text:
.. _http_exceptions:

HTTP Exception Mapping
======================

It is recommended that you use exceptions for flow control in your controller and services and rely on the `c.t.finatra.http.exceptions.ExceptionMapper <https://github.com/twitter/finatra/blob/develop/http-core/src/main/scala/com/twitter/finatra/http/exceptions/ExceptionMapper.scala>`__ to convert exceptions into proper HTTP responses.

Why?
----

Exception mapping is meant to provide a server-wide mechanism for handling an exception in a standard manner.

The framework is not proscriptive about this, however. Sometimes it may make sense to catch and handle `FooException` directly in your controller (e.g., convert it to an HTTP response or perform another action). You are
encouraged to do what makes sense for your use case or team.

How?
----

The Finatra framework adds a set of `mappers by default <#default-exception-mappers>`__ to your HttpServer which provide high-level mapping for exceptions. You can register additional mappers or `override the default mappers <#override-default-behavior>`__ altogether.

For instance, if you wanted to map a `java.net.MalformedURLException` to a `400 - BadRequest` response you could create the following ExceptionMapper:

.. code:: scala

    @Singleton
    class MalformedURLExceptionMapper @Inject()(response: ResponseBuilder)
      extends ExceptionMapper[MalformedURLException] {

      override def toResponse(request: Request, exception: MalformedURLException): Response = {
        response.badRequest(s"Malformed URL - ${exception.getMessage}")
      }
    }

Then register this exception mapper in your server.

.. code:: scala

    class MyHttpServer extends HttpServer {

      override def configureHttp(router; HttpRouter): Unit = {
        router
          .exceptionMapper[MalformedURLExceptionMapper]
        ...
      }

      ...
    }

ExceptionMappingFilter
----------------------

Using exception mappers requires you to include the `c.t.finatra.http.filters.ExceptionMappingFilter <https://github.com/twitter/finatra/blob/develop/http-server/src/main/scala/com/twitter/finatra/http/filters/ExceptionMappingFilter.scala>`__ in your server's filter chain.

.. note::

  The `ExceptionMappingFilter` is included as part of `c.t.finatra.http.filters.CommonFilters <https://github.com/twitter/finatra/blob/develop/http-server/src/main/scala/com/twitter/finatra/http/filters/CommonFilters.scala>`__.
  Thus if you have installed the `c.t.finatra.http.filters.CommonFilters <https://github.com/twitter/finatra/blob/develop/http-server/src/main/scala/com/twitter/finatra/http/filters/CommonFilters.scala>`__ the ExceptionMappingFilter is already installed.

To manually add the `ExceptionMappingFilter`:

.. code:: scala

    import DoEverythingModule
    import ExampleController
    import ExampleFilter
    import MalformedURLExceptionMapper
    import com.twitter.finagle.http.{Request, Response}
    import com.twitter.finatra.http.HttpServer
    import com.twitter.finatra.http.filters.{ExceptionMappingFilter, LoggingMDCFilter, TraceIdMDCFilter}
    import com.twitter.finatra.http.routing.HttpRouter

    object ExampleServerMain extends ExampleServer

    class ExampleServer extends HttpServer {

      override val modules = Seq(
        DoEverythingModule)

      override def configureHttp(router: HttpRouter): Unit = {
        router
          .filter[LoggingMDCFilter[Request, Response]]
          .filter[TraceIdMDCFilter[Request, Response]]
          .filter[ExceptionMappingFilter[Request]]
          .add[ExampleFilter, ExampleController]
          .exceptionMapper[MalformedURLExceptionMapper]
      }
    }

Again, you can see we register the exception mapper *by type* allowing the framework to instantiate an instance.

Default Exception Mappers
-------------------------

The framework adds several mappers to the `ExceptionManager` by default. To swap out any of these defaults simply need add a mapper to the manager for the exception type to map.

As noted above the last registered mapper for a type wins.

By default the framework will add the follow mappers:

==============================  ============================================================================================================================================================================================
`Throwable`                     `ThrowableExceptionMapper <https://github.com/twitter/finatra/blob/develop/http-server/src/main/scala/com/twitter/finatra/http/internal/exceptions/ThrowableExceptionMapper.scala>`__

`JsonParseException`            `JsonParseExceptionMapper <https://github.com/twitter/finatra/blob/develop/http-server/src/main/scala/com/twitter/finatra/http/internal/exceptions/json/JsonParseExceptionMapper.scala>`__

`CaseClassMappingException`     `CaseClassExceptionMapper <https://github.com/twitter/finatra/blob/develop/http-server/src/main/scala/com/twitter/finatra/http/internal/exceptions/json/CaseClassExceptionMapper.scala>`__

`CancelledRequestException`     `CancelledRequestExceptionMapper <https://github.com/twitter/finatra/blob/develop/http-server/src/main/scala/com/twitter/finatra/http/internal/exceptions/CancelledRequestExceptionMapper.scala>`__

`c.t.finagle.Failure`           `FailureExceptionMapper <https://github.com/twitter/finatra/blob/develop/http-server/src/main/scala/com/twitter/finatra/http/internal/exceptions/FailureExceptionMapper.scala>`__

`HttpException`                 `HttpExceptionMapper <https://github.com/twitter/finatra/blob/develop/http-server/src/main/scala/com/twitter/finatra/http/internal/exceptions/HttpExceptionMapper.scala>`__

`HttpResponseException`         `HttpResponseExceptionMapper <https://github.com/twitter/finatra/blob/develop/http-server/src/main/scala/com/twitter/finatra/http/internal/exceptions/HttpResponseExceptionMapper.scala>`__

`org.apache.thrift.TException`  `ThriftExceptionMapper <https://github.com/twitter/finatra/blob/develop/http-server/src/main/scala/com/twitter/finatra/http/internal/exceptions/ThriftExceptionMapper.scala>`__
==============================  ============================================================================================================================================================================================

The `ExceptionManager` walks the exception type hierarchy starting at the given exception type moving up the inheritance chain until it finds mapper configured for the type.
In this manner an `ExceptionMapper[Throwable]` will be the last mapper invoked and acts as the "default".

Therefore to change the framework "default" mapper, simply add a new mapper over the `Throwable` type (i.e., `ExceptionMapper[Throwable]`) to the `ExceptionManager`.

Override Default Behavior
-------------------------

The `ExceptionManager <https://github.com/twitter/finatra/blob/develop/http-server/src/main/scala/com/twitter/finatra/http/exceptions/ExceptionManager.scala>`__ is the class that handles registration of exception mappers.
In the example above, the `HttpRouter#exceptionMapper <https://github.com/twitter/finatra/blob/c6e4716f082c0c8790d06d9e1664aacbd0c3fede/http/src/main/scala/com/twitter/finatra/http/routing/HttpRouter.scala#L51>`__ method is simply registering the given mapper
with the `ExceptionManager`.

The `ExceptionManager` is configured by the inclusion of the `ExceptionManagerModule <https://github.com/twitter/finatra/blob/develop/http-server/src/main/scala/com/twitter/finatra/http/modules/ExceptionManagerModule.scala>`__
as a framework module in every `HttpServer <https://github.com/twitter/finatra/blob/c6e4716f082c0c8790d06d9e1664aacbd0c3fede/http/src/main/scala/com/twitter/finatra/http/HttpServer.scala#L22>`__.

If a new mapper is added over an exception type already registered in the `ExceptionManager`, the previous mapper will be overwritten.

Thus, the last registered mapper for an exception type wins.

Register an Exception Mapper
----------------------------

There are multiple ways to add a mapper.

Either directly through the `HttpRouter`:

.. code:: scala

      override def configureHttp(router: HttpRouter): Unit = {
        router
          .filter[ExceptionMappingFilter[Request]]
          .exceptionMapper[MyThrowableExceptionMapper]
          .exceptionMapper[OtherExceptionMapper]
      }

Or in a module which is then added to the Server, e.g.,

.. code:: scala

      object MyExceptionMapperModule extends TwitterModule {
        override def singletonStartup(injector: Injector): Unit = {
          val manager = injector.instance[ExceptionManager]
          manager.add[MyThrowableExceptionMapper]
          manager.add[OtherExceptionMapper]
        }
      }

      ...

      override val modules = Seq(
        MyExceptionMapperModule)

redpajama_set_name: RedPajamaGithub


* the two younter teams will go into a playoff round after pool play. Both first and 2nd will win medals and prizes.
* the remaining teams with play for 1st-3rd medals and prizes.
* Awards presented for the Best Beach Club at the end of the tournament. Stick around to see if your clubf wins.
* Awards presented for Best Beach Club at the end of the tournament. Stick around to see if your club wins.
awards will be presented at the end of the tournament for Beach Beach Club. Stick around to see if your club wins.


