villagers "not only welcomed but were waiting for us[…]. When we met with different Roma groups, I heard and learned a lot from them."8 This childhood familiarity with both natural and human worlds is reflected in the prophetic tone of his poem "Repeating Prophecy," a symbolic reenactment of the forced assimilation imposed upon the Roma after World War II.
Repeating Prophecy
Like a wounded, falling bird
losing direction, powerlessly
you are stumbling,
to destroy you comes the greyhound,
you can't escape, neither right nor left,
even the road's center is closed as
the person who will be searching for you
will know that innocent blood has spilt on the wall,
because in this country,
the purebred pack
is incited against your blood.
Halfway to Neverland
We are three sisters: seventeen, fourteen, and seven.
by Noemi Elliott
In "Repeating Prophecy" the vulnerable position of the Hungarian Roma vis-à-vis the wider population is depicted through the predator/prey relationship. A bird flees from a pack of bloodthirsty hounds, but having lost the power of flight, it cannot escape their pursuit as the paths toward independence are closed off.
The bird might symbolize the Roma's former freedom and their unshackled lives amongst nature — potentially contrasted with the restraints imposed by mid 20th-century Hungarian law. The connotation of the adjective "wounded" is twofold: the seeming inescapability of privation for the Roma and their "tainted" blood.
The latter contrasts sharply with the blood of the pack, described as "purebred;" there is an obvious racialized undertone in the contrast between these two adjectives, suggestive of how the Roma were considered by some to have darker skin than their Hungarian counterparts.9 "Purebred" could therefore also allude to Hungarian identitarian nationalism.
This impinges on the question of who the hounds are. In light of the long, fraught history of the "Roma question" in 20th-century Hungary, the hounds might represent Hungarian officials standing in the way of equality between Roma and non-Roma, exemplified by 21st-century anti-Roma legislation. Still, the emphasis on pure breeding within the poem suggests a wider reading and a focus on identity-based, as opposed to solely legislative, oppression.
The "prophecy" of the poem's title reflects how oppression of the Roma is both historical fact and future inevitability. Packs of dogs chasing a wounded bird is nothing new, culturally; genocides have occurred across history. Although the Roma may be "stumbling" and looking for a better path, each road toward opportunity is "closed." This cycle will persist for as long as one group arrogates superiority to itself; "innocent blood" will continue to be spilt. The bird is "unsavable" and readers must watch as the prophecy plays out, co-opted by the narrator's tone of passivity and acceptance.
By contrast to the explicitly violent imagery in "Repeating Prophecy," the obstacles to assimilation in Nagy's "My Christmas Tree" are subtler. Whereas in "Prophecy," ravening hounds embody anti-Roma elements in Hungarian society, in "My Christmas Tree" the eponymous decoration carries the hopes — and eventual disappointment — of the speaker and the Roma.
My Christmas Tree
didn't have any decorations
and underneath there weren't
any gifts.
My Christmas tree was decorated
by empty stares
and many, many memories
that were speaking without words,
yet were valuable to me.
There was an apple on the tree,
my father put walnuts on the tree,
and my mom kept busy and
laughed happily.
My tree reached the sky,
underneath silence and desire lay,
nothing became better,
and eventually, the Christmas tree needles fell.
"My Christmas Tree" comprises two perspectives on the Roma's future. Almost like a shortened sonnet, the poem has a volta, or shift in tone, after the first eight lines. At this point, the tone turns from the optimism of its opening to the despondency of its final four lines. Despite the poverty of his family, suggested by the lack of presents and decorations, the speaker emphasizes the happiness that surrounded this childhood tree. The lack of physical, material presents is overshadowed by the joyful act of the father's placing of walnuts and apples on the tree. The tree and its simple decorations belong to the natural world, another reference to Roma people's origins as travellers: the narrator's family is bound by and connected through their historic roots. "Happily," the final word of the first section, captures the family's joy despite their poverty and might suggest that the future the author envisions for the Roma involves communities who "value" and take pride in their history.
On the other hand, the final four lines are drowned in hopelessness. Desires and dreams reach as far as the sky — they are of mythical dimensions — yet "nothing became better." This points to how, throughout history, Hungarian Roma have been promised things — better living conditions, employment, education — yet those in positions of power have failed to follow through. The tree is a culmination of all these promises, from hundreds of years ago until today, and, as each year passes, more needles fall to the ground and become brittle and brown. As this idea is placed at the end of the poem, it overshadows the optimism of the first two-thirds; it rejects the bliss and inserts instead the bitter knowledge that conditions of oppression will persist.
In both of these poems by Nagy, the latter written with an intimate, first-person point of view, and the former written from an outsider, third-person perspective, we are able to discern an interest in addressing the Roma's position in society through the use of imagery from the natural world. "Repeating Prophecy" suggests that Roma will remain prey, living on the fringes of society, while "My Christmas Tree" shows that their historic roots are a central source of solace amidst the discrimination that follows them generation after generation.
Károly Bari
Born fifth into a family of seven children, Károly Bari published his first book of poetry, Holtak arca fölé (Over the Face of the Dead, 1971), at age seventeen, for which he was proclaimed an "oracle boy" by poet Sándor Csoóri.
