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BART Releases 2010 Budget, But Board Doesn't Debate Its Merits
By Matthew Roth
Photo by dav id from East Bay Indymedia
Despite meeting for more than seven hours yesterday, the BART Board of Directors never managed to discuss the budget, in no small part because of the drama and theatrics of a public enraged about the shooting of Oscar Grant on January 1st and the release of an internal audit that found BART fails to award contracts to minority and female contractors commensurate with demographics and stated agency goals.
Over an hour into intense public comment calling for the firing of BART General Manager Dorothy Dugger and Police Chief Gary Gee, Gabriel Meyers, 31, who had been visibly agitated and unstable throughout the meeting, hurling epithets from behind the speakers at the podium, rushed at Dugger and sprayed her with a tube of red paint.
A quick acting BART police officer, who Board President Tom Blalock later commended and called "a runningback" for how quickly he crossed the room, tackled Meyers and subdued him. Meyers was charged with two counts of battery, one count of resisting arrest, and one count of disrupting a lawful assembly.
No Justice No BART organizers and a Grant family member present at the meeting condemned the attack and said Meyers was not associated with their efforts to seek justice for the shooting. Several protesters in the hall were upset by the attack and said they knew it would dominate the news coverage of the event, detracting from their message.
Discussion of BART's Availability and Utilization Study (PDF), which examined racial and gender disparity in BART's contracts for construction and professional services (Disadvantaged Business Enterprise, or DBE goals) was only slightly less eventful. The study found that when BART had DBE goals in place from 2002-2006, they failed to award construction and professional services contracts in accord with the demographic availability of contractors. Over the past two years, when BART suspended its DBE goals, the results were much worse.
While African Americans make up 8.01 percent of available construction contractors, they were only awarded 0.28 percent of contract dollars; Asian Americans 10.98 percent availability, 0.30 percent awarded, Hispanic Americans 8.08 percent availability, 0.79 percent awarded, Caucasian Females 6.87 percent availability, 3.11 percent awarded, and Caucasian Males 65.71 availability, 95.32 percent awarded.
The study recommended that BART re-instate DBE goals immediately, and among other long term goals: improve district wide communications with DBEs, develop BART Staff DBE program training, implement prime, sub awards, and bidders tracking, and publish enhanced bi-annual DBE utilization reports.
BART Director James Fang criticized the study, which took over two years to complete and cost the agency nearly half a million dollars, for only completing analysis of construction contracts and some service contracts, but failing to address procurement. Fang said he couldn't endorse the recommendations of the study if it failed to include procurement and to more completely analyze services, despite warnings from staff that any delay on endorsing the study's recommendations for racial and gender screening would mean that projects like the Oakland Airport Connector would go to bid without the higher standard.
A member of the public became so enraged with Director Fang he suggested Fang "should be taken out back and beaten with a rose bush" for being racially divisive (the man was African American, Fang is Asian American). After a heated back and forth, order was finally restored to the meeting and the Board voted 7-1 to endorse the recommendations of the study.
Visibly exhausted Board directors tabled discussion of the budget, but released staff's proposals to the public and set a date for a public hearing on May 28th. Final adoption of the budget is expected on June 11th.
Staff proposed many options for eliminating the budget deficit, which would be $54 million this year and $249 million over four years without action by the Board, most notably a 10 percent fare increase (up from 6.1 percent already approved) effective July 1st, service cuts across the system, and revising BART's East Bay parking formula to extend a daily parking fee to every station where parking is currently free, except for Hayward, Oakland Coliseum, and North Concord.
This packet of proposals would still leave a deficit of $23 million. Other remedies proposed by staff that will be discussed at the next Board meeting, could include:
Cut 50-100 additional positions ($5-10M)
Eliminate mid-day Richmond-SF and Fremont-SF service ($2-3M)
Higher fare increase across the system: 15 percent instead of 10 percent ($8M)
Increase minimum fare from $1.50 to $1.75 ($14M)
Increase Transbay surcharge 10 cents ($5M)
Increase SFO Premium fare by $2.00 ($7M)
Parking: increase fees, market based ($0.5 – 3M)
Director Tom Radulovich was confident the controversial proposal among suburban directors to expand parking fees to stations that don't currently have them would pass, given the budgetary concerns. "I think there is finally opportunity for movement," he said. Radulovich suggested that the operator should consider market-rate parking charges could be used to offset the longest-distance trips, which wouldn't suppress reverse commute incentives, and even suggested they revisit the possibility of a monthly pass for riders.
"Right now you can get a monthly pass on parking, not on riding," said Radulovich. "We should reverse that."
General Manager Dugger said the monthly pass is not beneficial to BART's bottom line as a budget proposal. "I would not advocate looking at that as part of a budget strategy solution but as a fare-policy consideration, which we have looked at from time to time. To date we've decided that our distance-based fare is equitable, beneficial, and we would not recommend any changes."
Board President Tom Blalock, who has historically resisted charging for parking, rejected a call for market-based parking, which he said would disproportionately impact riders in stations farther from the BART core. "I think we'll have some nibbling around the edge of the parking charge. I think there'll be more stations with parking charges," but he said that he knew there were many directors who would resist raising fees at stations that already charge for parking.
When asked why parking fees weren't set to a ratio that would at least cover the cost of maintaining the parking space (over $1/space/day for surface lots, over $2/space/day for garages), Blalock said, "Well that's an interesting cliche, but nobody makes the same parallel in terms of the cost of maintaining the huge grandiose stations that are underground in Oakland and San Francisco. Suburban riders pay for those. Nobody wants to hear that. It's part of the same system that paved the parking lots. I call it the same infrastructure and everyone ought to pay for it."
Expect some fireworks from the Board side of the rostrum at the next Board meeting, assuming the directors can get to the budget.
Filed Under: BART, Commuting, Economics, Parking Permits, Transit-Oriented Development, Transportation Policy, h2euhih
BART Mulls Options for Spending (or Saving) Small Budget Surplus
By Matthew Roth	| May 28, 2010
Photo: Matthew Roth BART Board meetings over the past year have been tumultuous, from the public fury over the Oscar Grant killing, which included the arrest of a protester for dousing BART General Manager Dorothy Dugger with red paint, to vigorous debate over whether to spend stimulus funds on the Oakland Airport Connector (OAC), to […]
Radulovich Becomes Second BART Director to Call for GM's Resignation
By Bryan Goebel	| Jan 26, 2009
Dorothy Dugger is facing increasing pressure to resign (Photo: BART) Tom Radulovich became the second member of the BART Board of Directors today to call for GM Dorothy Dugger's resignation. He cited, among other things, cell phone video uncovered over the weekend by KTVU that shows a BART police officer beating a man on the […]
BART Board Will Consider Increased Parking Fees to Address Budget Woes
By Matthew Roth	| Apr 9, 2009
From enjoycarrotjuice on Flickr At its monthly board meeting today, BART staff will present a number of options for closing its budget deficit, including a proposal to extend parking fees to stations that don't already have them. BART General Manager Dorothy Dugger will present the board with a preliminary operating budget for FY 2010, which […]
This post is supported by GJEL Accident Attorneys
BART General Manager Proposes a 'Safety and Security Action Plan'
By Roger Rudick	| Aug 6, 2018
BART General Manager Grace Crunican will be seeking BART Board approval for a $28 million "comprehensive Safety and Security Action Plan."