text:
From frontline heroes to zombie slayers: the complicated history of women in Call of Duty
By GamesRadar Staff 03 May 2017
Women of the world (at war)
How many women star in Call of Duty: Modern Warfare 2? To save you time, they're all stood in the picture above – sporting variants of the same hairstyle – in the infamous No Russian scene. It's bewildering, if not surprising. Call of Duty's roots stem from the machismo of World War I and II conflict – and while broadly historically justifiable, presents a narrow view of reality. Activision's shooter has broadened its sights in recent years, with Call of Duty WWII set to star a female French resistance fighter. Back in 2013, Call of Duty: Ghosts looked to redress the balance with multiplayer characters representing both sexes, although there aren't any women the campaign besides an unplayable astronaut. Digging deeper, we've found that the series is (slightly) more inclusive than you might give it credit. Here's the women who have served bravely under the Call of Duty banner, from 2003's original Call of Duty to 2016's COD: Infinite Warfare. Like their male counterparts, they come from all walks of life, and are mostly just handy with a gun. Albeit with a limited range of haircuts.
Prev Page 1 of 12 Next Prev Page 1 of 12 Next
Tanya Pavelovna (Call of Duty: Finest Hour)
Who is she? The matriarch of the Call of Duty series is Tanya Pavelovna, a Russian sniper who played a key role in Call of Duty: Finest Hour (PS2, Xbox, GameCube). After her village was taken by the Germans and she was separated from her family, she joined the Red Army, becoming an adept fighter. She once picked up a sniper rifle laying next to a fallen comrade and, without any training whatsoever, took down four enemy soldiers before being rescued by the Reds. Tanya joins up with protagonist Aleksandr during the Finest Hour campaign, providing cover fire for her comrades and most notably serving as a distraction for a German Panzer tank. It takes a lot of gravitas to put oneself in the crosshairs of a tank, but Tanya did just that and lived to tell the tale.
Josefina Menendez (Call of Duty: Black Ops 2)
Who is she? Poor, poor Josefina. The younger sister of Black Ops 2 antagonist Raul Menendez suffers a cruel fate, severely burned by a backdraft during a barn fire as a child. As Raul cared for her, American troops stormed his compound, with protagonists Mason and Woods inadvertently killing her in a grenade explosion. Her death fuels Raul's hatred for the USA, hatching his plan for revenge and making Josefina the catalyst for the entire Black Ops 2 storyline. In a way, there is no Black Ops 2 without Josefina. Raul mentions her throughout the game, and we see her at different stages of her incredibly tough life. The vision of her disfigured face is one that we won't get out of our minds very soon, reminding us of Maria in Gears of War 2. Josefina plays a critical part in Black Ops 2, despite not having a lot of screen time at all.
Abigial "Misty" Briarton (Call of Duty: Black Ops 2 Zombies)
Who is she? When the first Black Ops 2 posters came out, one of them was a picture of a woman holding a Winchester rifle in one hand and a skull in the other, surrounded by rubble and debris. We didn't know who this woman was, but we had a feeling she'd be part of whatever new Zombie campaign Black Ops 2 would throw at us. Abigail 'Misty' Briarton is her name, and her official job description is 'Hurting zombies'. Perhaps. We don't have a whole lot of background on Abigail, except that she grew up on a farm. However, when we're knee deep in the undead, Abigail is happy to oblige with a shotgun in her hands and a smile on her face.
Samantha Maxis (Call of Duty: Zombies)
Release date: 2008-present
Who is she? Samantha here isn't so much a part of the core Call of Duty campaign, but rather the Zombies storyline seen in World at War and both Black Ops games. She is possessed by Edward Richtofen, the mad doctor antihero responsible for all of the countless undead we've been shooting since 2008. In short, she controls the zombie hordes. For a while, we only hear Samantha's voice as the "Demonic Announcer," but we finally get a chance to control her in the Moon stage of the original Black Ops, replacing Richtofen after completing a certain 12-step Easter egg. It's a lot of work, but getting the chance to play as the girl that's been terrorizing us with her voice since the original Zombies game is worth it.
Sarah Michelle Gellar (Call of Duty: Zombies)
Who is she? It's, er, Sarah Michelle Gellar. Y'know: Buffy. The Call of the Dead DLC for the original Black Ops' zombie campaign was tremendous fun. Michael Rooker, Danny Trejo, and Robert Englund add B-movie pizzaz, but to control Buffy the Vampire Slayer against a horde of zombies was beyond thrilling. Sarah was a blast to control; shooting her way through the undead while shouting lines like "How's this for a close-up, dead head?!" was… well, it's better than it sounds. We still think that Call of the Dead may be the best of the Call of Duty Zombie chapters, with Sarah Michelle Gellar being a major reason for it, despite – or because of – those one-liners.
Captain Pelayo (Call of Duty 4: Modern Warfare)
Who is she? Ah, Captain Pelayo, the expert helicopter pilot of Call of Duty 4 who found herself in quite a jam. If by 'jam', you mean 'nuclear blast'. Having been shot down by a Stinger missile, Sgt. Jackson goes to the site of the crash to save her, a decision that cost him his life. Soon after she is shot down, a nuclear device is set off, killing everyone aboard the chopper and in the immediate area. Captain Pelayo plays an integral part in the lore of Call of Duty, as she set the stage for one of the iconic moments in the entire series.
Chloe 'Karma' Lynch (Call of Duty: Black Ops 2)
Who is she? Chloe Lynch, codenamed 'Karma', may seem like an ordinary NPC support character in Black Ops 2. However, Chloe is actually a benchmark for the entire CoD series: she is the first character in any Call of Duty game who will survive or die based on the player's progress throughout the campaign. Others have died throughout the series' storylines, but none of their fates were entirely on us. We didn't want Chloe to die, not least because she's the only person who can crack the virus launched against America, so we made sure we did everything we could to ensure her survival. We failed in our play through, however, and now this sentence reads like we're mentally unravelling, with limited benefit to yourself, dear reader.
Female multiplayer character (Call of Duty: Ghosts)
Who is she? Less a person, than a long-overdue equal opportunities measure. CoD Ghosts allowed players to create female multiplayer characters for the first time. Better yet, you have a more varied choice of garments than 'Purple Shirt'. With this glaring oversight finally rectified, we can now shoot each other in the face over and over again. What a beautiful world we live in.
Operative (Call of Duty: Black Ops 3)
Release date: November, 2015
Who is she? Treyarch was proud to announce that you could actually play as a woman for the entire Black Ops 3 campaign, a first for the CoD franchise. The team promised a gender neutral script and compared their lead to Alien's Ripley who was originally written as a man before Sigourney Weaver's inspired casting. While the end result does mean we get actress Abby Brammell reading the script instead of Ben Browder, the campaign itself is littered with other characters calling you "boy scout" or just referring to you as "him". Points for immersion, Treyarch. Throw in the fact that romantic relationship with operative Rachel Kane just isn't changed at all for the female perspective and even with the best intentions, it feels like the franchise's first female playable gay protagonist was a bit of a last minute decision. A good step but perhaps one that could have done with a bit of QA testing.
Prev Page 10 of 12 Next Prev Page 10 of 12 Next
Audrey 'Mac' MacCallum (Call of Duty: Infinite Warfare)
Who is she? Of all the CODs, Infinite Warfare has one of the best rounded casts when it comes to representation, with several prominent women. However, of all of them, chief engineer Audrey 'Mac' MacCallum is perhaps the most interesting. As a former commander turned chief engineer she's a voice of wisdom that speaks to you from the position of having sat in your chair. She's made the kind of difficult life and death decisions that test you during the game's campaign, so she knows what you're going through. She's almost the game's Yoda in terms of providing wise counsel and guidance. There's a depth to her character from her life experiences, something that works exceptionally well thanks Claudia Black grounded and understated performance.
Ilona (Call of Duty: Advanced Warfare)
Who is she? Ilona is an ex-Spetsnaz sniper who works for Atlas, a powerful private military organisation (PMC) of spies and scientists who work together to promote world peace. During the campaign, she pops up as a team mate, who assists the lead playable character Mitchell. What's most refreshing, is that Ilona is one of the brightest and most multi-talented characters in the game, who works out the 'bigger picture' plot twist before anyone else – and, if you look closely in the 'Atlas' mission, tops the score cards in the company firing range.
Hitman 3 review: "a slick and entertaining conclusion to the trilogy"
Best gaming chair for PS5, PS4, and Xbox: get comfy whatever your console setup
Best card games - find new favorites that won't get lost in the shuffle
The best Xbox One steering wheels and their cheapest prices