Many historians consider Bari one of the most important figures in the formation of a Romani literary canon. He continued publishing poems in the '70s and '80s, alongside translations and compilations of traditionally oral Roma folklore. One of the few Roma poets who has been translated into English, Bari's writing often engages with human suffering — as it does in "Mumbling," where themes of environment and solitude come into play.
As if nothing had happened
my heart keeps working: a sunburnt day-laboring kid
of loneliness, lanced
by arrows, of veins, until death, amen, flame-antlered roosters,
letters scribbled with their curses, the frostbitten dawns arrive,
a desolate golden sphere hung on them
like a seal:
its mighty rays could raid my face, petrify me into gold
if it noticed me, but a fluffy frost has smudged
my flowerless window, no one can see inside,
not even autumn frozen on its hoary throne, in vain
does it scrape with nails screeching like foxes,
a gypsy girl, legs blue of cold, chases a bony horse,
the fog-scented forest rumbles from her whip,
wild coarse-throated birds shriek with fear,
the iron needles of her lashes glow from her fire-lit eyes,
her unwithering dowry:
her rosemary branch of evergreen poverty
doesn't lure anyone, the creaking gypsy carts
in search for wives, avoid her,
it's fall, autumn again, only frosted mornings come
our way, tall ebony-feathered nights,
young beggars, I sit on the floor of my room
sounding my copper plates,
sadly mumbling
my poems.
"Mumbling" depicts contemporary Roma existence using images of nature's cruelty. The sun ("desolate golden sphere;" "rays") and night ("tall, ebony-feathered nights") are commonly depicted on opposite poles of a spectrum — love and warmth on one end; cold and misery on the other — yet as the sun does not "notice" him, the speaker's existence in daylight is enveloped by night's frost. Even dawn, the cusp at which night becomes day, cannot save him: the hope and opportunities which coincide with the birth of a new day are overshadowed by the despair and suffering the cold creates — suffering which evokes a lack of proper housing and destitution.
The motif of bitter frost continues with the description of the Roma girl with "legs blue of cold," which exemplifies one of the many attributes of housing poverty: cold leading to sickness.
The branch of "evergreen poverty" this girl holds is yet another reference to the natural world. The "evergreen" branch remains in the same state as one year flows into the next, for this hardship is a cycle. Similar to Nagy's "Repeating Prophecy" depicting contemporary Roma living and social conditions in Hungary as eternal, this poem suggests that the speaker's life — and the life of the Roma people by extension — is a cycle of endless autumns.
Above all, the poem speaks of the misery caused by isolation. Each character — the narrator and the girl — is alone and unable to find companionship in another. This theme of loneliness is apparent across many of Bari's poems, particularly feelings of disconnection between him and his family. "Mother," "Requiem," and "The Screams of Violins" all depict children abandoning their mothers and looking for a better future. This migration and attempted escape from poverty are only achieved by separating oneself from one's origins, both familial and ethnic, for the opportunity to find someplace better. It is apparent through the final lines of "Mumbling" that the Roma girl and the narrator's inability to change is the ultimate cause of their suffering.
Villány, Hungarian wine country.
picture by: Dori Bano
While "Mumbling" is a more modern depiction of suffering and isolation, Bari's "Christmas" situates its narrator amidst war, and given the date of the author's birth, perhaps even World War II. As in Nagy's "My Christmas Tree," the celebration of a holiday is the backdrop of the poem; unlike in Nagy's version, however, this depiction of Christmas focuses on the cruel world experienced by the speaker's mother.
On a ragged straw mat, my mother
pulls the night to her throat like a quilt,
uselessly. Dreams argue with her dense lashes.
She can't sleep. No matter how.
Tulip soldiers from the garden barracks
are luring out the girls and calling for her.
They visit her in sleep to tell her news
that makes the whole world shiver:
The cold, even the cloud tripping wind itself,
is warmed by the breath of birds.
Shepherds rap moonlight on her window
and call my mother out under snow-rusty pines
and they weep.
The frost which locks the mucky huts of frogs,
frozen to green cakes, opens up its creaking rooms
to their rime-enameled tears.
Jesus is born, Savior of our world.
Behind the altars of his blood-red lips
candle teeth flicker.
Above his body chosen for the cross
time twangs the barbed wires of the cold
Oh, mother, dear mother, queen among shepherds,
don't let him freeze. Yank under the gallows,
into the consuming fire, the hags with crow-caw brows
and the shivering trees. Burn both to ashes.
Sing black lullabies to Jesus.
Fear shall twist your tongue into hymn smoke,
for you know all too well:
we have scattered the thorns of our sins all over his path.
In "Christmas," nature imagery is used in the jarring juxtaposition of domestic comforts with war. The poem begins by depicting a restless mother unable to hide from the cold that thwarts her sleep. Like the renewal associated with Christmas, dreams are a land of hope and fulfilment. However, both the oxymoronic "tulip soldiers" of the mother's nightmare and the cold hold her back from reaching this restful state. These images of nature interfering with comfort are reminiscent of those used to depict the narrator's suffering in "Mumbling."
The second half of the poem contains imagery evocative of the concentration camps many Roma were sent to during World War II. From the "barbed wires" to "consuming fire," the imagery evokes pain, privation, and suffering. Fear twists the mother's tongue, with its hymns and prayers, into "smoke" suggesting simultaneously the priest's censer and the burning of bodies. Here the sorrow of Jesus' Passion exists alongside the wonder of his birth, and all the associated imagery oscillates from dark to light, participating in the "black lullabies" sung by the mother to the Christ Child.