BART Sees $4 Million Budget Surplus at End of This Fiscal Year
By Matthew Roth	| Aug 11, 2010
Flickr Photo: David BART has once again bucked the trend of financial pain among other Bay Area transit operators by realizing a budget surplus at the end of fiscal year 2010, in large part due to strong sales tax receipts in the fourth quarter. In a letter to the BART Board yesterday [PDF], General Manager […]
Despite Outcry, MTC Board Approves OAK Connector Funds
By Matthew Roth	| Feb 25, 2009
Advocates packed the MTC hearing room Transportation and social justice advocates packed the Metropolitan Transportation Commission (MTC) board meeting today to demand that the agency not spend a proposed $70 million of federal stimulus money on the Oakland Airport Connector (OAC) project. MTC commissioners heard testimony for over two hours from some of the more […]


This 2018 Clio Entertainment Gold winning entry titled 'Black Panther - "Women of Wakanda" :30 TV Spot' was entered for Black Panther, Marvel/Walt Disney Studios by Tiny Hero , Burbank, US. The piece was submitted to the medium: Home Entertainment: Audio/Visual within the entry type: Home Entertainment and the category: Spot. It consists of 1 video and 1 image.


When there is run for title, everyone in the automobile industry doesn't leave a space for anyone else to barge in the quotient on which they had worked for years and years. And if it is the case of getting awarded with the title of best engine then all things come to halt, because nowadays the successful engines proves cash cows for carmakers as it gives them more revenues than what they would derive at the end of day after selling a car. Hence, that was not meant to be mentioned here but we say the future of automobile industry stays on the power running mill. And this time at the award winning ceremony for power mills, Fiat had proven its worth with the 0.9L TwinAir CNG engine. The complete title of this Italian powerhouse stands as 'the World's Green Engine 2013'.
This CNG jag of Fiat produces 80 bhp, whereas the petrol version of same wobbles out 104bhp whilst of more outputs in the different states of tunes. The Fiat's 0.9L petrol too had won Engine of the Year in 2011.
Being a twin cylinder 8 valve engine, Fiat's 0.9L focuses on reduction of weight, frictional and thermal losses. That is not actually the main emphasis of 0.9L displacement here but more to it, the TwinAir CNG consumes 3.1 kg per 100km (around 32.2 km/kg) and emits only 86 g/km of CO2, which we can say is surprising enough for the jury to bestow it with the World's Green Engine 2013.
Clean and clear in all the aspect, it is no doubt for us that carmaker must have invested a lot of time and money for its development, and the top of all their countless efforts. However, we are thinking when it is going to land in India? As presently we are in a tremendous need for such similar type of categories due to the rising petrol prices.


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Here Are 25 Of Selena's Most Iconic Photos
BY Eddie | March 20, 2018 AT 8:56 pm
By Eddie March 20, 2018 at 8:56 pm
The love for Selena runs deep. She is one of the few musicians who is so famous you only need to use her first name. (Sorry Selena Gomez.) From the moment she released her first album in the 1980's, people went crazy for her and her music. Over 30 years later, Selena not only continues to maintain a strong group of fans, she continues to gain new fans every day. Whether it's a wax figure, tribute concert, or impersonator convention, we love anything Selena. To prove it, here are 25 of our favorite Selena photos and lyrics.
1. Beachy Selena
selena.forever23 / Instagram
Selena Could Fall In Love and it looks like she did. Just like any of us, Selena looks like she loved going to the beach. She loved it so much that she couldn't keep from dancing.
2. The Classic Selena Portrait
legendselenaquintanilla / Instagram
This is one of the Selena photos we've all seen and love. Cada vez que lo vemos pasar, our hearts go "Bidi Bidi Bom Bom."
3. Smiling Selena
selenaqueentanillaa / Instagram
Selena's smile is beautiful Como La(s) Flor(es) on her shirt y con tanto amor, she'd gladly sign autographs for her many fans.
4. Beauty Queen Selena
Selena looks like she's ready for the Techno Cumbia. If you want to be anything like Selena, you need to know that if you don't plan on partying and vienes a dormir, they're going to tell you que salgas fuera de aqui.
5. Bedhead Selena
selenaquintanillaperez__ / Instagram
As you might have noticed, Selena loves to smile as much as we love seeing her smile. But, let's take a moment and marvel at her beautifully curly hair.?
6. Coca-Cola Selena
Our parents might have told us not to drink any soda, but who can say no when Selena's the one advertising it? Y cuando al fin estemos juntos los dos tres, you, coke, and Selena, no importa qué dirán tu padre y tu mamá.
7. Speaking of Amor Prohibido.
Whether it's in the movie or in real life, we know this forbidden love caused some tension with Selena's dad but look at how happy she looks. It even looks like Chris upgraded from La Carcancha (poco a poquito) to a new motorcycle.
8. Rebel Selena
How many times have your parents told you not to play with your food or blow bubbles with your gum? Well, Selena just didn't care and lived life to the fullest.
9. Foto Y Recuerdo
queenquintanilla / Instagram
Selena with her cousin is probably the cutest photo. This recuerdo is a great picture to look back on whenever her cousin misses her.
10. The Side Eye Look
We don't know what she is thinking here but we can only assume that she is just basking in the love from her fans.
11. Serious Selena
The song is pretty clear, "no me vuelvas a llamar". She can't be any more blunt and yet, she's giving us this face to make sure we know she means it.
If you've liked these Selena photos, check out these crazy Selena tattoos.
12. The "I Swear I'm Not Posing" Pose
selenaqueentanilla / Instagram
What's she looking at? Probably La Carcancha as it drives by with it's motor al reves.
13. Si Una Vez…
Le dijiste que la amas, no es suficiente. Selena's such a great artist that year after year, we continue to have tributes dedicated to her.
14. Ready to Bidi Bidi Bom Bom
With almost 2 million monthly listeners on Spotify, there are plenty of us Bidi Bidi Bom Bom-ing through her music.
15. Selena Tejana
selenaquintanillaperezfanpage / Instagram
This photo really shows Selena's roots as a Tejana star. Selena embraced her Texan-Mexican-American roots in order to create iconic, timeless music.
16. Stage Selena
dreaming_selena / Instagram
We've all seen videos of Selena performing live and it looks SO cool and fun. Anyone who had the chance to see her live is very lucky. This photo might not be from the Astrodome but I'm sure it was still the experience of a lifetime.