redpajama_set_name: RedPajamaCommonCrawl


BURBANK, Calif.--(BUSINESS WIRE)-- Actress Annette Funicello, long-time Disney and Beach Party star, passed away on Monday April 8 at Mercy Southwest Hospital in Bakersfield, CA, at the age of 70. She died peacefully from complications due to Multiple Sclerosis, a disease she battled for over 25 years. Beloved by television viewers in the 50s for her stint on Disney's original The Mickey Mouse Club, and by film buffs for her numerous roles in a series of popular teen-oriented movies in the 60s, Funicello became a pop culture icon.
Commenting on her passing, Bob Iger, Chairman and CEO of The Walt Disney Company, said, "Annette was and always will be a cherished member of the Disney family, synonymous with the word Mousketeer, and a true Disney Legend. She will forever hold a place in our hearts as one of Walt Disney's brightest stars, delighting an entire generation of baby boomers with her jubilant personality and endless talent. Annette was well known for being as beautiful inside as she was on the outside, and she faced her physical challenges with dignity, bravery and grace. All of us at Disney join with family, friends, and fans around the world in celebrating her extraordinary life."
Diane Disney Miller, daughter of Walt Disney, added, "Everyone who knew Annette loved and respected her. She was one of the loveliest people I've ever known, and was always so kind to everyone. She was also the consummate professional, and had such great loyalty to my father. Annette will always be very special to me and Ron." Diane's husband, Ron Miller, who helmed the Disney company in the 1980s and worked with Annette when he was a young assistant on The Mickey Mouse Club, recalled, "She was always in good spirits and ready to help out if she needed to step in when something unexpected happened."
Oscar®-winning composer and Disney Legend Richard Sherman, who, with his late brother Robert, wrote many of Annette's biggest song hits, said, "Annette's sweet, unassuming spirit, her love of people, and her capacity to exude kindness and good feelings to everyone she met was part of her beautiful charisma. Because the songs we wrote for her brought us to the attention of Walt, Bob and I always referred to Annette as our 'lucky star.' My wife, Elizabeth, joins me in sending a heartfelt aloha with much love to our 'Pineapple Princess.'"
Fellow Mouseketeer and long-time friend Sharon Baird observed, "Throughout all the years we were friends she never changed from that sweet person who cared so much about others. She always had time for everyone; family, friends and fans alike. It's no wonder she was America's sweetheart."
Born October 22, 1942, in Utica, New York, Funicello and her family moved to Los Angeles' San Fernando Valley when she was four years old. She was discovered by Walt Disney at age 13 while dancing the lead in Swan Lake at the Starlight Bowl in Burbank and he invited her to audition for his new children's TV series called The Mickey Mouse Club and was hired on the spot to become a Mouseketeer. The show debuted on October 3, 1955 and Annette soon became the most popular member of the group. The series ran for three original seasons and in reruns through the 1990s.
After leaving the Mickey Mouse Club, Funicello was the only Mouseketeer to remain under contract to Disney and appeared on the TV shows Zorro (1957), The Nine Lives of Elfego Baca (1958), and starred in the Disney feature films The Shaggy Dog (1959), Babes in Toyland (1961), The Misadventures of Merlin Jones (1964), and The Monkey's Uncle (1965).
In the early 1960s, Annette starred in a series of beach party movies with teen idol Frankie Avalon, including Beach Party (1963), Muscle Beach Party (1964), Bikini Beach (1964), Beach Blanket Bingo (1965), and How to Stuff a Wild Bikini (1965). During this time, she recorded a series of hit top-40 pop singles, including "Tall Paul," "First Name Initial," "How Will I Know My Love," and "Pineapple Princess." Her string of successful record albums included such favorites as "Hawaiiannette" (1960), "Italiannette" (1960), and "Dance Annette" (1961).
In 1987, Funicello again teamed up with Frankie Avalon to co-produce and star in Paramount's Back to the Beach as parents of a pair of troublesome teenagers. In 1989 and 1990, Avalon and Funicello staged a nostalgic concert tour, performing the beach party music and pop hit singles they made famous in the 1960s.
In 1987, Funicello was diagnosed with multiple sclerosis (MS), a degenerative neurological disease and in 1992 went public with her illness. Later that year, she established The Annette Funicello Research Fund for Neurological Diseases. It is dedicated to funding research into the cause, treatment and cure of multiple sclerosis and other neurological diseases and continues to be an active charity.
Despite battling MS, in the 1990's Annette launched The Annette Funicello Teddy Bear Company, marketing a line of collectible bears on QVC, and developed her own perfume line, Cello, by Annette. In 1992, on her 50th birthday, she was named a Disney Legend. However, as she became more debilitated by MS, Annette retreated from public appearances in the late 1990s and has been cared for since that time by her second husband, rancher Glen Holt, who she married in 1986. She was previously married to Jack Gilardi from 1965 until their divorce in 1981. She has three children from her first marriage; Gina, Jack Jr. and Jason, and three young grandchildren.
In lieu of flowers, donations in Annette's memory can be made to The Annette Funicello Research Fund at annetteconnection.com.
The article Beloved Disney Mouseketeer and Iconic Teen Star Annette Funicello Dies at Age 70 originally appeared on Fool.com.


"Whats in my cupboard?" you ask! Well here are my five fave hair products! these guys I just cant live with out!!!
Whether I'm wearing my hair sleek and neat or beachy and easy I use these 5 things almost everyday!
1. Moroccaan oil Treatment- I apply this first into wet hair, and after into dry hair. I use it as a leave in conditioner, aids to combing through wet hair and polishing dry hair adding shine!!!
2. Redken Outshine- next I run this thru my wet hair. If I'm going for a beachy air dry wave, I scrunch it in. If I'm going for sleek straight I smooth it in. Sometimes I mix the Moroccan oil and the outshine together in my hands then apply!
3&4. Osis refresh dust and/or osis dust it- After I've blown my hair dry for a smooth tidy look I apply dust it to my roots and backcomb, this stuff works wonders for mega volume!!! or if I let it air dry for a natural beachy look I spray some of the refresh dust on the ends and scrunch, also add some to the roots for a slighter softer version of volume compared to the dust it.
5.Chi magnified Volume finishing spray- Spray this delicious smelling goodness all over your finished product and Ta Da!
← Help Us Reach 200 Likes!


text:
Ricky Collard to make BTCC debut with Team BMW
Ricky Collard will make his Dunlop MSA British Touring Car Championship debut at Rockingham this weekend as he substitutes for his father Rob at Team BMW.
The 22-year-old from Eversley, Hampshire, will join Colin Turkington at the WSR-run team at Rockingham and the following round at Knockhill while Rob recovers from a concussion sustained as a result of two high-speed incidents at Snetterton in July.
Ricky – a BMW Motorsport Junior driver, who has this year competed primarily in the Blancpain GT Series Endurance Cup – tested the BMW 125i M Sport BTCC car at Silverstone late last year and has also participated in several pre-event shakedown sessions.
A BRDC Rising Star, Ricky was the runner-up in the BTCC-supporting F4 British Championship in 2015 and in BRDC F3 the following season.
A class-winner at the 2017 Nurburgring 24 Hours and a race winner in Germany's ultra-competitive ADAC GT Masters series, Ricky this year claimed a British GT4 podium at Oulton Park following a late call-up and saw his car lead the recent Spa 24 Hours before an issue forced its retirement.
Ricky Collard said: "This is a fantastic opportunity for me. I've been around the BTCC paddock throughout my childhood and teenage years watching Dad race – mostly with WSR – and I've been desperate to compete in the series for a long time, especially for a team with their record of success. While I never wanted my debut to be under circumstances like this, Team BMW are the best in the BTCC, have won the championship for the past two seasons and are right in the thick of the title battle again. My target is to do the best job I can and help score as many points as possible for the Teams' and Manufacturers' championships."
Rob Collard said: "Concussion - in motorsport, and many other sports - is something the medical profession is working hard to understand better. The advice for now is to sit out Rockingham and Knockhill, but if I can't be in the car, the next best thing for me is to see another Collard in there. I'm extremely proud that Ricky will drive the 'Collard' Team BMW car. Giving him the benefit of my knowledge and experience of the 125i M Sport and the BTCC, alongside Ricky's pace as a BMW Motorsport Junior, we have everything to play for, with the key objective to support the hunt for the Teams' and Manufacturers' titles."
Dick Bennetts, Team Principal, said: "While we're extremely sorry for Rob and wish him a speedy return, we're pleased to be able to give Ricky Collard, a young driver with a huge amount of talent, an opportunity to drive the Team BMW 125i M Sport at Rockingham and Knockhill. Ricky tested the BMW with us last November and was extremely impressive. For a young driver who had never been behind the wheel of a touring car before, his pace and – in particular – his technical feedback, were very strong. It will be extremely important to use the free practice sessions wisely as we try to get him up to speed as quickly as possible. I'm sure he'll do a good job."
Ricky Collard


text:
Q: Flickity slider and webgl canvas cannot swipe together at once when overlap problem I am making a Flickity slider and canvas  with Webgl, the slider is a text list that can push a link button, and the canvas is an image list that create effect when swipe. Basically the canvas is for image effect when you swipe on it the image list move with some zooming effect, so I place the slider and canvas on top of each other with position absolute, so the letter will appear in front of the image. Because of that, I can only swipe the letter slider and the canvas will not move. Notice that if I use slick slider then I can slide both of them together even when overlapping, but Slick have less features than Flickity so I cannot use it. So my question is how can I interact mouse with 2 elements that overlapping each other?
The flickity script is just as simple as this:
jQuery(document).ready(function($) {
    $('.text-list').flickity({
      freeScroll: true,
      wrapAround: true,
      prevNextButtons: false,
      pageDots: false
    });
});

Just to make more clear, here is the Webgl document page I'm using: https://codrops.com/Tutorials/InfiniteAutoScrollingGallery/index2.html
Now imagine if I place a Flickity slider in here above, I will cannot slide the canvas in behind. So how can I swipe the slider and the canvas at the same time?

redpajama_set_name: RedPajamaStackExchange


The UK travel industry is having to face up to change as package deals fall out of favour and independently minded holidaymakersturn to the internet to plan and book their breaks. But even major brands are unsure of how beat to utilise the new technology. By Mark Choueke.
WCRS, under the auspices of Engine, is going from strenth to strength, last week scooping 75m BSkyB. But there are fears it is too dominant for a group promising the first truly intergrated service, and that fellow agencies will struggle to fulfil their potential beneath its shadow. By Caroline Parry.
Somerfield has delivered a blow to Coca-Cola ahead of the "vital Christmas sales" period by axing a fifth of the company's products from shelves and delisting two brands altogether.