Similar to Nagy's poems, the pessimism surrounding the Roma's future is here evident. While Nagy's narrator experiences some happy moments with his family, Bari's narrator has only the nightmare of his mother's pain and loss. Ultimately, the characters in Bari's poem are at war with their surroundings — human, natural, and spiritual — and they both reshape these surroundings and are reshaped by them in a cycle of pain and loss.
József Choli Daróczi
Writer, poet, translator, journalist, educator, and political activist József Choli Daróczi's numerous novels and poems have been published in both Romani and Hungarian; he was the first to translate the first part of the New Testament into Romani.12 When he passed away in 2018, he was remembered as an important figure in the development and preservation of the Lovari dialect of Romani in Hungary.13 Daróczi's "Song" uses the symbols of nature from the narrator's surroundings to foresee the Roma's future in Hungary.
Masks, Russia's silent rebellion
The need to preserve the feeling of normalcy is a psychological and social factor stronger than any death toll statistics shown on television
by Eva Smolokovskaya
The sky above me was never blue,
smoke always covered the sun.
The stars above me not shining:
my father lived next to a cemetery.
The roads weren't travelled before me:
every step is the first, mine.
The meadows in front of me are not green,
as I am the meadow, the rich soil.
I learned to pray from the crows,
my mother always hummed a sad song.
Composed of smoke upholstery, with my mother's sad song,
the world galloped to me.
Flowers didn't open in front of me,
dandelions flourished in the yard.
The personal, intimate tone Daróczi uses is reminiscent of both Nagy and Bari's poems, particularly Bari's "Mumbling," as are the poem's themes and imagery. However, whereas Bari's poem depicts the lives of characters trapped by the stereotypes that surround their ethnicity and intergenerational poverty, "Song" represents the moment of freedom when one breaks free from these ties. As with Nagy, Daróczi employs the use of birds to depict this freedom: when the narrator "learn[s] to pray from the crows," he chooses to leave and find a better path. Unlike "Repeating Prophecy" wherein the wounded bird figures the entrapment of the Roma at the fringes of society, the crows in "Song" are the mechanism by which independence is attained.
In "Song," the repetition of the first three lines is particularly striking, as these lines show the prelude and beginning of the narrator's journey: he begins as part of a family, but by the end rejects this community. The sun is the symbol of hope, as well as familial affection — this fails to touch the narrator, as "smoke" (a reference to the stereotype that Roma have darker skin) clouds this solar warmth. Even nighttime fails to provide possibilities for a new path; the lack of shining stars merely reinforces the narrator's despair and hopelessness.
In their poetry, Daróczi, Bari, and Nagy each use nature imagery in considering the role of the Roma within Hungarian society.
From the use of birds as figures of both promise and curse – a kind of poetic haruspicy – to the repetition of smoke across these poems, as a figure of prayer and of burning, questions of ethnicity and free will surface. Can the Roma be free from the stereotypes and poverty that follow them from one generation to the next? While Nagy seems to suggest that the "purebred" hounds of racialized injustice are not only ineluctable but eternal, both Bari and Daróczi explore the implications of hope. Whether that hope can be found by staying within or departing from Roma communities is a provocative question still seeking an answer.
Fiction & Poetry Section Editor
Singapore / United States
Co-founder of Harbingers' Magazine
Born in 2003, Noemi Elliott divides her time between Singapore and the United States. Noemi holds American, British, and Hungarian citizenship and speaks English, Hungarian, and Mandarin.
Pál Nagy, "Nem szabad őket lenézni:" A cigány népesség felmérései Szabolcs-Szatmár megyében az 1950-es években (Nyíregyháza, Hungary: Szabolcs-Szatmár-Bereg Megyei Levéltár, 2015), 47.
Barna Gyula Purcsi, A cigánykérdés "gyökeres és végleges megoldása." Tanulmányok a XX. századi "cigánykérdés" történetéből (Debrecen: Csokonai Kiadó, 2004), 249, 261.
https://doi.org/10.3828/rs.2020.3.
Hajnáczky, "The Forced," 57.
Ibid, 58.
Central Committee of the Hungarian Socialist People's Party, "Sík Endre, külügyminiszter és Hollai Imre, az MSZP KB Külügyi Osztályának vezetője közös előterjesztése az MSZMP Központi Bizottságához a magyar emigránsok felé irányuló propagandamunkáról 1960. május 13.," news release, May 13, 1960, accessed August 12, 2021, https://mnl.gov.hu/mnl/ol/forrasok5.
Gusztáv Nagy, "Gusztáv Nagy (1953)," interview by Kőrösi Zsuzsanna, Memory of Nations, last modified July 11, 2017, accessed August 19, 2021, https://www.memoryofnations.eu/en/nagy-gusztav-1953.
Research Directorate, Immigration and Refugee Board, Canada, "Hungary: Identification and Culture of Roma; Skinhead and Neo-Nazi Groups; Police Affirmative Action Programmes; State Protection; European Airport Transit Procedures," Refworld, last modified September 1, 1998, accessed August 19, 2021, https://www.refworld.org/docid/3ae6ad0260.html.
Zoltán Beck, "Hungarian Romani Literature: An Overview," RomArchive, accessed August 22, 2021, https://www.romarchive.eu/en/literature/literature-countries-and-regions/romani-literature-hungary/.
Balázs Majtényi and György Majtényi, A Contemporary History of Exclusion: The Roma Issue in Hungary from 1945 to 2015 (Budapest: Central European University Press, 2016), 100.
https://www.romarchive.eu/en/collection/p/jozsef-daroczi/
https://www.romaeducationfund.org/in-memoriam-jozsef-choli-daroczi/
Tamás Hajnáczky, "The Forced Assimilation Gypsy Policy in Socialist Hungary," Romani Studies, 2020, 56, accessed August 17, 2021, https://doi.org/10.3828/rs.2020.3.
In memoriam József Choli Daróczi