17. Como La Flor…
Is probably what she was singing in this photo. We've all seen her dancing hands and it looks like she's getting ready for it.
18. Selena, Tu Solo Tu…
She really is the only one who can pull off such cool stage costumes. The only herida en mi corazon is the one caused by the fact that I was never lucky enough to see Selena live.
19. Studded Pants
Selena loved fashion and looked good anytime she was on stage. If I had to guess, I'd say she probably planned these cool pants all on her own.
20. Selena Was No Cobarde When On Stage
The_queen_of_tejano / Instagram
And she was right when she said "te vas a acordar bien de mi". With such a strong personality and amazing music, who could ever forget her.
21. Purple Suit Selena
selenaquintanillaisbae / Instagram
When Selena wore her purple costume, she didn't know what an impact it'd have on future generations. Check out how Selena is still being remembered today.
22. Selena Signs
selenaquintanillap71 / Instagram
Another shot of her in her Como La Flor shirt but unlike real flowers or the love she sings about, the flowers on her shirt won't marchitar.
23. Selena With Her Mom
Selena really loved her family and this photo shows that. Her parents offered so much support throughout her career.
24. Another Friendly Selena
Wherever she was, Selena was happy to be there and had a smile on her face. "Que creias, que me iba olvidar?" Is probably what that man says anytime someone brings up this photo. If I got to take a photo with Selena, I'd never forget.
25. Another Classic Selena
We had to end the list with one of our favorite album covers. This is a photo we've all seen countless times on the cover of Amor Prohibido. Anytime we see the album, esperamos ese momento en que escuchamos su voz and when we hear it, it's still as great as it was the first time we heard it.
Celebrities Selena
By Jorge Rodriguez-Jimenez January 4, 2021 at 12:18 pm
BY Jorge Rodriguez-Jimenez | January 4, 2021 AT 12:18 pm
RICCO TORRES/AFP via Getty Images
"Selena" is one of the most influential and impactful movies of our generation. We all remember watching Jennifer Lopez embody the Tejana queen of music. The 1997 biopic is a classic and there is finally talk of including it in the National Film Registry.
"Selena" is one of the most impactful movies of our childhoods.
The 1997 movie was something that we watched over and over when we were younger. We sang the songs and basically learned all of the lines of this movie. It is arguably one of the first times we saw our culture and one of our icons' stories told for the masses.
The Congressional Hispanic Caucus is pushing for "Selena" to officially be recognized.
.@JoaquinCastrotx nominates Gregory Nava's 1997 film "Selena" for inclusion in the National Film Registry—and for recognition as an example of American culture.
"Given its importance as a work of Latino cinema, we believe it is deserving of preservation at the @librarycongress." pic.twitter.com/xcZcfL4w4S
— Hispanic Caucus (@HispanicCaucus) January 2, 2021
Movies are a crucial part of telling the full story of American life. The National Film Registry is a list of movies that are honored for their cultural impact. "Real Women Have Curves," "West Side Story," and "Zoot Suit" are all part of the National Film Registry. Rep. Joaquin Castro, D-Texas, is the chair of the Congressional Hispanic Caucus and wrote a letter asking for the consideration of "Selena."
"As a next step, we also wish to formally nominate the 1997 film 'Selena' for inclusion in the National Film Registry in 2021," reads the letter. "Directed by Gregory Nava and starring Jennifer Lopez and Edward James Olmos, the film depicts the life, remarkable rise, and tragic death of Tejana music star Selena Quintanilla."
There is a lot of hope that the Library of Congress will make this happen.
To boost Latino visibility in media we must do everything we can. Thanks to @JoaquinCastrotx @HispanicCaucus new Latinx film will be submitted to #NationalFilmRegistry for consideration. Now, #Selena has been submitted. Fingers crossed. https://t.co/mUoSqGuziq
— Luis A. Miranda, Jr. (@Vegalteno) January 3, 2021
Selena represents that first major and successful jumps from the Latino market to the mainstream that many of us can remember. We finally had someone who looked like us and understood our cultural struggles in a real way. Our story was being told and the film about the music icon was so important in guiding some of us through our own cultural struggles.
"The film also touches on important themes of cultural identity and assimilation faced by Mexican American communities as they navigate their personal connections to two cultures and languages," the letter continues to explain. "The film has become a beloved icon of Latino culture and has found widespread mainstream success, proving once and for all that Latino stories are American stories."
Selena is the kind of cultural phenomenon that comes once in a lifetime.
That movie is a cross-cultural phenom, an iconic classic for generations of people. There's nothing else like it. It deserves to be registered because of it's impact. Not to mention persevering Selena's legacy in a way that hasn't been replicated since.
— Kenya Jones (@krockafella) January 3, 2021
The singer was able to build an impressive legacy that has endured for longer than she was alive. We were raised with her music and told her story over and over to keep us all tuned in to the fact that we could do anything. If Selena could break into the mainstream audience, we could all be that successful.
"Given its importance as a work of Latino cinema, we believe it is deserving of preservation at the Library of Congress. We trust you will give 'Selena' careful consideration, and hope to see it included in the titles added to the National Film Registry in 2021," Rep. Castro further explains in the letter. "We also expect to identify other films which feature the American Latino experience and urge you to devote careful consideration to Latino films when considering films for the registry as well."
Here's hoping that "Selena" gets the official recognition it clearly deserves.
Omggg yess!!!..my daughter and I have been obsessed with this woman and this movie for decades now!
— Nancy Stout (@stout_nancy) January 3, 2021
We all have our fingers crossed that this movie will earn its place in the National Film Registry because it deserves that kind of praise.
READ: Part 2 Of "Selena: The Series" Has Already Finished Filming And Here's Everything We Know About The Next Season
CultureFilmJoaquin CastroSelenaSelena Movie
Maluma And J Balvin React To The Loss Of Armando Manzanero, Who Lost His Battle Against COVID-19
By Justin Lessner December 29, 2020 at 11:16 am
BY Justin Lessner | December 29, 2020 AT 11:16 am
Alexander Tamargo/Getty Images
As if 2020 and Coronavirus haven't taken enough from us, just days before we usher in a new year, the world is forced to say goodbye to Armando Manzanero.
The famed Mexican-Mayan artist lost his battle against COVID-19 and as news of his death began to circulate, reactions from stars all around the world have started to pour in.
Manzanero died like so many in 2020 – fighting the dangerous Coronavirus.
"No creo que nadie pueda hacer el amor con una canción de Maluma", comentó el cantautor 👇 https://t.co/MxArRP7AnA
— El Universal (@El_Universal_Mx) December 29, 2020
One of Mexico's most iconic and beloved artists has passed at the age of 85 from complications related to COVID-19. Armando Manzanero had tested positive for the virus on December 17 and put into critical care just a few days later.
The Society of Authors and Composers of Mexico (SACM), of which Manzanero was president, announced his death, saying: "The romantic soul of Mexico and the world is in mourning."