I made a careful decision to have a stronger focus on writing this year. As an author, one might think I write, therefore I have a focus on writing.
But here's the thing: when an author goes to events, the author isn't writing much, if at all. When an author is doing book signings, the author isn't writing much. The priority is to spend time with you, the reader, and rightly so. It's important and I love meeting readers!
But all those events take away from writing time. There's also travel that both takes away from writing time and is generally exhausting.
I maintain a day job career in parallel to my author career and I do travel 85% of my time for the day job. Add writerly events in there and I am sometimes away from home for up to 3 weeks at a time. I don't take vacations, I take time off from the day job to attend writerly events and conventions. There's no down time and without down time, my creativity suffers.
Last year was rough and much of it was due to the killer schedule I set for myself. I wrote 5 full length novels and several short stories through the course of the year in addition to throwing myself into my day job for the most challenging project of my day job career. I am proud of my work.
There's no way I can maintain the pace. I wouldn't survive.
This year, I've decided to manage my time carefully and only attend writing retreats. At these retreats, my writing productivity has been amazing. My intent is to come through 2017 with high quality writing and the foundation laid to do great things with my writing career in the future. My priority is to provide great stories to my readers. This year, I'll focus on writing.
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Come 2018, I'll be looking at events again. I'll be out there to meet readers and network with pros in the industry. Moving forward, I'll be carefully balancing these priorities so my writing — the core of me as an author — is still strong as I participate in upcoming events too.
Heading into a new year with a fresh set of goals is a great thing. It's even better to take a pause to look back on what did or didn't work in the past year to take lessons learned into the new. This episode is about looking back to move forward effectively.
Where's Piper? In a hotel room closet.
How have I been working?


text:
In My Skin (Dans ma Peau)
Esther (writer/director Marina de Van, "See the Sea," cowriter "Under the Sand," "8 Women") initially seems a little reluctant to begin networking for a job, but effortlessly flirts with her girlfriend Sandrine's (Léa Drucker, "Chaos") boss at a party one night. She also has a nasty run-in with some metal outside in the yard, yet oddly, Esther seems unaware that she's ripped her leg open until she notices she's tracking blood in the bathroom. Esther's calm gaze as a doctor sutures her up (he's recommended a skin graft, the injury is so severe) is but the first sign of a fascination with her own outer packaging that becomes full blown psychosis "In My Skin." Laura: This thoroughly disturbing French film goes beyond the cutting behavior seen in "Secretary," "The Piano Teacher" and "Thirteen." "In My Skin," which can be viewed as a metaphor for an inability to deal with modern life, heralds the arrival of a powerful new filmmaker whose unflinching exploration of madness recalls the works of Cronenberg, Polanski's "Repulsion" and Lodge Kerrigan's "Clean, Shaven." Esther's boyfriend Vincent (Laurent Lucas, "With A Friend Like Harry") is troubled by the circumstances of her injury and the fact that she flinches from his light touch. Vincent's attention is divided, though, by their financial status and the smell of sell-out around the corporate job he's about to take. Working in Sandrine's office, Esther takes time out in a storeroom to cut herself deeply around her healing wound, then tells her girlfriend what she did. She is also disturbingly condescending towards Sandrine's work and the relationship becomes more strained when, against Sandrine's advice, Esther speaks to their boss and is promoted over her. Esther impresses clients (Dominique Reymond, "Demonlover" and Bernard Alane, "Read My Lips") and her new boss Daniel (Thilbault de Montalembert, "Stardom") with her research analysis and knowledge of the Middle East, but at a business dinner, Esther begins gulping wine, then observes her disembodied forearm on the table (which she reattaches beneath the tablecloth and proceeds to stab with her knife and fork). The consumption of flesh by her colleagues gives rise to a need to consume her own. Her odd behavior noted, she leaves and checks into a hotel for an orgiastic bout of self-cannibilism that rivals Denis's "Trouble Every Day" for bloodletting. The next day, she fakes a car accident to 'explain' her state to Vincent, but he is obviously suspicious of the pitted flesh on her upper thigh. Her later horrific discovery at an ATM machine (fear the words 'I need money') is the first sign of Esther's own disturbance by her behavior, but Vincent's concern turns to frustrated avoidance when she tells him she is crying over a forgotten PIN number. Marina de Van, whose Christina Ricci forehead, raven hair and oddly spaced teeth give her the appearance of a Bleeding Edge Goth doll, gradually nudges Esther's behavior into the realm of madness. Outside of her skin, she appears to be in control. She pinches the flesh around her wound and peers into the cut and shows the agony of her first act of self-mutilation. She's aware enough to conceal behavior she knows will appear odd. Her business dinner incident is foreshadowed when she awakens that morning and finds that her arm is asleep, flopping it about like an inanimate object. Her final indulgences of her increasingly extreme behavior are preceded by an inability to cope with the out of doors - lights are too bright, motion too fast - the culmination of a collapse within herself that began with her previous inabilities to deal with her job and modern technology. "In My Skin" could be seen as a fleshy, female companion piece to Laurent Cantet's "Time Out." Technically, de Van's production is first rate. Director of Photography Pierre Barougier follows Esther with a gliding camera, but the shots remain tight, focusing on her face, to imply most of the nastier action. She employs a split screen in later stages, to both reflect the state of Esther's mind and to partially obscure gruesome pictures. Sound (Jerome Aghion, Jerome Wiciak and Cyril Holtz) suggests stomach-tightening images and sparely used original music by Esbjorn Svensson helps build unease. Make no bones about it - "In My Skin" is an excruciatingly tough film to sit through, but Marina de Van has created a minor masterpiece. A-
Laura's Review: A-
This thoroughly disturbing French film goes beyond the cutting behavior seen in "Secretary," "The Piano Teacher" and "Thirteen." "In My Skin," which can be viewed as a metaphor for an inability to deal with modern life, heralds the arrival of a powerful new filmmaker whose unflinching exploration of madness recalls the works of Cronenberg, Polanski's "Repulsion" and Lodge Kerrigan's "Clean, Shaven." Esther's boyfriend Vincent (Laurent Lucas, "With A Friend Like Harry") is troubled by the circumstances of her injury and the fact that she flinches from his light touch. Vincent's attention is divided, though, by their financial status and the smell of sell-out around the corporate job he's about to take. Working in Sandrine's office, Esther takes time out in a storeroom to cut herself deeply around her healing wound, then tells her girlfriend what she did. She is also disturbingly condescending towards Sandrine's work and the relationship becomes more strained when, against Sandrine's advice, Esther speaks to their boss and is promoted over her. Esther impresses clients (Dominique Reymond, "Demonlover" and Bernard Alane, "Read My Lips") and her new boss Daniel (Thilbault de Montalembert, "Stardom") with her research analysis and knowledge of the Middle East, but at a business dinner, Esther begins gulping wine, then observes her disembodied forearm on the table (which she reattaches beneath the tablecloth and proceeds to stab with her knife and fork). The consumption of flesh by her colleagues gives rise to a need to consume her own. Her odd behavior noted, she leaves and checks into a hotel for an orgiastic bout of self-cannibilism that rivals Denis's "Trouble Every Day" for bloodletting. The next day, she fakes a car accident to 'explain' her state to Vincent, but he is obviously suspicious of the pitted flesh on her upper thigh. Her later horrific discovery at an ATM machine (fear the words 'I need money') is the first sign of Esther's own disturbance by her behavior, but Vincent's concern turns to frustrated avoidance when she tells him she is crying over a forgotten PIN number. Marina de Van, whose Christina Ricci forehead, raven hair and oddly spaced teeth give her the appearance of a Bleeding Edge Goth doll, gradually nudges Esther's behavior into the realm of madness. Outside of her skin, she appears to be in control. She pinches the flesh around her wound and peers into the cut and shows the agony of her first act of self-mutilation. She's aware enough to conceal behavior she knows will appear odd. Her business dinner incident is foreshadowed when she awakens that morning and finds that her arm is asleep, flopping it about like an inanimate object. Her final indulgences of her increasingly extreme behavior are preceded by an inability to cope with the out of doors - lights are too bright, motion too fast - the culmination of a collapse within herself that began with her previous inabilities to deal with her job and modern technology. "In My Skin" could be seen as a fleshy, female companion piece to Laurent Cantet's "Time Out." Technically, de Van's production is first rate. Director of Photography Pierre Barougier follows Esther with a gliding camera, but the shots remain tight, focusing on her face, to imply most of the nastier action. She employs a split screen in later stages, to both reflect the state of Esther's mind and to partially obscure gruesome pictures. Sound (Jerome Aghion, Jerome Wiciak and Cyril Holtz) suggests stomach-tightening images and sparely used original music by Esbjorn Svensson helps build unease. Make no bones about it - "In My Skin" is an excruciatingly tough film to sit through, but Marina de Van has created a minor masterpiece.
I have been doing the film critic thing for a long time and have seen thousands of films at the theater. In all that time and with all those films I was only tempted once to walk out on a movie. Well, now I have had this temptation a second time and that is with the hard-to-take debut work by Marina De Van, "In My Skin." I should explain myself. It is not that "In My Skin" is a bad film. On the contrary, it is a movie of amazing complexity with an intriguing lead character that explores the depths of the human mind through the eyes and actions of Esther. This exploration begins with the young woman attending a cocktail party. For some unknown reason, she wanders out of the house and into a yard that is a construction site – in the dark. As she strolls through the dangerous detritus in the yard, she stumbles and falls, ripping her pants. As she prepares to leave the party later, Esther uses the ladies room and notices a trail of blood behind her. The tear, it seems, was not just her pants and she sees that her leg is horribly lacerated. But, she goes out for cocktails with friends instead of heading to the hospital right away This is the point where I started to get the urge to leave the theater as Esther first explores the pleasure pain of her injuries. Soon, this leads to inflicting new gashes on her leg – this is not graphically shown, making it all the more gut wrenching. As the story progresses and Esther falls deeper into madness, her self-abuse takes on epic proportions as she attends an important work dinner – she is newly promoted over her more experienced friend and coworker. As her colleagues discuss marketing methods in Japan, she hallucinates that her left arm has taken a mind of its own. Soon, under the table, she begins to cut herself and feel the divine anguish of her wounds. About now, my stomach is totally knotted and I am watching "In My Skin" with one eye wincingly closed. Then it starts to get weird as Esther takes the supreme leap from self-mutilation to self-cannibalism. As she munches intently on her extremities, I began to draw into a fetal ball in response to the horror on the screen. But, like a train wreck, you cannot take your eye (my other on was permanently shut at this point) off of "In My Skin." First time director Marina de Van has been writing screenplays for a while with credits for "Under the Sand" and "8 Woman." There were dark qualities in both of those films but nothing that prepared me for the tour-de-force debut by de Van behind the camera. I don't think that I have ever reviewed a film like "In My Skin." On one hand I was disgusted by the story and reacted physically to the on screen violence that Esther inflicts upon her own flesh. I came as close as I ever did to walking out and not coming back. But, there is something to admire in a work like this that made the critic within me decide to sit it out. The film is an allegory of Esther's inner fears and doubts, which manifest, ultimately, in her consuming herself in response to her insecurities at the workplace. She is both ambitious and insecure and her accident triggers the conflict that has been there all along. At first, her self-awareness, sparked by her injuries, causes her to examine the wounds, her skin and its folds. She is soon inflicting new wounds and, at this point, crosses a boundary. De Van's character study of Esther is the real draw for those with a strong stomach who happen to want to see a story about self-mutilation. There isn't much beyond this, though, with other characters given little or no shrift. Esther's boyfriend, Vincent (Laurent Lucas), comes across as concerned when he first learns of Esther's early pleasure pain excursions. But, as she descends into madness and grosser and grosser acts of self-destruction he doesn't seem to notice or care. This I think is the actor's fault, though. Lucas gave no depth to his character. I'm at a quandary. "In My Skin" is not a film that I could possibly recommend from a personal standpoint. I don't see how someone could be attracted to a movie that, quite literally, turned my stomach. But, I live with a movie nut who just so happens to be a big fan of the macabre, so I know there are people out there to whom the film will hold interest. I guess I'll just say that "In My Skin" is "interesting" but not my particular cup of tea and leave it at that.