MBC's "We Got Married" have revealed that they've add two couple after the end of YongSeo couple and Adam Couple.
[Confirmed] KBS Will be Producing a Second Season for 'Dream High'!
[News] Is Goguma Couple's Virtual Marriage will be over Presently?


text:
import { Annotation } from 'substance'

class Monospace extends Annotation {}

Monospace.type = 'monospace'

Monospace.define({
  attributes: { type: 'object', default: {} }
})

export default Monospace


text:
Holger Czukay, de son vrai nom Holger Schüring est un musicien allemand né le  à Dantzig (actuellement Gdańsk en Pologne) et mort le  à Weilerswist, connu pour avoir été le cofondateur du groupe de krautrock Can.

Biographie
Holger Czukay naît en 1938 dans la ville libre de Dantzig. Après la Seconde Guerre mondiale, il s'intéresse très tôt à la musique. En 1963, il devient l'élève du compositeur Karlheinz Stockhausen, avec qui il étudie jusqu'en 1966 pour donner quelques cours à son tour. Il s'intéresse alors peu au rock, avant de changer radicalement lorsqu'un élève lui joue I Am the Walrus, fameuse chanson des Beatles. Cela le conduit à s'intéresser de plus près aux artistes de rock expérimental, tels que les Velvet Underground et Frank Zappa.

Il fonde Can en 1968, et travaille sur quasiment tous les enregistrements du groupe, se chargeant également des compositions, en plus de son rôle de bassiste. Quand Rosko Gee, ex-bassiste du groupe Traffic, rejoint le groupe en 1977, Czukay est littéralement mis à l'écart, ne participant plus qu'aux enregistrements. Il quitte finalement le groupe la même année, se lançant dans une carrière solo.

Il enregistre alors un grand nombre d'albums, sur lesquels il expérimente le sampling, devenant ainsi un des pionners de cette technique. Il a également collaboré avec un nombre considérable d'artistes, tels que U.N.K.L.E, Brian Eno, Phew (chanteuse), Eurythmics et en particulier sur de nombreux albums de Jah Wobble et David Sylvian, deux jeunes musiciens britanniques s'intéressant de près aux méthodes expérimentales du sampling.

Son épouse Ursula Kloss, chanteuse sous le nom d'U-She, meurt en . Il repose au cimetière de Melaten.

Discographie

Avec Can

En solo

Notes et références

Bibliographie
 « Mort de Holger Czukay : le krautrock dégarni », Libération, , p. 28.