His family told Mexican newspaper El Universal that he was set to be extubated in the coming days, after his lung health had improved, but he then died by cardiac arrest.
Maluma took to social media to share his sadness over the immense loss.
¡Maluma recuerda al gran maestro Armando Manzanero con este video!
🙌🏻🎊🕊😢 #ManzaneroVLA pic.twitter.com/0V7fgTYp8k
— Venga la Alegría (@VengaLaAlegria) December 28, 2020
Losing a man who is considered a symbol of Latin American music has left many artists shocked and in mourning. Reactions and memories from around the world quickly poured in to remember the man who helped put his country and culture on the global map.
Maluma shared to Instagram an emotional post, where he expressed his sadness for the departure of maestro Manzanero, "💔😭 RIP MASTER," the post reads.
In the description, Maluma said "one of my greatest inspirations" had died but that he'd forever treasure the memory of having met Manzanero. The video shows when Maluma, visibly moved, meets Armando Manzanero for the first time. "A pleasure to meet you," says the reggaetonero; Immediately afterwards, the Mexican singer hugs him while patting him on the back.
J Balvin also shared his condolences while also condemning COVID-19.
.@JBALVIN, @AlejandroSanz, @EmilioEstefanJr y más famosos se unen a la pena por la muerte de Armando Manzanero. https://t.co/ljk9JJTwB6 pic.twitter.com/YNTKkIexMb
— Univision (@Univision) December 29, 2020
Another of the many celebs who showed their sadness over the death of the star was J Balvin. In his Instagram stories, Balvin posted a photo of Manzanero and wrote "Rest in peace, Armando Manzanero." In addition, he wrote what so many of us are feeling after such a devastating year: "FUCK COVID."
And Mexico's president, Andres Manuel Lopez Obrador, addressed Manzanero's death during a press conference, per CNN. "Armando Manzanero was a sensitive man, a man of the people. That's why I lament his death," he said. "He was also a great composer."
Manzanero was a famed Mexican-Mayan artist who helped bring visibility to his culture and community.
Credit: Medios Y Media / Getty Images
Manzanero was a romantic crooner who was often covered by artists from around the world. In fact, many of his tracks were translated into English and performed byartists including Frank Sinatra, Elvis Presley and Perry Como, and he was awarded a lifetime achievement Grammy in 2014.
He has since written more than 400 songs and released more than 30 albums, including nine since 2001, as Manzanero collaborated with a younger generation of Spanish-language romantic pop singers such as Alejandro Sanz, Luis Miguel and Lucero.
Manzanero's impact on Latin music, especially romantic "bolero" songs, was widely recognized during his lifetime. He received Lifetime Achievement Awards from both the Latin Grammys in 2010 and the Grammys in 2014. Earlier this year, the Billboard Latin Music Awards recognized him with a Lifetime Achievement Award, with musicians including Luis Fonsi and Pablo Alborán performing a medley of hits as Manzanero accompanied on piano.
CelebritiesCOVID-19deathsJ BalvinMaluma
Music's Biggest Night Is Officially Postponed As COVID-19 Wreaks Havoc On California
Justin Lessner / January 8, 2021 Justin Lessner
Video of an Anti-Mask Mob Storming a Los Angeles Grocery Store and Angrily Confronting Customers Goes Viral
Andrea Reindl / January 5, 2021 Andrea Reindl
Texas Teacher Continued To Teach Her Students From Her Hospital Bed Until She Died From COVID-19

redpajama_set_name: RedPajamaCommonCrawl


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Xiqu Centre and the evolution of Hong Kong's new arts hub
Pin image
Hong Kong's Xiqu Centre — designed by Revery Architecture and Ronald Lu & Partners — is the first project to complete as part of the city's ambitious new arts neighbourhood, the West Kowloon Cultural District
Words by Oscar Holland
More than two decades after Hong Kong authorities initially proposed a new cultural quarter on the Kowloon Peninsula, the development's first venue has finally opened its doors. Well, figuratively at least — the soaring openings found at each corner of the Xiqu Centre are permanently agape and thus distinctly doorless.
The theatre's completion marks a significant milestone for the West Kowloon Cultural District (WKCD), an ambitious attempt to announce Hong Kong as Asia's leading arts destination. Set across 40ha of land reclaimed from Victoria Harbour in the early Noughties (with the development's westernmost tip now jutting out into the harbour), its masterplan features dozens of public and commercial structures, including designs by the likes of Herzog & de Meuron and UNStudio.
The atrium is envisioned as a light-filled, welcoming 'urban plaza'
For now, however, the HK$2.7bn (£268m) Xiqu Centre stands alone amid the construction, its squat form conspicuous in a city defined by verticality. A competition-winning collaboration between Canadian firm Revery Architecture — known as Bing Thom Architects before its founder's death in 2016 — and the Hong Kong-based Ronald Lu & Partners, the venue is dedicated to Cantonese opera. And this function is reflected quite literally in the building's exterior.
Created modularly from CNC-cut aluminium piping, the structure's outer casing evokes rippled theatre curtains. From afar, the pattern of curved fins gives the building the textural quality of flowing fabric (while providing shade, for improved thermal performance). And it's where these 'curtains' part that the aforementioned entranceways stand, luring passersby into the light-filled public atrium at the structure's heart.
The curved, rippling exterior is created from CNC-cut aluminium piping
This configuration is, in itself, unusual: such venues normally revolve around the performance space. Yet here, a Grand Theatre of 1,073 seats has been hidden from sight, lifted 27m into building's upper reaches. The atypical arrangement provides acoustic isolation from Kowloon's noisy streets. But it also reflects the project's civic character, according to Revery's design principal Venelin Kokalov, who has led the firm since Thom's passing.
'It's not [meant to be] a sculpture that's walked around,' he explains while we tour the site. 'Performing arts venues are usually solid objects — they're not friendly buildings. But it's a typology that is [normally only] used for two or three hours a day. So we lifted the theatre up in the space, and this way we free up this plaza. It's more about the negative — the void is more important for us.'
The result is a towering curvilinear cavity decked in granite and white concrete. Its clean, flowing lines may not scream Chinese opera, but they better articulate the building's mission: offering a modern home to a traditional art form.
The curtain-like facade parts to form the main entrance into the public atrium
The atrium's smoothed edges and coiled walkways lead around a circular central space intended for public performances and exhibitions. Indoor trees help to further erode the distinction between inside and out. This 'urban plaza', as Kokalov prefers to call it, currently serves as a place to wander, with a smattering of locals seen reclining on deep, flat seating or loitering around a wide stair set.
Most of the Xiqu Centre's secondary functions are set back from — or around — the atrium, including a seminar hall and a number of small studios, as well as retail and F&B facilities. They are reached via escalators of varying heights, which join a series of pathways that wrap around the building's hollow centre, peering over the plaza like the elevated galleries of a theatre.