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Jan 15, 2023 10:30 AM — 12:00 PM DREAM ( Dimensional Release of Eight Assembly Module ) Part 1 | Eric Schmitt | Weekly Sunday Gathering — Baker Ripley, 6500 Rookin, Houston, TX
Main Topic: DREAM ( Dimensional Release of Eight Assembly Module ) Part 1
We have all wondered where the universe came from. In two, not-to-be-missed presentations, Dr. Eric Schmitt, will show you a Theory Of Everything (TOE) that he has developed over the course of many years. The theory is based on a simple premise which was then followed where it led. That path turned out to be extremely fruitful and has produced insight on a broad range of topics.
The model is a form of string theory without all the extra dimensions. In order to cover the inner workings of nature, it is necessary to split the talk into two sessions, which will be presented on the consecutive weeks of
January 15 and January 22.
The ideas will be presented in a manner that is comprehensible and relatable. Come find out what's behind the Big Bang that created the fabric of space and its contents. You will learn how properties of the universe are emergent. Easily understandable structural models of the fundamental particles of the standard model of particle physics will be available for examination.
The structural models reveal why the families of particles have their observed properties. You will see in simple form what causes charge, spin, helicity, chirality, and mass. The model also makes it easy to visualize the enigmatic "color charge" on quarks and gluons and the oscillations between neutrino types. The structural correlates of the strong nuclear force, residual strong nuclear force, weak nuclear force will be presented. The model generates a Loop Quantum Gravity model for the fabric of space, which is one of the existing models for accounting for gravity and time. Eric's model not only produces dark matter, but it also accounts for the fraction of regular matter to total matter down to the decimal point. A possible explanation of dark energy also stems from this model. The model does a good job of accounting for the specific masses, diameters, and spacing of the subatomic particles. While the standard model is complex and the terms can be daunting, you will be able to understand from the structural models what it all means. So don't be intimidated; come see what you are made of!
Speaker : Eric Schmitt
Eric Schmitt is a retired genetic counsellor from the Baylor College of Medicine. He has a background in theoretical physics as well. He has been a long time member of the Houston Oasis community
Community Moment : Homeopathic Meds by Lew Kana
Music : Hank Woji
"A self described "Jersey Shore Ex-Pat turned West Texas Desert Rat", for over 20 years, Hank Woji played bass in some of The Garden State's most dynamic and innovative bands, performing at clubs, festivals and concert halls from Virginia to Ontario in styles ranging from Folk and Country to Blues, R&B and Rock & Roll. In the Spring of 2001 Hank moved to Houston, TX, fell in with a bunch of great Texas songwriters, and found his new musical voice as a Singer Songwriter. But it was his chance move, in 2009, to the far West Texas desert town of Terlingua that has most reshaped his life and his music. Critics have described Hank's music as "acoustic-wielding, sharply observed, Americana all the way" and being "in the best tradition of the Texas troubadours like Guy Clarke, Townes Van Zandt and Butch Hancock" and that "His troubadour style also comes very close to the style of Woody Guthrie or Pete Seeger, or as we heard on 'Nebraska' from Bruce Springsteen" Hank has released five critically acclaimed self produced CDs and is currently working on his 6th album, scheduled for release in early 2023. Over his 30+ year music career, Woji has performed with such diverse artists as: Jonathan Byrd, David Amram, Spook Handy, Susan Hearndon, Max Weinberg, Clarence Clemons Carolyne Mas, Bob Livingston, Grant Peeples, Bill Hearne, Butch Hancock, Jimmie Dale Gilmore, Bruce Springsteen and Pete Seeger. Still based in Terlingua, Texas, Hank tours nationally, performing regularly at festivals, coffeehouses, theaters, clubs and house concerts as a solo singer songwriter; in various other duo and trio configurations; and with his TexAmericana Jam Band, The Hank Woji Conspiracy. "
Houston Oasis meets in the Reunion Hall Gymnasium on the Baker Ripley campus. From Hillcroft St, turn right onto High Star Dr, then turn right into the Baker Ripley parking lot just past where the road curves to become Rookin St. You can park anywhere in this lot and follow the "Oasis" directional signs to the gym.
The program starts at 10:30 AM, and people are encouraged to come half an hour earlier for coffee, snacks, and conversation. If it's your first time visiting, make sure to stop by our welcome table in the back of the room to say hello and learn more about Oasis. Parents can drop off their young ones with our team in the kids room, where they will meet new friends and enjoy fun activities together.
Join Online:


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Corrocoat Caspian, established in July 2012 under the licensed agreement of Corrocoat Limited (UK), presently operates manufacturing and application and repair facility in Almaty, Kazakhstan.
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These products are used throughout the industrial world, to protect components as diverse as process vessels, high pressure vessels, oil storage tanks, acid pickling, ballast, effluent, fresh water, settlement tanks, water treatment and underground fuel storage tanks, pumps, filters, pipelines, manifolds, jackets, risers, separators, structural steel and concrete flooring.
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Our fully integrated packages cover initial assessment and recommendations on the repair and protection of the structures, manufacture and supply of materials, application, comprehensive reporting system guaranteeing total control over performance, quality and safety at all stages, inspection by qualified personnel.


text:
Bellator 185: Mousasi vs. Shlemenko (2017)
Bellator 185: Mousasi vs. Shlemenko took place on October 20, 2017 at Mohegan Sun Arena in Uncasville, Connecticut . Bellator 185 marked the debut of heralded middleweight fighter Gegard Mousasi. Having competed for the UFC for the last four years, Mousasi opted to sign with Bellator MMA when his contract came up. Muhammed Lawal was scheduled to face Liam McGeary in a Light Heavyweight bout in the co-main event. However, on October 2, he pulled out of the fight due to an undisclosed injury. He was replaced by Bubba McDaniel. The following week, McGeary pulled out of the fight due to a thumb injury. Brennan Ward was scheduled to face David Rickels in a welterweight bout on the main card. However, on October 16, Ward was removed from the card due to injury and Rickels was pulled from the card as a result. Javier Torres was scheduled to face Neiman Gracie on this card, but pulled out due to injury. He was replaced with welterweight Zak Bucia.
Alexander Shlemenko
Write a review for Bellator 185: Mousasi vs. Shlemenko


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text:
Q: Multiple fetch Promises - same url, different body Trying multiple fetch Promises to the same URL, but with a different body to each call. Currently I'm writing them all out. How would I go about writing this in a less verbose fashion?
Promise.all([
    fetch("https://cors-anywhere.herokuapp.com/https://api.myurl.com/verify", {
      body: `link=${productVariant1}&license_key=${licenseKey}`,
      headers: {
        "Content-Type": "application/x-www-form-urlencoded"
      },
      method: "POST"
    }).then(do something),
    fetch("https://cors-anywhere.herokuapp.com/https://api.myurl.com/verify", {
      body: `link=${productVariant2}&license_key=${licenseKey}`,
      headers: {
        "Content-Type": "application/x-www-form-urlencoded"
      },
      method: "POST"
    }).then(do something),
  ]).then(data => {

      /* process response */
    }

There's 5 Promises in total, with only the productVariant part of the call being different.

A: Sure you can do it with map:
Promise.all([productVariant1, productVariant2].map((productVariant, i) => {
return fetch("https://cors-anywhere.herokuapp.com/https://api.myurl.com/verify", {
          body: `link=${productVariant}&license_key=${licenseKey}`,
          headers: {
            "Content-Type": "application/x-www-form-urlencoded"
          },
          method: "POST"
        }).then(data => console.log(`Promise ${i} done`))
})
).then(data => {
console.log("all promises done")
})

A: You could create a function:

function Fetch(body) {
  return fetch("https://cors-anywhere.herokuapp.com/https://api.myurl.com/verify", {
    body,
    headers: {
      "Content-Type": "application/x-www-form-urlencoded"
    },
    method: "POST"
  }).then(doSomething)
}

// And then

Promise.all([
  Fetch(`link=${productVariant2}&license_key=${licenseKey}`),
  Fetch(`link=${productVariant2}&license_key=${licenseKey}`)
]).then(responses => {
  // do something with responses
})