Liens externes

  Site officiel
  Biographie d'Holger Czukay sur AllMusic.

Élève de Karlheinz Stockhausen
Bassiste allemand
Musicien de krautrock
Bassiste de rock progressif
Nom de scène
Artiste de Mute Records
Naissance en mars 1938
Naissance à Dantzig
Naissance dans la ville libre de Dantzig
Décès en septembre 2017
Décès en Rhénanie-du-Nord-Westphalie
Décès à 79 ans


I know I've been off lately, but major things are happening at the moment! NYFW and LFW madness really got me and all that major fun ended up costing me a bit of an infection which, added to many other things going on at the moment, made it worse to my health status. So, forgive me for my absence. Ready to compensate you very shortly!
One of the biggest news happening at the moment is that I am moving East. Yep, leaving beautiful and peaceful West London to enter the realms of chaos, noise and 24/7 shops. I mean, sounds appealing, right? Ha. It does to me! Because aside my never-ending love to 24h shops, there is that vibe of creativity, entrepreneurship and thrive that you can't find anywhere else in the city. Plus, have you seen how stylish people are over there?
In any case, in spirit of getting to know what will be my new neighborhood, TCB went for a stroll around Broadway Market and Shoreditch on Sunday, probably the busiest day of the week there. And let me tell you, it was chaos. But so much fun!
If fashion is what you are after (and by that I mean independent shopping) then my suggestion would be to check out The Lazy Ones on Sclater St and AOC Edit on Brick Lane. They've already pull out their AW16/17 collection and it is pretty damn good. Quite simple yet veeery nice, and very nice quality too. The first brand is kinda Kardashian gone stylish and the latter highlights great leathers that you'll want to wear all the time.
In addition to those two, you've also got Bitsch Kitsch on Brick Lane. It has been running for quite some time now and I am sure if you are a local you knew about this place already, but if not, this is definitely a shop you MUST SEE. Quirky to say the least, this tiny spot has whatever you could expect, from Barbie head collars and SpongeBob dresses (very Moschino-esque) to hand-made embroided jackets. MESMERIZING!
If culture is what you are after, then I suggest you wander the streets discovering and enduring all the streetart surrounding you. There's so much to see! If you like to be a bit more organised though, and get some fun out of it, there is an alternative streetart workshop that you could take, and I quite liked.
Lastly, if you just want to chill out, there is a very peaceful spot just an alley away from Brick Lane. In fact, it is a hippy commune! Yep, an actual commune in the middle of this chaos. Nomadic Community Gardens has a boat, a little café, a garden-farm, and a sort of bar where to sit and have a nice time with your friends. It's a space to create, discuss and experience. Oh, there's also graffiti everywhere. Lots of it.
I think I am making a good move, right?