The atrium's circular central space is intended for public performances and exhibitions
The last of the tunnel-like escalators delivers visitors into a Zaha Hadid-esque foyer flanked by two rooftop gardens (in Hong Kong, it is rightly considered a sin to waste vistas of the city's postcard skyline). In keeping with the aesthetic of other public spaces, the lobby is clean, white and well lit, almost clinically so by night.
Its undulating forms continue into the cavernous but deceptively intimate Grand Theatre. Oblong and ovate shapes appear cut out from the walls, while blocks of seats have been encased by low, curved walls. The ceiling resembles overlapping waves, rolling gently to the back of the room. There are few hard edges to speak of — even the rows of stalls gently bend in the middle.
A well-lit, Hadid-esque foyer flanked by rooftop gardens
But while the difference between inside and out is relatively fluid, the distinction between public and performance spaces feels far more abrupt. The building's hard surfaces make way for demure velvet seats and dark wood; its pale palette is suddenly muted by shades of purple and taupe that appear almost black in low light. It's a contrast replicated in the 200-seat Tea House Theatre, a smaller space for more casual performances (accompanied by servings of tea and dim sum).
Kokalov wants these juxtapositions to transport audiences away from their surroundings — for the duration of the show, at least, after which they're ejected back to the colder foyers for a visual palette-cleanser. Yet, the architect is also aware that the majority of the building's visitors will never experience the theatres themselves. Most foot traffic at the Xiqu Centre, which lies at the far eastern end of the WKCD, will result from its position as an entry point for pedestrians (including those entering via underground passages from two connected metro stations).
Cavernous but deceptively intimate: the 1,073-capacity Grand Theatre
'The concept isn't to be a destination,' Kokalov explains, 'it's to be a gateway.' For this reason, judging the success of Revery's work feels premature. The way in which people flow through the space is fundamental to the designers' vision, and for now there simply isn't the footfall.
But come the mid-2020s, when the district is scheduled to complete, the Xiqu Centre's relationship with its wider context should come into clearer focus. By then, the theatre will have been joined by numerous other arts facilities, many of which look set to be architecturally eye-catching.
The 200-seat Tea House Theatre is an intimate space for less formal performances
Most anticipated among them is the Herzog and de Meuron-led museum of visual culture, M+, which could — if hushed local optimism is to be believed — serve as an Asian equivalent to the likes of Tate Modern and MoMA. The 60,000 sq m project, which topped out last November, comprises vertical and horizontal slabs joined perpendicularly into an upside-down T.
The museum is due to open in 2020. In the meantime, there is the M+ Pavilion, which opened in 2016, designed by a local design team consisting of VPANG Architects with JET and Lisa Cheung. This hosts M+ exhibitions in the run-up to the completion of the museum, after which it will become a new space for artists, designers and organisations to stage small-scale exhibitions and events.
Herzog and de Meuron's museum of visual culture, M+, is due to open in 2020
Next to M+, the waterfront Lyric Theatre will differ in function from the Xiqu Centre by hosting more modern and internationally focused performances. Designed by Dutch firm UNStudio (along with Hong Kong's AD+RG), it will house three theatres ranging from 270 to 1,450 seats in size. The latest renderings suggest that the structure's glass-fronted, round-edged facade will contrast with, or perhaps offset, the more solid and angular M+.
To their west will lie a waterfront promenade, grassy parks and the Hong Kong Palace Museum, a more recent addition to the district. The work of local firm Rocco Design Architects, the top-heavy but delicately balanced structure will house artefacts from Beijing's Palace Museum. Fittingly, its design puts a Hong Kong spin on the Forbidden City's architecture, borrowing the concept of successive courtyards but having them twist vertically through the building's interior.
The Hong Kong Palace Museum, designed by Rocco Design Architects and to be sited at WKCD's west end, will house
artefacts from Beijing's Palace Museum
Then there's West Kowloon's new high-speed railway station, designed by Andrew Bromberg at Aedas and opened last September, that has drastically reduced journey times from mainland China. While lying just outside the cultural district, the long, low terminus will inject an essential flow of tourists to the development.
Arriving underground, passengers are immediately met by a huge glass facade overlooking Hong Kong's skyline, before being fed into interconnected walkways that will, one day, lead to the heart of the new arts quarter. Yet the structure serves the neighbourhood in more immediate ways, its roof doubling up as a garden that rises almost seamlessly from ground level before sweeping gracefully across the largely pedestrianised site.
The West Kowloon station, designed by Andrew Bromberg at Aedas and boasting an arched roof garden, will serve as a
vital transoport hub for the WKCD
Quite how these profoundly different landmarks will interact remains to be seen. But a prescriptive architectural ethos is neither part of the plan nor even desirable, according to Duncan Pescod, CEO of the West Kowloon Cultural District Authority.
'You don't want a homogenous approach — that would be terribly boring,' he explains during an interview at the district's site office. 'We told designers: "You have to make reference to your adjacent buildings, or the ones we know about"… But architects have to have their own creativity.'
The West Kowloon station, designed by Andrew Bromberg at Aedas
A wooden model in Pescod's office reveals just how much of the district is yet to be shaped. Many of the site's buildings have not yet been commissioned, and, for now, they appear as formless grey blocks on his model masterplan. As such, the wider visual language remains somewhat undefined.
This tightly packed masterplan has undergone significant changes since 2002, when Foster + Partners won the initial design competition. The firm's proposal for a sweeping canopy across the whole site was eventually scrapped and the plan significantly revised. Then, in 2010, architects were once more invited to propose designs, with Norman Foster's firm winning again — this time with an entirely different scheme.
The current West Kowlon Cultural District masterplan
Amid political wrangling over everything from budgets to contracting, this new plan has also undergone significant modifications. 'You stick to the guiding principles, but you reflect the reality,' Pescod explains, pragmatically.
Yet some of Foster's most important features have been retained, such as the grassy Art Park and a basement complex for roads and parking. Both reflect the 'guiding principles' alluded to, namely openness and ease of access. Pescod says that 23 of the site's 40 hectares have been dedicated to squares, grass and other public spaces.
'It's inherent in the design philosophy that [the district] should be publicly accessible [and] that all the traffic — transport, parking, deliveries — is underground. So at ground level, there's a purely pedestrianised area that can be very human in scale. It's designed to be very welcoming. 'We don't want culture in boxes,' he adds. 'From an architectural point of view, transparency and permeability is going to be very important.'
This article was originally published in Blueprint issue 363. Buy the issue here, or subscribe to Blueprint
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You are here: Things To Do
Exeter is unrivalled in the region for the choice of things to do, whatever the weather, night or day. Explore the city's many attractions all within close walking distance of each other. The city is segmented into distinct quarters to help you explore hidden gems and surprises along the way.
View or request a copy of the Exeter Official City Guide to find out what to see and do in the city.