Or if the only thing you're changing


Philosophy poses such fundamental questions as: What can we know? How should we live? and How do the results of human inquiry, obtained so far, hang together? It is an excellent preparation for professional studies such as law and medicine; it provides perspective on other disciplines such as psychology, mathematics, literature, and political science; and it centers on a set of questions that thinking people cannot avoid. The communication and critical thinking skills that it fosters can be put to good use in a wide variety of careers.
Both 150.111 Philosophic Classics and 150.112 Philosophic Problems cover a wide range of topics, the former through the study of some of the major texts of Western thought, the latter by more systematic examination of representative issues. Either one will show a student a variety of approaches to philosophical problems.
The courses 150.201 and 150.205 offer historically oriented introductions to the subject, giving the student a basic grasp of the development of philosophy in two of its major periods.
Other courses, such as 150.118 Introduction to Deductive and Inductive Logic, 150.223 Aesthetics, and 150.220 Moral Philosophy, are designed for students with an interest in the particular areas they cover. All of these courses are readily available without prior study of philosophy.
The 400-level courses are open to graduate students as well as to undergraduates. Some require no previous course in philosophy. Others presuppose some familiarity with philosophy, such as would be provided by one of the introductory courses. Still others require more specific preparation. A student with questions about whether he/she has the background for a particular 400-level course should consult either the instructor or the director of undergraduate studies.
A student who wants to study an area of philosophy not provided in the regular curriculum or undertake a special project of writing and research should consult with a faculty member about taking 150.510-511 Directed Study. An undergraduate who has the proper background may enroll in a graduate seminar if the instructor approves.
The capacity to express philosophical ideas and support them effectively in argument, both in writing and orally.


text:
globalen
Key strengths
Fund Selector
Robeco Financial Institutions Bonds CH USD
Index: Bloomberg Euro Aggregate Corporates Financials Subordinated 2% Issuer Cap
CH - USD
0D - EUR
0F - EUR
0I - EUR
BH - SGD
BH - USD
D2H - USD
DH - USD
FH - USD
I - EUR
IB - EUR
IBH - USD
IH - BRL
IH - CHF
IH - GBP
IH - JPY
IH - USD
M2 - EUR
M2H - USD
MH - USD
Z2 - EUR
Diversified exposure to subordinated financial bonds
Disciplined and repeatable investment process
No active duration, nor FX exposure
Key Investor Information
Current price ()
Performance YTD ()
Total size of fund ()
Dividend payingYes
About this fund
Robeco Financial Institutions Bonds is an actively managed fund that mainly invests in subordinated euro-denominated bonds issued by financial institutions. The selection of these bonds is based on fundamental analysis. The fund's objective is to provide long-term capital growth. The fund offers a diversified exposure to subordinated bonds issued by banks and insurance companies and the focus of the fund is, in general, towards higher rated issuers (investment grade).
Detail & costs
No performance data available
Download historical prices
Per period
The value of the investments may fluctuate. Past performance is no guarantee of future results.
Annualized (for periods longer than one year).
Cumulized (total amount of return).
Performances are gross of fees and based on closing values. In reality, costs (such as management fees and other costs) are charged. These have a negative effect on the returns shown.
Performances are net of fees and based on transaction prices.
Reference index
Performance explanation
Based on transaction prices, the fund's return was 0.33%. The index return for European subordinated financial debt was 0.3% in December. Credit spreads tightened 19 basis points to 152 basis points, which means that the spread return of subordinated financial debt amounted to 1.1%. Underlying government bond yields rose, contributing negatively to the total market return. The portfolio return was higher than that of the index. The top-down market positioning was around 1. The performance impact of this position was negligible. Issuer selection made a positive contribution. Individual names that contributed most to performance, on a risk-adjusted basis, were AXA, BNP Paribas and AIB. Another strong performer was Fidelidade. We acquired unrated bonds of this Portuguese insurance company at the start of December. Later in the month, the bonds received a BBB credit rating from Fitch, which was better than expected. The underweight positions in real estate names like Unibail-Rodamco and Aroundtown, where we have no exposures, contributed positively to the relative performance too.
Hit-ratio
Max. monthly gain (%)
Max. monthly loss (%)
Above mentioned ratios are based on gross of fees returns
Months outperformance
Months Bull market
Months outperformance Bull
Months Bear market
Months outperformance Bear
Option Adjusted Modified Duration (years)
Maturity (years)
Dividend paying history
Download dividend history
Credit spreads tightened rapidly in the first week of December, reversing part but not all of the November spread widening. European swap spreads still trade at a relatively wide level, which we think can be attributed to technical factors, like a shortage of high-quality collateral (German government bonds) and year-end effects. That means that higher swap spreads are an important factor explaining why credit spreads versus government bonds have not fully recovered yet. Concerns about the latest Covid wave in Europe and worries around the new Omicron variant are still playing a role. Negative headlines were followed by positive news stories, determining short-term sentiment on capital markets. Central banks seem to be undistracted by the latest Covid wave, as they are gradually becoming less accommodative. The Bank of England surprised the market by raising interest rates in its December meeting. The Federal Reserve confirmed that it will speed up tapering and signaled that it envisions three rate hikes for 2022. The ECB seems to be least in a hurry to become more hawkish, though the bank confirmed that net PEPP bond purchases will end in March 2022.
Fund allocation
Currency policy
All currency risks are hedged.
Derivative policy
Robeco Financial Institutions Bonds fund make use of derivatives for hedging purposes as well as for investment purposes. These derivatives are very liquid.
The fund aims to pay a quarterly dividend.
ESG Integration policy
The fund incorporates sustainability in the investment process via exclusions, ESG integration and engagement. The fund does not invest in credit issuers that are in breach of international norms or where activities have been deemed detrimental to society following Robeco's exclusion policy. Financially material ESG factors are integrated in the bottom-up security analysis to assess the impact on the issuer's fundamental credit quality. In the credit selection the fund limits exposure to issuers with an elevated sustainability risk profile. Lastly, where issuers are flagged for breaching international standards in the ongoing monitoring, the issuer will become subject to engagement.
Robeco Financial Institutions Bonds is an actively managed fund that mainly invests in subordinated euro-denominated bonds issued by financial institutions. The selection of these bonds is based on fundamental analysis. The fund's objective is to provide long-term capital growth. The fund promotes certain ESG (environmental, social and corporate governance) characteristics within the meaning of Article 8 of the European Sustainable Finance Disclosure Regulation, and integrates ESG and sustainability risks in the investment process. In addition, the fund applies an exclusion list on the basis of controversial behavior, products (including controversial weapons, tobacco, palm oil and fossil fuel) and countries, alongside engagement. The fund offers a diversified exposure to subordinated bonds issued by banks and insurance companies and the focus of the fund is, in general, towards higher rated issuers (investment grade). The majority of bonds selected will be components of the benchmark, but bonds outside the benchmark may be selected too. The fund can deviate substantially from the weightings of the benchmark. The fund aims to outperform the benchmark over the long run, while still controlling relative risk through the application of limits (on currencies and issuers) to the extent of the deviation from the benchmark. This will consequently limit the deviation of the performance relative to the benchmark. The Benchmark is a broad market-weighted index that is not consistent with the ESG characteristics promoted by the fund.
Risk policy
Risk management is fully embedded in the investment process to ensure that positions always meet predefined guidelines.
Expectation of fund manager
As we consider all the evidence around corporate pricing power, policy stimulus and consumer spending behavior, we believe that US and European fundamentals will not be the key driver of credit markets in Q1 2022. The outlook might be more uncertain again, but fundamentals are still strong. On top of that, we have seen a widening in credit spreads. Still, we think there are also many risk factors that are not sufficiently priced in yet, like geopolitical risks around Russia, the growth impact of the Chinese real estate meltdown, and emerging market volatility in general. Central bank activity and communication (the Fed's 'retiring transitory', for example) might cause a bout of risk aversion after years of increased risk taking by asset owners. This means we see plenty of reasons to enter 2022 with a fairly cautious positioning. That said, as we view the financial sector as relatively well placed within the broader credit market, we are happy to run an overall beta positioning that is close to 1. We still find individual recovery plays that offer an attractive extra spread versus the rest of the financial universe, bringing alpha opportunities without a beta overweight.
Jan Willem de Moor
Mr. de Moor is a Senior Portfolio Manager and a member of the Credit team. Prior to joining Robeco in 2005, Mr. de Moor was employed by SBA Artsenpensioenfondsen as Senior Portfolio Manager Equities for six years. Before that, he worked at SNS Asset Management holding positions of Portfolio Manager Equities (three years) and Research Analyst (two years). Jan Willem de Moor started his career in the Investment Industry in 1994. He holds a Master's degree in Economics from Tilburg University.
The Robeco Financial Institutions Bonds fund is managed within Robeco's credit team, which consists of nine portfolio managers and twenty-three credit analysts (of which four financials analysts). The portfolio managers are responsible for the construction and management of the credit portfolios, whereas the analysts cover the team's fundamental research. Our analysts have long term experience in their respective sectors which they cover globally. Each analyst covers both investment grade and high yield, providing them an information advantage and benefiting from inefficiencies that traditionally exist between the two segmented markets. Furthermore, the credit team is supported by dedicated quantitative researchers and fixed income traders. On average, the members of the credit team have an experience in the asset management industry of seventeen years, of which eight years with Robeco.
Fund capital
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Jakarta: India is all set to help Indonesia in the launch of its self-made satellite. According to a media reporter received on Thursday, the Indonesian satellite will be launched from India on September 27.
The National Institute of Aeronautics and Space (LAPAN) of Indonesia produced the LAPAN A2 / Orari satellite on its own in the year 2012. The Jakarta Post revealed that it is the successor to LAPAN A1 / Tubsat which was launched back in 2007 by India only.
The to-be launched satellite will arrive in India by Friday. All preparations are done to launch it from the Satish Dhawan Space Centre in Sriharikota, Andhra Pradesh.
This satellite will be utilized for the work of monitoring the land usage, ship movements, sea resources, and fishing explorations.
Moreover, an additional equipment for automatic packet reporting is placed onboard which will be helpful in disaster mitigation by monitoring floods as well as for keeping an eye over population and sea changes.
It will be set to orbit the earth along the equator with an altitude of 650 km and will travel at 7.5 km per second – enabling it to circle 14 times a day.