text:
Allen, Sophie. A Critical Introduction to Properties (Bloomsbury Critical Introductions to Contemporary Metaphysics)
2016, Bloomsbury
Categories: Metaphysics, Metaphysics & Epistemology , Properties, Theories of Causation, Theories of Modality
Keywords: causation, properties
Added by: Simon Fokt, Contributed by: Naomi Osorio-Kupferblum
Publisher's Note: What do blue things have in common? Or electrons? Or planets? Distinct things appear to share properties; but what are properties and what is the best philosophical account of them? A Critical Introduction to Properties introduces different ontological accounts of properties, exploring how their formulation is shaped by the explanatory demands placed upon them. This accessible introduction begins with a discussion of universals, tropes, sets and resemblance classes, the major objections to them and their responses, providing readers with a firm grasp on the competing ontological accounts of what (if anything) grounds similarity and difference. It then explores issues concerning the formulation and justification of property theories such as: how many properties are there? Should we accept a sparse ontology of properties, or an abundant one? Can we make a distinction between intrinsic and extrinsic properties? Do properties have their causal roles necessarily? What is the relationship between properties and other metaphysical phenomena such as causality, laws and modality? These questions get to the heart of why a coherent theory of properties is so important to metaphysics, and to philosophy more generally. By concluding with the question of the ontological status of properties, the reader is introduced to some Carnapian and contemporary themes about the content and methodology of metaphysics. For students looking for an accessible resource and a more comprehensive understanding of contemporary metaphysics, A Critical Introduction to Properties is a valuable starting point.
Comment: This is an excellent introduction to a particularly important chapter in (first order) metaphysics. Each chapter is dedicated to a key aspect of properties (e.g. universals, tropes, grounded/ungrounded, intrinsic /extrinsic, categorical/dispositional properties, etc.) which Allen describes with great clarity. She gives plenty of references so that interested students can dig deeper easily. It is very clear in presenting arguments and counter-arguments.
Anjum, Rani Lill, Stephen Mumford. Causation: A Very Short Introduction
2013, Oxford University Press.
Categories: Metaphysics, Metaphysics & Epistemology , Theories of Causation
Keywords: causation, metaphysics, philosophy of science
Added by: Jamie Collin
Publisher's Note: Causation is the most fundamental connection in the universe. Without it, there would be no science or technology. There would be no moral responsibility either, as none of our thoughts would be connected with our actions and none of our actions with any consequences. Nor would we have a system of law because blame resides only in someone having caused injury or damage. Any intervention we make in the world around us is premised on there being causal connections that are, to a degree, predictable. It is causation that is at the basis of prediction and also explanation. This Very Short Introduction introduces the key theories of causation and also the surrounding debates and controversies. Do causes produce their effects by guaranteeing them? Do causes have to precede their effects? Can causation be reduced to the forces of physics? And are we right to think of causation as one single thing at all?
Comment: This would be a useful introductory text in a course on metaphysics, philosophy of science, or any course in which philosophical accounts of causation are relevant. Individual chapters could be used as primers for separate topics as well as the book as a whole. Suitable for undergraduates of all levels.
Recommended use: Introductory reading with a useful overview
Ney, Alyssa. Metaphysics: An Introduction
2015, Routledge.
Categories: Material Objects, Metaphysics, Metaphysics & Epistemology , Metaphysics, General Works, Theories of Causation
Keywords: causation, metaphysics, modality, race, special composition question, time
Added by: Emily Paul, Contributed by: Tyron Goldschmidt
Publisher's note: Metaphysics: An Introduction combines comprehensive coverage of the core elements of metaphysics with contemporary and lively debates within the subject. It provides a rigorous and yet accessible overview of a rich array of topics, connecting the abstract nature of metaphysics with the real world. Topics covered include: Basic logic for metaphysics, An introduction to ontology, Abstract objects, Material objects Critiques of metaphysics, Free Will, Time, Modality, Persistence, Causation, Social ontology: the metaphysics of race. This outstanding book not only equips the reader with a thorough knowledge of the fundamentals of metaphysics but provides a valuable guide to contemporary metaphysics and metaphysicians. Additional features such as exercises, annotated further reading, a glossary and a companion website www.routledge.com/cw/ney will help students find their way around this subject and assist teachers in the classroom
Comment: An excellent textbook to use for an introduction to metaphysics course. Provides a great overview of and introduction to topics such as modality, inexistence, causation, time, race, social ontology, and the special composition question. This textbook could be used as the key reading for the whole course.
Recommended use: Overview
Paul, L. A., Hall, Edward J. (Hall, Ned). Causation: A User's Guide
2013, Oxford University Press UK.
Keywords: David Lewis, causation, counterfactuals, double prevention, metaphysics, omissions, overdetermination, preemption, transitivity
Added by: Clotilde Torregrossa, Contributed by: Tyron Goldschmidt
Publisher's Note: Causation is at once familiar and mysterious. Neither common sense nor extensive philosophical debate has led us to anything like agreement on the correct analysis of the concept of causation, or an account of the metaphysical nature of the causal relation. Causation: A User's Guide cuts a clear path through this confusing but vital landscape. L. A. Paul and Ned Hall guide the reader through the most important philosophical treatments of causation, negotiating the terrain by taking a set of examples as landmarks. They clarify the central themes of the debate about causation, and cover questions about causation involving omissions or absences, preemption and other species of redundant causation, and the possibility that causation is not transitive. Along the way, Paul and Hall examine several contemporary proposals for analyzing the nature of causation and assess their merits and overall methodological cogency.The book is designed to be of value both to trained specialists and those coming to the problem of causation for the first time. It provides the reader with a broad and sophisticated view of the metaphysics of the causal relation.
Comment: [This is a stub entry. Please add your comments to help us expand it]


agent pool can exist. RvicePrincipalProfile Information about a service principal identity for the cluster to use for manipulating Azure APIs.
GET uRI Parameters, name, in, required. Education Studies Teaching, erotica, fiction, food Drink. Name, type, description adminUsername string, the administrator username to use for Linux VMs. ResourceName path, true string, the name of the managed cluster resource. The default value. Name Type Description azure string kubenet string NetworkPolicy Network policy used for building Kubernetes network. Name Type Description keyData string Certificate public key used to authenticate with VMs through SSH. ResourceGroupName path, true string, the name of the resource group.