Exeter Cathedral is a magnificent example of gothic architecture. Explore the history of the city on a daily free Red Coat Guided Tour, starting from outside the West Front of the Cathedral. During sunny days, the Cathedral Green is a mecca for people wishing to spend their lunch break soaking up the sun and enjoying the views.
A must-visit is the award winning Royal Albert Memorial Museum & Art Gallery. Enjoy stunning displays and prestigious loans and exhibitions from national partners. Experience the splendour of the original Victorian spaces, see newly-revealed architectural features and discover new spaces.
Explore beneath Exeter's streets at Exeter's Underground Passages, a network of subterranean passages which can be explored on a guided tour, the only attraction of their type in the UK and designated a unique ancient monument.
Exeter's Historic Quayside is located about 15 minutes walk from the city centre. It is one of the most interesting and picturesque areas of the city, with a fascinating history, interesting architecture, lively events and waterside pubs, restaurants and cafes. Activities on offer include cycling, walking, relaxing boat trips, watersports and climbing. It is also home to the Exeter Cookery School, located in a converted 1830s warehouse and offering the chance to hone your cooking skills in a fun and friendly environment.
Exeter's position on the River Exe lead to great wealth in the 17th and 18th centuries, largely due to the woollen cloth trade. In 1680 the Custom House was constructed on the city's Quayside, a beautiful building renowned for its sweeping staircase and ornate plaster ceilings. Today it is a visitor centre, bringing the history of the Quayside to life.
Exeter's compact size makes it great for shopping, with big High Street names and a wealth of independents all within easy walking distance of each other, interspersed with lots of choice of places to eat and drink.
Exeter's location in the heart of Devon means the city is well placed to explore nearby coast and countryside, with good transport links to both. Explore the green spaces surrounding the city by bicycle or on one of the numerous, well-signposted walking trails. Within the city itself are some beautiful parks and gardens, offering an oasis of calm within the hustle and bustle of the city centre.
Start your visit at Exeter Visitor Information & Tickets, who offer a wide range of services to make the most of your visit, including maps, leaflets and event tickets.
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A great choice of family friendly attractions such as Crealy Great Adventure Park and the Royal Albert Memorial Museum offer fun and activities for all ages.
If you are looking for an activity break, Exeter is the perfect destination. Its location on the River Exe, surrounded by countryside and close to the coast, lends itself perfectly to outdoor activities, such as walking, cycling and watersports. There is also plenty to do out of season, with the south west's largest indoor climbing wall just one of many indoor activities in the city.
Here in Exeter we are passionate about sport, perhaps inspired by the fresh air and wide open space surrounding the city!
Whether it's relaxed drinks beside the river watching the world go by, live music, theatre or cocktails and dancing the night away – however you want to spend your evening, Exeter's got it covered!
Exeter is crammed full of things to see and do and we want to make sure you make the most of your time here so keep reading for fantastic tours and itineraries!
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OMAT GETS RELIEF HELP FOR DOMINICA
A month after disastrous Hurricane Maria hit the island of Dominica, I arrived by ferry to find massive cleanup efforts underway in the capital city of Roseau. My deep fears of not being able to deal with the devastation had been alleviated. But what I saw was shocking!
As I drove along the coast of the island, I was left speechless. The force of the storm had beheaded trees. Stripped of their bark, they appeared like matchsticks standing at attention on the mountainsides. The island's greenery and delightful foliage along the northeastern coast was all gone! Tall palm and coconut trees, lush banana plantations, huge ferns, and colorful heliconias were all gone! The ravages of the storm were not caused by the raging sea but by wind and the rivers.
A ride along the southwestern coast displayed the rivers' havoc. Dominica, Nature Island of the Caribbean, boasts having 365 rivers. These rivers, swollen with the rains from Maria, widened their reach and brought with them stones, mud, tree limbs, and other debris from the mountains into residential areas destroying houses and their contents. Villages from Portsmouth to Point Michel displayed the rivers' devastation. The rivers had formed new waterways.
At the time there was not enough equipment, labor force or resources to meet the great demand for relocation and cleanup efforts. Volunteer help from neighboring islands was visible.
A meeting with the Adventist Development and Relief Agency (ADRA) representative in Dominica, Nurse Pricilla Prevost, expressed the urgency for rebuilding schools and churches to bring hope and normalcy back to the lives of dazed and traumatized Dominicans. ADRA was at the forefront of rebuilding homes for locals after Tropical Storm Erica hit Dominica in August of 2015.
Fundraising efforts had already begun at our local church, joining forces with Dominica
Association of Seventh-day Adventists in US (DASUS) and on the OMAT website. The response was favorable, but we needed more help.
The Northeastern Conference of Seventh-day Adventists was quick to respond to a plea for help from the OMAT to its president, Dr. Daniel Honore. The Women's Ministry Department took an offering at their bi-annual retreat and donated the proceeds to the OMAT. But what was remarkable was the quick response of the Community Service Department, headed by Pastor Fitzgerald Kerr. Within a week of the request Pastor Kerr announced a date for a mission trip to help rebuild churches and homes. A 17-member team began plans for this mission at no cost to the OMAT. Members paid their way, shipped supplies, and went on a mission of service to Dominica.
Nurse Prevost reports that the team did a remarkable job in Point Michel, one of the hardest hit areas, and in Egleston.
OMAT sincerely thanks all its contributors for their efforts to help Dominica. A donation of $10,000 will go to help rebuild a Primary school, which will be relocated from near the Roseau River to Goodwill. A pledge $10,000 to the Colihaut School after Tropical Storm Erica will also be met.
Another mission is tentatively scheduled for the month of February to continue with roof repairs.
BUT THERE IS HOPE…
One of the obvious difficulties that occurred as a result of Hurricane Maria was a shortage of local fruits and vegetables. The market was non-existent, but venders found themselves situated all over town with ground provisions and ginger. Those were not in short supply. Anything growing above ground was in great demand and scarce. Stores were not at full stock but there were enough supplies available.
To date the rains have not stopped. The roofs are still covered with tarpaulins as homeowners settle their insurance claims or gather their limited resources to repair their properties. A glimmer of hope arises as the heavy rains stir the roots of trees, shrubs, and grass. It is beginning to be green again!! Fertile soil will bring new harvest and Dominica, Isle of beauty, Isle of splendor, will recover!
There is HOPE!!