This page contains a summary of new explorable worlds in Kingdom Hearts 3, including the characters Sora and his friends will meet on their adventure.
A scene in Arendelle where Sora meets Anna from the Disney movie Frozen has been featured in various game trailers.
Sora, Donald, and Goofy will travel to the Toy Box and meet the cast of Pixar's Toy Story. Pictured above are the heroes talking with Woody, one of the film's main characters.
An image released in the earliest promotional material for Kingdom Hearts 3. The world of San Fransokyo was confirmed as one of the worlds to explore in the game. Sora is seen riding on Baymax while battling a heartless version of the film's hero.
Sora will also travel to Monstropolis and join forces with Mike and Sulley from the movie Monsters, Inc. as seen above.
The Kingdom of Corona makes its appearance in the upcoming game where Sora and his friends team up with Rapunzel. The image above shows Rapunzel in battle using her hair to attack enemies.


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Glasgow International Comedy Festival
Comedy genius Des Clarke 'cannae wait' to perform at the Glasgow Live International Comedy Festival
"Glaswegian humour is really quick and witty. We've got an answer for everything, we think on our feet and our conversations are at hyper speed."
Kathleen Speirs
17:35, 2 FEB 2017
Funnyman Des Clarke is raring to go for the 15th Glasgow Comedy Fest (Image: Media Scotland)
Glasgow funnyman, Des Clarke, is gearing up for his gig at the Citizen's Theatre as part of the Glasgow Live International Comedy Festival in March.
But not before a wee holiday in Tenerife to relax after a hectic Panto season at The King's Theatre.
"This time of year Tenerife basically turns into outer Glasgow," Des told Glasgow Live.
"All the Weegies who want to escape the rain for a week seem to descend on that island at the one time."
Glasgow Live International Comedy Festival 2017 launches today
One of the city's top exports, Des has performed at comedy festivals all over the world including those in Melbourne, Dubai and New York.
But the radio presenter says there's no place like home when it comes to audience interaction.
Des Clarke (Image: Glasgow Live International Comedy Festival)
"I just love playing in Glasgow," Des said.
"Glaswegians are the most supportive audience you can get, they're so warm.
"If you get few hundred folk in a room laughing here it's just magic.
"It's similar to riding a surfboard - once you get that first laugh it's like riding a wave.
"That's why I love performing at the Glasgow Live International Comedy Festival."
Des, who hails from The Gorbals, says any gig in 'The Citz' holds sentimental value.
"The Citizens Theatre is across the road from the high flats where I grew up," he explained.
How to buy tickets for the Glasgow Live International Comedy Festival 2017
"As a wee boy I could see it out my window and passed it in the car every day, I'm a Glasgow boy and proud, so it's nice to come full circle.
"Obviously that then means anyone who claims to be related to me wants a free ticket."
His highly anticipated show, 'Desneyland' which hits The Citz on March 15 is sure to be a storming hit as Des drops hints that a certain US President will be in the firing line when it comes to his material.
"I'll be dusting off my Donald Trump for the occasion," Des joked.
"Whatever you think of him he will be dominating the news for the foreseeable future and we cannot ignore the fact that the guy is half Scottish.
"I also showcase my Andy Murray impression which has a funny story attached to it when I met him at the Hydro last year."
(Image: Facebook)
"I like the name (Desneyland) - it's playful, it's daft and the show is a bit of a thrill ride, probably an insight into the theme park that's existing in my brain - hold onto your hats!"
An ambassador for the comedy festival, Des thinks there's no better place to showcase comedy than in Glasgow where our own humour is so unique.
"Glaswegians are really quick,"Des said.
'You'll always get good humour and a warm welcome in Glasgow' says Comedy Fest director Linda Allan
"We've got an answer for everything, we think on our feet and our conversations are at hyper speed - you go on a bus and some of it can sound like Mandrin Chinese.
"We're also great story tellers - you ask a Glaswegian how their day has been and you get War and Peace.
"It's a lovely gift and I hope to represent that on stage."
Tickets for Desneyland can be bought from The Citizen's Theatre website.
For more information on the Glasgow Live International Comedy Festival click here.
Glasgow Live International Comedy Festival
Your (comedy) guide to Glasgow
Chris Forbes on comedy heroes
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Nnimmo Bassey
Environment activist bags doctoral award
A Nigerian architect, environmental rights activist poet and award winning author, Nnimmo Bassey, has bagged an honorary doctoral degree at the prestigious University of York, United Kingdom.
HOMEF, medical practitioners raise the alarm on dangers of GMO crops, urge ban
Director, Health of Mother Earth Foundation (HOMEF), Dr. Nnimmo Bassey and some medical practitioners have expressed grave concern on the dangers associated with the consumption of Genetically Modified Organisms (GMOs) food, saying it's unfit for healthy living.
Bassey bags University Of York's doctoral award
A Nigerian architect, environmental rights activist, poet, and award-winning author, Mr. Nnimmo Bassey has bagged an honorary doctoral degree at the prestigious University of York, United Kingdom. He is one of 16 global icons' awardees.
HOMEF faults GMO crops' rescue claim to world's growing population
The Health of Mother Earth Foundation (HOMEF) has faulted the claim that genetically modified (GM) crops remain the veritable source of food...
When arts community feted Nnimmo Bassey
It was indeed an evening of tributes recently when the arts community celebrated the poet, environmentalist, writer, architect and humanist, Nnimmo Bassey, who turned 61.
Activists, friends celebrate Nnimmo Bassey at 61
Many poets, activists and friends yesterday organised a colloquium in Lagos State to celebrate the renowned environmental activist and poet, Nnimmo Bassey, as he marked his 61st birthday. The theme of the colloquium was 'Arts, Humanity and the Search for Social Justice. Bassey is a recipient of the Rights Livelihood Award, also known as the…
Experts set agenda for Buhari government on environment
Civil society groups and experts have examined the Buhari administration's four years' of environmental stewardship, saying that much needs to be done in the protection of the natural resources through conservation and sustainable practices. They believe that the Federal Government scored major point in the United Nations Environment Programme report and clean up of the…
NGOs urge Buhari not to sign NBMA amendment bill
Health of Mother Earth Foundation (HOMEF) and over 40 Non-Governmental Organisations have called on President Muhammadu Buhari to reject signing into law the recently passed bill to amend the National Biosafety Management Agency Act, 2015.
Lagos, HOMEF urge preservation at World Biodiversity Day
The Lagos State Government and ecological Think Tank, Health of Mother Earth Foundation (HOMEF) have called for concerted efforts towards...
Experts urge halt in gas flaring as WMO confirms 2018 fourth warmest year
In a clear sign of continuing long-term climate change associated with record atmospheric concentrations of greenhouse gases, 2015, 2016, 2017 and 2018 have been confirmed as the four warmest years on record.
CSOs, farmers seek revocation of permit for commercial GM beans
A coalition of civil society organisations (CSOs), including the Health of Mother Earth Foundation (HOMEF), and farmer groups have called on the Federal Government to revoke permit for the commercialisation of BT cowpea.....
Controversy over Smoke-Free world campaign
With a focus on Africa, and Nigeria in particular, Phillip Morris International (PMI) is stopping at nothing to convince institutions and groups that it is committed to ensuring a smoke-free world at all cost.


VOTE FOR ME!!!! | Meghan Kelly Teles!
A few weeks ago, my friend Britta told me about this contest and it was go time… I mean if I didn't enter, I literally could never joke about being sponsored by Mike's again. I mean, would anything I said hold meaning? So… here is my submission.
THE IMPORTANT STUFF: Go here to vote for me daily on Facebook.
You might need to sign up and "like" Mike's Hard Lemonade. Man up. If people make fun of you, make fun of them or make more fun of yourself… that is what I always do. Tell all your friends. You won't regret it! THANKS EVERYONE!
VOTE DAILY FROM AUGUST 17-30. If this wasn't so important, there would be way less capital letters.


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It will be required to enter a one-time code received in the SMS message during log in to the GSA Platform. For that reason, it is necessary to have current business mobile number registered in the system. Otherwise it will be impossible to log in.
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Please enter the current mobile phone number not later than 31 July 2018.