What is it like not to understand the world you live in? What happens when the simplest daily tasks lead to anxiety, frustration and even violence?
Make Me Normal is a film about another world: the autistic world. Autism is a condition of the mind that affects the way you communicate with the world around you. In Britain, over half a million people have autism. There is no cure.
In the film, four of the most able students at Spa School in London take us on a moving journey into their world, to show us what it is like to grow up with autism. Filmed over several months, with unique access to one of Britain's largest state schools for children with autism, Make Me Normal follows these students as they learn to live with their condition.
Moneer (12) has a form of autism called Asperger's Syndrome. When he loses his mother to cancer, the school's struggle to help him deal with his feelings and to manage his violent behaviour, is on a knife-edge. Roxanne (12) just wants to be a normal teenager but her realisation that autism is for life is extremely painful. Roy (18) is desperately trying to make sense of the world during his last year at school, but what he really wants is a girlfriend. And Esther (18), our guide, has a special gift for explaining the autistic world.


text:
Tomalá kan syfta på:

Honduras

 Tomalá (kommun), Departamento de Lempira,
 Tomalá (ort), Departamento de Lempira,


This is a placeholder page for Janet Drill, which means this person is not currently on this site. We do suggest using the tools below to find Janet Drill.
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With the global economy placed precariously advertisers are increasingly looking for cheaper, effective and profitable advertising mediums. The growth of Internet has become the reason for the emergence of some of the most innovative methods of advertising and business promotion. This has also altered the path of advertising inclination from offline advertising to online. PPC ensures that the exact requirements of the advertiser are met to the fullest.
In PPC advertisers pay a definite amount to the search engine (the advertising medium: eg. Google). When someone clicks on these advertisements, he/she gets redirected to advertiser's site. This increases the rate of traffic influx on the site which is directly linked to increased conversion rate. Almost every search engine has offered the pay per click management plan.
1. Click Based PPC – In this pay per click marketing system the amount of the click rate is fixed. Therefore every click receives a definite amount.
2. Bid Based PPC – this method of pay per click advertising includes bidding a certain amount on the required keyword in competition with other advertisers looking for the same keyword. The bid ensure visibility on the search engine.
This mode of online advertising is considered to be one of the most aggressive and is undertaken by online advertising professionals.
PPC Services ushers in increased traffic and sales for a website along with effective brand management. Pay-per-click search engines truly drive loads of traffic to your website and use of them is cost-effective because you don't actually pay for advertisements. Rather, you bid on keywords and keyword phrases that are relevant to the information, products or services provided by your website.
PPC is a cost effective means of reaching global customers, much cheaper than traditional media, which is usually limited to the immediate audience within its reach (be it TV, radio or print). Only web marketing can give you global reach at such a cost effective rate.
In order to maximize the limited space, PPC advertisement must have catchy lines on it to compel users to click on it. That is why determining what advertising approach works in the market can be very useful while creating ads too. Keyword analysis and selection are given importance in PPC campaign management.
PPC Management is all about saving time, effort and money and is the most effective and quickest way of driving traffic to a website.


We recommend you get covered as soon as you book your trip! Did you know that 30% of travel insurance claims are made before the travelling even starts?
If you can't afford travel insurance, can you afford to travel?
For those who never travel with it, you'll hear things like "Oh, it doesn't matter if you lose your bags, just travel light with stuff you can afford to replace" or "Medical bills in South East Asia are pretty cheap, if you need to get over Bali belly" or our favourite "Travel insurance companies will just tell you the horror stories to get you to buy insurance".
The last one is unashamedly true.
They absolutely want you to know that they have had to deal with thousands of emergencies and evacuations over the years. We want you to know that without travel insurance, an emergency evacuation could cost at least in excess of $50,000.
In most cases your travels with go without a hitch. You'll not have to experience the nightmare of being seriously ill or injured in a foreign country. But if you do, the last thing you want is not having the support or financial means to get treated and flown home.
For that alone, travel insurance is worth every cent.
Check out this comprehensive Consumer. Travel Insurance Guide with all you need to know before boarding the plane.


text:
Q: How to load a model in CodeIgniter HMVC into an autoload? Hello guys just need a little help here. I am trying to study and create a CRUD in CodeIgniter with HMVC approach but I have a difficulty in loading the model. Here's my structure:
CRUD
   - application
     - config
        - autoload.php
     - modules_code
        - address
          - controllers
          - models
          - views
        - locations
          - controllers
            - locations.php
          - models
            - locations_model.php
          - views
        - member
          - controllers
            - member.php
          - models
          - views
   - css
   - js
   - third_party

My problem is I can't autoload the model in autoload.php which is under config folder
Here's the autoload code:
$autoload['model'] = array('locations_model');

Inside my locations_model.php:
<?php

    class locations_model extends CI_Model{

        public function __construct(){
            parent::__construct();
        }

        public function getAllCountries(){

            $sql = "SELECT code,country FROM cscart_country_descriptions";
            $result = $this->db->query($sql);

            return json_encode($result->result_array());

        }

    }

?>

In my controller I have this:
<?php

    class Member extends MX_Controller{

        public function __construct(){
            parent::__construct();
        }

        public function index(){

            $data['title'] = "Welcome to HHAlliance Member Point!";
            $data['project_title'] = "HH-Alliance - Login Page";