JoAnne Williams Carryl, MSW
Co-founder of the OMAT (Dominican)


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Deals & Reviews
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Why Streaming Is Getting More Expensive
Speaker 1: Remember when streaming services like Netflix first launched and the appeal was that they were cheaper than cable, but now that there are just so many different platforms subscribing to all of them, which you'll need to do if you actually wanna watch everything, doesn't seem to be saving customers that much money anymore and people are getting tired of all those expenses. Let's go back to 2020. I know not the best year to relive, but just for a moment, think about all the time you spent at home streaming [00:00:30] shows like Tiger King's Succession and Ted Lasso. All those shows are on separate platforms, so if you wanted to keep up, you basically had to pay up. Suddenly streaming felt like it wasn't that much cheaper than cable. Today. Streaming platforms still dominate the world of entertainment, but we're not seeing as many new services pop up and existing ones are now more focused on surviving in such a competitive landscape. Speaker 2: Some of the casualties, some of the costs of this sort of warfare. It's starting to [00:01:00] come out. People are starting to, companies are starting to see where they're kind of bleeding <laugh> from this fight that they're in. It's shaking out who's gonna survive and who's not. Speaker 1: That means more big changes are coming as these companies fight for a permanent place in such a cutthroat industry. And yes, that probably means more price hikes. Sorry. Netflix essentially pioneered streaming as we know it. Back in 2007, the monthly subscription [00:01:30] rate was much cheaper than cable and you could access a vast catalog of movies and TV shows anytime this was a game changer and would eventually lead other companies to want a piece of the pie too. The problem is there are now a lot of slices of pie and people's appetites are waning. There are so many subscription services today and those costs all add up. Speaker 2: This is sort of the peak saturation point of how many services you have to keep track of. Speaker 1: This has led people to cut back [00:02:00] on the number of services they use. In 2022, Netflix lost hundreds of thousands of subscribers for the first time in a decade, this was a big deal because Netflix is a streaming giant that laid the groundwork for the industry. Speaker 2: It scared everybody and now us people who actually subscribe for these services, we're starting to pay that price. We're seeing our prices go up and they're gonna continue going up. All those companies sort of realized all at once that everybody needs to start charging more [00:02:30] if their business is gonna be viable. Speaker 1: Netflix also began cracking down on password sharing. So if you've been mooching off of someone else's account, you'll actually be forced to pay up. Netflix and other streaming companies like Disney plus have also rolled out ad supported tiers. Let's let subscribers pay less as long as they're okay with commercial breaks. Speaker 2: The services like those ad supported tiers because they actually make more money when you are paying and advertisers are paying for that single account. So you're gonna see [00:03:00] these services really promote those ad supported tiers a Speaker 1: Lot. Some streaming platforms are now releasing new episodes on a weekly basis. Instead of dropping full seasons, you can binge all at once. Vista's two things. One, it forces viewers who are hooked on a show to keep their subscriptions so they can watch new episodes when they drop. And two, it generates more buzz for those shows because they're suspense viewers go online to talk about what happened in that last episode and what could happen in the next one. [00:03:30] It essentially prolongs the lifespan of those shows and those subscription payments keep rolling in. I actually like when episodes are released on a weekly basis because there is just so much out there that trying to binge something so that you can keep up or avoid spoilers can be exhausting and sometimes it feels like a to-do list and watching TV is supposed to be enjoyable and relaxing. So even though companies do this because they have something to gain, sometimes it can be beneficial for viewers too. Speaker 1: Mergers are probably [00:04:00] the biggest indicator that the streaming industry is maturing and adapting. The H B O max Discovery plus merger is the most prominent recent example. In April, 2022, discovery and Warner Media closed eight 43 billion mega merger to form Warner Brothers Discovery as part of the merger. It's combining the HBO O Max and Discovery plus streaming services starting in the spring of 2023. Paramount Plus is also merging with Showtime. The good thing about these mergers is [00:04:30] you can find more content on a single platform instead of hopping between so many services, but it comes at a cost, meaning price hikes, it's what companies have to do if they wanna survive in such a competitive space. Speaker 2: Because so many of these services are part of big companies that vet so many billions of dollars, it's likely you're gonna see more of these companies combined going forward, cuz the only way you can survive is to be gigantic. Speaker 1: If there was one streaming related perk to the [00:05:00] pandemic, it was getting to watch Blockbuster releases from home. Since theaters were closed, now that theaters have opened up again and people are more comfortable going, those days are pretty much over on the bright side. You won't have to wait as long to stream a movie after it comes out in theaters. Since the pandemic, the amount of time between when a movie is released in theaters and when it's available to Stream has gone down. The exception is hugely popular and profitable. Movies like Top Gun Maverick, which wasn't available to stream until [00:05:30] almost seven months after it came out. Despite all this media, companies are still pouring plenty of resources until building up their streaming efforts. In late 2022, Disney bought the last remaining share of BAMTech, the company that powers its streaming services. Speaker 2: So they're continuing to put investment into these streaming services that you use. Even though we've reached the point where there's a group, they're investors that are starting to say, we want you to start showing us how you can make [00:06:00] money from these services, not just how you can spend money for them Speaker 1: In the months and years ahead. It'll be less about launching new streaming services and more about the existing ones. Fine tuning their strategies. Speaker 2: You'll have as many, if not more options than ever, but those options are gonna change. There might be sort of restrictions on things that weren't necessarily a premium perk before. Maybe it becomes something you have to pay for. Speaker 1: That seems to be a common theme, paying [00:06:30] more for services that were initially marketed as cheaper, more valuable options. But as the market becomes more saturated and customers look for ways to cut costs, streaming companies will do whatever they can to keep you coming back for that TV show or movie. Everyone just can't stop talking about and they know that's probably a price you're willing to pay. Thanks so much for watching. Let us know in the comments which streaming services you have and whether you'll keep paying, even if prices go up. Is the price worth it to you? And [00:07:00] don't forget to give this video a thumbs up and subscribe for more from cnet.
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text:
Lakers laud Jared Dudley for sticking up for…
Lakers laud Jared Dudley for sticking up for Dwight Howard in ejection
Orlando Magic's Wes Iwundu, left, and Los Angeles Lakers' Jared Dudley (10) get in a scuffle as referee J.T. Orr (72) tries to break it up during the second half of an NBA basketball game, Wednesday, Dec. 11, 2019, in Orlando, Fla. Both players were ejected from the game. (AP Photo/John Raoux)
By Kyle Goon | kgoon@scng.com |
PUBLISHED: December 12, 2019 at 10:14 am | UPDATED: December 12, 2019 at 3:44 pm
MIAMI — Every player has his role. Jared Dudley is here to get fined.
Well, occasionally. The 34-year-old veteran said as much at the Lakers' preseason media day, when he told reporters if any opponents had a flagrant foul on LeBron James or Anthony Davis, "It's on, straight up. … That's part of my job here."
Taking a double technical during a fourth-quarter scrap for Dwight Howard wasn't exactly what he imagined at the outset, but Dudley (who is making the veteran's minimum this season) knows the cardinal rule of an NBA rotation player: Know your role.
"I'm not an enforcer but there's certain times you've got to stick up," Dudley said after the 96-87 win over Orlando. "Usually a lot of people don't mess with LeBron and A.D. because of them being such high-quality players, so what I said on media day was more for them two, because they're not here to get chippy stuff. It's guys like me who try to hang around a couple more years."
There was some incredulity to the postgame discussion of Dudley's ejection in the Lakers' locker room. Howard called it "kind of bogus" that Dudley was tossed for a push and standing up for him against Wes Iwundu and Terrence Ross. Davis said he was surprised that the penalty was so severe.