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April 30, 2017 • 12:23 pm Comments Off on Seattle Symphony's [untitled] 3: Wow!
Seattle Symphony's [untitled] 3: Wow!
Friday night brought the season finale of Seattle Symphony's innovative — and always fun — late night [untitled] series. As usual, the affair offered a program of adventurous and far-ranging chamber music, here linked by the personalities of two powerfully individual artists who feel familiar yet who remain mysteriously unfathomable.
"I am deeply superficial," goes one of the bon mots — or Warholian koans — in Andy Warhol Sez, a collection of seven brief pieces for bassoon and piano by American composer Paul Moravec. Each is prefaced by the bassoonist reciting a quotation from Warhol, followed by bassoon-keyboard duets that either further ironize or contradict the statement — or perhaps have nothing to do with it at all.
Moravec wrote AW Sez for David Sogg, a bassoonist with the Pittsburgh Symphony, in Warhol's native city, but it seemed tailor-made for SSO principal Seth Krimsky. His drily sardonic recitations gave way to spirited playing that conjured multiple personalities.
Cristina Valdés, who supplied theatrically appealing counterpoint from the keyboard, returned for the second work, Tinkling or killing time in an airport lounge (and being arrested) by Yannis Kyriakides, a composer now based in the Netherlands. The inspiration here was a scene from the documentary Thelonius Monk: Straight, No Chaser, in which the jazz legend was found wandering around Logan Airport and taken by the police to the state hospital and released after a week of observation.
Elena Dubinets, SSO's Vice President of Artistic Planning, explained that Kyriakides created a virtual mini-piano concerto, giving a demanding and prominent role to the pianist, who frames the piece, which is based on Monk's song Trinkle Tinkle. Valdés conveyed the hypnotic fascination of the writing flawlessly, which certainly mirrors the composer's description of the airport scene: "Monk [was] seen spinning around like a whirling dervish in an airport space."] SSO Associate Conductor Pablo Rus Broseta, leading the chamber ensemble, allowed space for the most eccentric gestures to register without sacrificing rhythmic precision.
The rest of the program was filled out by a winning and generous "sample" of a larger work: Andy: A Popera, courtesy of the Philadelphia-based collective The Bearded Ladies Cabaret. This is not a "bio-opera" but a fanciful, whimsical, at times unexpectedly incisive music theater hybrid that loosely riffs on images of an artist who was all about riffing on images.
The score itself is characteristically unclassifiable, a seamless mingling of contributions by company member Heath Allen and Dan Visconti, to a libretto and direction by the insanely talented John Jarboe (Bearded Ladies' artistic director).
Gender is merely one category that becomes dizzyingly fluid in this show, which resurrects the artist's mother, Julia Warhol (Malgorzata Kasprzycka) and presents the Birth of a Legend as Andrei (Mary Tuomanen) emerges from a sealed cardboard box, wielding a little camera and pinpointing members of the audience at random for their (diluted) 15 seconds of fame.
As Candy Darling, Warhol's meta-tragic Superstar, Scott McPheeters commanded attention across the multi-level set, dying a Dido-ish death and glorying in Rebecca Kanach's flowing, billowing costumes.
The five-member chorus was first rate, backed by a mostly rock/pop-style band that also featured SSO violinist Mikhail Shmidt on viola. The confluence of pop and classical trained voices never jarred but sounded utterly convincing — a tool to ratchet up emotions just when needed.
The whole experience was so lively and enjoyable, it seemed to end too quickly. "An artist is somebody who produces things that people don't need to have," according to Andy Warhol. But, as he knew, who can also make people have the need.
(c)2017 Thomas May – All rights reserved
Filed under: Andy Warhol, new music, review, Seattle Symphony
June 6, 2015 • 12:11 pm 1
Portrait Portrayals
There's a feast of exhibits that have just opened at Seattle's Frye Museum for the summer. I've just posted on the Structure and Ornament show from local artist Leo Saul Berk. Meanwhile, a series of small-scale exhibits explores the concept of the portrait, of self-portrayal and presentation.
Two of these exhibits represent polar opposites from the image-obsessed Andy Warhol. In an alcove-like room you can see the contents of Warhol's Little Red Book #178 — examples from the tens of thousands of Polaroids he snapped to document his work and life in the 1970s. #178 is one of the collections Warhol organized into red Holson Polaroid albums. It contains nineteen pictures featuring such friends and collaborators as Jane Forth and Michael Sklar. Each is displayed in a separate frame.
These ephemera sometimes capture a revealing moment, sometimes seem too posed, and at times are even outright failures. But Warhol wanted to document it all. They emanate a ghostly presence that's fascinating to compare to the glib instant-click instant gratification of our smartphone selfies.
Andy Warhol. Andy Warhol and Unidentified Woman, 1970. Polacolor Type 108. 4 1/2 x 3 3/8 in. Gift of The Andy Warhol Foundation for the Visual Arts, Inc., 2014.002.18. © 2015 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York. Photo: Richard Nicol
Snapshots of fleeting moments versus the studied gaze of the Screen Tests: the Frye is showing a collection of 12 of the latter, made between 1964 and 1966 at the Factory. The reference to Hollywood auditions to check out an actor/actress's potential motion picture charisma is tongue in cheek.
Warhol's rolls of 16mm black and white film (using an entire 100-foot roll for each subject) are intended as a goal in themselves, their slow motion prolonging the self-conscious projections of self chosen by each subject. Notes the Frye's description:
During the 1960s, these films were rarely shown in public, but were often screened at The Factory. Some of the Screen Tests were used by Warhol in projects such as "Thirteen Most Beautiful Women" and "Thirteen Most Beautiful Boys." Programs of individual Screen Tests were also projected as part of the light show for "Up-Tight" and the "Exploding Plastic Inevitable," Warhol's 1966–67 multi-media happenings. For these events, The Velvet Underground and Nico provided live accompaniment; the Screen Tests were filmed without a soundtrack.
Along with the young Bob Dylan, the screen tests gathered here are of personalities like Susan Sontag, Dennis Hopper, Lou Reed, and Edie Sedgwick (transferred to digital files). See them in succession and try to decide who's more self-conscious at trying to seem unselfconscious…
Maybelle, Thomas Eakins (1898); oil on canvas
Work your way through this Warholiana and then head to American Portraits: 1880-1915, an intriguing selection from the Frye's original collection of art focused on that turning-point era.
The angle here is one of Frye Director Jo-Anne Birnie Danzker's specialties: the influence of developments by German artists in particular in the late 19th/early 20th centuries on their American peers. The selection here considers works by John White Alexander, William Merritt Chase, George Luks, and Frank Duveneck, all of whom studied and spent time in Germany. Also included are portraits by ex-patriate artists Charles Sprague Pearce and John Singer Sargent and the "Ashcan School" maverick Robert Henri.
Birnie Danzker has placed Eakins' strikingly naturalistic portrait of Maybelle Schlichter (wife of the boxing referee he painted in his famous Taking the Count) in a position that immediately catches the eye as you cross over from the Warhol Screen Tests. She notes that the subject portrayed by Eakins uncannily anticipates the unguarded character found in some of Warhol's work — the glamour of the real.
Filed under: Andy Warhol, art exhibition, Frye Museum


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Carol Ruckdeschel is a biologist, naturalist, environmental activist and author. As a Cumberland Island resident, she was involved in the creation and preservation of Cumberland Island National Seashore. She is the subject of the book Untamed: The Wildest Woman in America and the Fight for Cumberland Island by Will Harlan.

She has researched sea turtles and endangered and extinct species around the Georgia coast.

Her residence on the north part of Cumberland Island is currently owned by The National Park Service, on the condition of her remaining there until her death.

Books

Journal articles

 Robert Shoop, C., and Carol Ruckdeschel. "Increasing turtle strandings in the southeast United States: a complicating factor." Biological Conservation 23.3 (1982): 213–215.
 Frazier, J. G., Judith E. Winston, and Carol A. Ruckdeschel. "Epizoan communities on marine turtles. III. Bryozoa." Bulletin of marine science 51.1 (1992): 1–8.

References

External links
 http://wildcumberland.org/ (Website about Cumberland Island preservation and conservation issues)

1941 births
Scientists from Rochester, New York
People from Cumberland Island
Living people
American conservationists
Wildlife biologists
American women biologists
Activists from Rochester, New York
21st-century American women

redpajama_set_name: RedPajamaWikipedia


5/21 The garden and the small swimming-pool. Balconies of the the seaview rooms on the first floor.
Zanzibar House is a private house situated in Matemwe on the north-east coast of Zanzibar.
The house offers hospitality in seven bedrooms located on the upper-floor featuring an outdoor balcony. Five rooms overlook the seaside while the remaining two overlook a palm-grove on the adjacent plot. Rooms are all the same size and furnishing are very similar but we would say that seaview ones are less attractive since the swimming pool is located just below their balcony. Conversely palm-groove bedrooms are offering more privacy.
Albeit it had developed, this stretch of coast managed to maintain a very authentic atmosphere. Likewise much of the east coast it is tidal but tides here are not so pronounced and even at low tide water never retreats completely. A 20 - 60 meters deep lagoon could also be reached walking for about 20 minutes [approx. 450 meters off shore] but we do not recommend going alone because of currents and high waves. During high tide instead most of the beach in front of the house gets submerged but you can still enjoy the private beach of the hotel. Given the presence of sea-urchins it is safer to wear sea-shoes when swimming.
Such as Villa Kiva and unlike Villa Maua, Zi-Villa and Matemwe Beach House, Zanzibar House allows to rent rooms rather than the entire house.
The facility is complemented by the restaurant, the bar, the hammam, the swimming-pool and the little private beach.
The proximity to the coral reef has turned this part of the island into one of the most popular destinations for divers and snorkellers. These activities can be arranged with One Ocean, the diving centre at Matemwe Beach Village.
Zanzibar House provides an average level of servicing and it is suitable to those looking for accommodation in a small and family run business.
Rates include: breakfast, fruit selection at 11.00, lunch, tea and coffee at 17.00, finger food buffet at 18.00, dinner.
Rates do not include: beverages, transfers between hotel and airport.


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Music / Philanthropy
'The Other Ball' Celebrates Global Charities Sans the 'Black Tie'
On June 4, a secret London location will undergo a transformation at the hands of Zak Ové to bring Mark Ronson's "The Other Ball" event to life. Honoring the global charity Arms Around the Child, Ronson's new annual affair looks to break from the traditional "black tie" mold, with a welcomed mix of "more black leather" than "black tie".
Amidst live performances by Florence and the Machine, Lily Allen, Blood Orange, Rudimental, Angelique Kidjo and more expected performers, cocktails, street food and auctions, Ronson and his colleagues will attempt to rewrite the gala handbook by doing away with all the traditional ideals. According to Arms Around the Child president Jeff Bhasker, the charity is "excited to reboot and rewrite the script on the fundraiser by not following the rules and because of the incredible efforts of Mark Ronson, we have managed to secure an amazing line-up of the best of today's voices."
To further break from the traditional mold, Ronson has proudly enlisted the help of street foods from Africa and India created by The Last Super to replace the up-tight formal dinner. Immediately afterward, a chic champagne reception and boozy cocktails await guests.
While most don't know what to expect from the night's free-for-all flair, it looks as though Ronson knows exactly what he's doing.
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