            $this->load->view('common/header',$data);
            $this->load->view('index',$data);
            $this->load->view('common/footer',$data);

        }

        public function authUser(){

        }

        public function register(){

            $data['title'] = "HHAlliance - User Account Registration";
            $data['project_title'] = "HH-Alliance Member Registration";
            $data['countries'] = $this->locations_model->getAllCountries();

            $this->load->view('common/header',$data);
            $this->load->view('user_register');
            $this->load->view('common/footer',$data);

        }

    }

?>

Here's my error:
An Error Was Encountered

Unable to locate the model you have specified: locations_model

A: First change your model class name to
class Locations_model extends CI_Model{
   ....
}

Class names must have the first letter capitalized with the rest of the name lowercase.
then,
$autoload['models'] = array('locations_model');

A: Try to change the name of your model class from locations_model to Locations_model.
And use $this->load->model('module_name'); only in the controller or method that need this model.

A: Firstly change the name of your model classs name locations_model to Locations_model.
And use codiegnieter method for loading model in controller.
$this->load->model('model_name','model_alias_name');

<?php

    class Member extends MX_Controller{

        public function __construct(){
            parent::__construct();
            $this->load->model('locations_model','locations');

        }

        public function index(){

            $data['title'] = "Welcome to HHAlliance Member Point!";
            $data['project_title'] = "HH-Alliance - Login Page";

            $this->load->view('common/header',$data);
            $this->load->view('index',$data);
            $this->load->view('common/footer',$data);

        }

        public function authUser(){

        }

        public function register(){

            $data['title'] = "HHAlliance - User Account Registration";
            $data['project_title'] = "HH-Alliance Member Registration";
            $data['countries'] = $this->locations->getAllCountries();

            $this->load->view('common/header',$data);
            $this->load->view('user_register');
            $this->load->view('common/footer',$data);

        }

    }

?>

redpajama_set_name: RedPajamaStackExchange


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How natural is it for you to listen to your inner knowing? Meaning, saying "No" when you need to (or want to) and considering your needs and following through on honoring them? Is it hard? Do you feel awkward actually giving your desires and wants a voice?
There seems to be a misperception in believing that "doing you" results in being inconsiderate of others and selfish. This cannot be further from the truth. The reality is that if you don't tend to your needs you will not be showing up at your best for yourself or anyone else in your life for that matter. Not being truthful to yourself breeds not being truthful to others.
Personally, listening to myself and "doing me" used to be much more of a struggle. One of the worst consequences of not honoring myself was getting totally confused and lost by the different opinions and voices around me. When you don't have a solid grasp on your views and wants it's easy to get caught up in the direction of the crowd. Always following what others wanted from me resulted in my inability to make legit choices and have a solid opinion for myself. I've come to find that having opinions that represent my truth helps me to feel strong, focused and, well, ME.
Making good choices, literally, is a developed and creative skill. It's a behavior that is worth taking the time to learn and hone. Day by day and small choice by small choice, you can build this decision making muscle of yours. If you have not tended to this already: Why not start now?
Accepting that this is reality and apart of life can, perhaps, "cushion the blow" when disapproval comes knocking on your door. There is no denying that as a former "people pleaser" it's hard to feel these glares and disappointments from others. Although, at the end of the day, I ground myself by remembering that I'm making my choices with the best of intentions for those around me who I love and care about as well as what feels right for me. If that's what selfish is: sign me up!
*The above image was taken by Amy Lynn Bjornson, San Diego based photographer.


I get that class action suits targeting Apple are pretty hot right now, given the whole iPhone slowdown debacle. But that probably doesn't mean that Apple should also be hit with class action suits over the recently discovered Meltdown and Spectre security issues that affect most Intel, ARM, and AMD chips.
However, a planned class action suit in Israel has Apple as a co-defendant, right next to Intel and ARM.
According to Hamodia, a group of users filed a request with the Haifa District Court in Israel to file a class action against these three companies. The group is represented by attorney Rimon Zinati and includes computer and cellphone users.
Oh. My. God. Run for the hills!
Don't get me wrong, people are probably right to sue companies all they want. Apple should face all the iPhone slowdown trials it can handle. Cases against Intel, AMD and ARM aren't warrantless either, as the products these companies sell should make sure that computers of any size and type can be hacked by anyone because of design flaws.
But why is Apple included in this particular suit? And if Apple should be added, doesn't the same thing go for Microsoft, Google, Linux, and every other company that sells products with Intel, AMD, and ARM inside?
The Israeli court will decide on the matter in the coming weeks.
According to Patently Apple, Intel has been hit with some other class action suits.
Before you file your own class actions suits, make sure you install the latest software updates on your devices, if available.