James asked: "That's all it takes to get ejected? These days? Little shove?"
But while the Lakers lauded Dudley for being "the muscle," it was also the rare night in which Dudley was allowed to show a little more of his game. Before he was ejected with the double technical, he was enjoying a season-high nine points, all scored on 3-pointers.
With Kyle Kuzma sidelined while nursing an injured ankle, the Lakers leaned on Dudley to produce off the bench. In that role too, he did his part.
"My number's eventually going to get called, it's one of the reasons I wanted to come here," he said. "I knew I wouldn't have to play every day, I knew we have A.D. and Kuzma so I might play 40 or 50 games, but you know it's a long season, people are going to miss games."
BRADLEY BACK IN ACTION
After a few weeks of the vaunted "Avery Challenge" to get the Lakers' defense back to the top of the league ratings, Frank Vogel smiled at the first stat sheet he's seen in a month with Bradley's name on it.
"Shocking: Avery Bradley comes back and we hold a team under 90 points," Vogel quipped. "He's not all responsible for it, Avery. But getting his legs underneath him."
Indeed, Bradley, who scored just two points in 16 minutes off the bench, was a positive influence: The Lakers outscored the Magic by 12 during the minutes he played.
It's been a slow process of recovery for Bradley after a hairline fracture in his right leg sidelined him for 14 games. The Lakers only lost once without him, but their defense took a statistical backslide before Vogel attempted to reinvigorate them with the challenge in Bradley's name.
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Bradley had hoped to play more in his debut, but he said the coaching staff had been transparent pregame in their plans to bring him off the bench.
"It was great being out there," he said. "Wish I could've gotten more minutes, but it was nice to be out there with my teammates being able to battle again."
Vogel has dropped hints in recent weeks that Bradley, when fully healthy, should be the starting guard again in place of Kentavious Caldwell-Pope, who has filled in reliably. Bradley himself said he was "extremely happy" for Caldwell-Pope, who started the season as embattled as anyone on the Lakers roster.
The Lakers said Rajon Rondo was a game-time decision on Wednesday night, but they ended up sitting him with hamstring soreness in his left leg.
"I think he was hopeful but just not ready yet," Vogel said. "It's early in the season. We're not going to rush guys back, especially soft tissue injuries."
Kyle Goon
Kyle Goon covers the Lakers for the Southern California News Group. Before taking his talents to Los Angeles, he worked for The Salt Lake Tribune for eight years, covering everything from high school rodeo to the Utah Jazz. Gregg Popovich once baptized him by fire in a media scrum.
Follow Kyle Goon	@kylegoon
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This is the direction the Ministère is taking in proposing mobilization and joint action by all players, so that measures are taken in the classroom and the school and with families and the community.
The main challenge of the school boards and schools is to implement practices that have proven effective, are based on the fundamental conviction that all students are capable of persevering in school and succeeding, and draw on the expertise, creativity and dynamism of the education community. Providing support for students and teachers is also of crucial importance.
In this context, the government has decided to annually invest important sums of money. It will begin by substantially reducing the number of students per class in elementary schools in disadvantaged areas and by providing individualized support in secondary schools.


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EPA's new chief is former coal lobbyist, Senate staffer
Jul 6, 2018 1:12 pm GMT
WASHINGTON (AP) — The new leader of the Environmental Protection Agency is a former coal industry lobbyist who helped lead an industry fight against regulations that protect Americans' health and address climate change.
Andrew Wheeler, the No. 2 official at EPA, will take over the agency Monday now that President Donald Trump has accepted the resignation of embattled administrator Scott Pruitt.
The Senate confirmed Wheeler as the agency's deputy administrator in April.
Wheeler could serve more than a year in an acting role. A Senate vote would be required if he is nominated to lead the agency permanently.
coal-generation
Iowa regulators request coal fleet study as part of utility's rate case


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Q: Penrose Diagram While reading the topic Penrose Diagram for Minkowski space-time I came across this sentence.

The essential idea for bringing in the points at infinity is to use coordinate transformations involving functions like $\tan^{-1}x$ which maps infinite interval into finite interval.

I don't understand why are we doing it. Why do we want to look at the causal structure at infinity? Space at infinity is of no significance because at infinity the curvature is flat. Am I right or wrong?

A: We don't want to understand the causal structure of spacetime at infinity per se. What we want to do is we want to see what the causal structure of spacetime between the infinity and a considered object is. Now, an important feature in the causal structure of spacetime is that of a horizon. If a horizon is formed then the interior of the horizon can not influence the exterior. This implies that if a signal (say that of light) can not reach beyond a certain boundary when emitted from a certain region then we should conclude that there is a horizon in the game. Now, this requires us to check whether light signals emitted from a certain region can go indefinitely far away or not. A simple technique to do so would be to bring the infinities at a finite distance and directly see whether the light signals hit them or not when emitted from a certain region. This is why we care about bringing infinities to a finite distance even if we already know what the causal structure of infinities themselves is.

redpajama_set_name: RedPajamaStackExchange


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Is Alabama creating a Heisman opportunity for DeVonta Smith in starting him on kick return?
By Stephen M. Smith
Photo by Kent Gidley of Alabama Athletics
If one was to throw Mac Jones into the equation, Alabama would have four players competing for the Heisman Memorial Trophy this season.
The attention is Najee Harris and Jaylen Waddle.
RELATED: John Metchie is ready to shine as a starting wide receiver for Alabama this season
After his first career 1,000-yard rushing season (1,224) in 2019, Harris has trained the entire summer for an opportunity to prove he is the most complete running back in college football.
Waddle has been seen as a "speciality" player in each of the last two years and while he was highly explosive, Steve Sarkisian is prepared to get him the ball more naturally this year.
Another name that is about to sneak into the conversation is DeVonta Smith.
The senior from Louisiana already has an impressive resume. He collected two game-winning touchdown receptions as a freshman, including the 41-yard catch from Tua Tagovailoa in the 2018 College Football Playoff National Championship meeting against Georgia.
Smith also led the Crimson Tide in receiving yards (1,256), touchdowns (14), yards per catch (18.5) and yards per game (96.6) in 2019, while tallying three 100-yard performances — including a pair of 200-yard games.
Listed at 6-foot-1 and 175 pounds, he has proven to be a clutch receiver, an exceptional route runner and a strong blocker.
Smith has drawn comparisons to former NFL legend and Pro Football Hall of Famer, Marvin Harrison.
Despite his accomplishments, he has yet to record a kickoff return for a score. When it comes to players securing high draft value, Nick Saban likes to put his guys in multiple positions to increase marketability. Seeing that he has a feel for making plays in space, getting Smith on kick returns adds another element for NFL scouts to look at. Also, Heisman voters are swayed by huge stats. As often as Smith can get the ball in his hands, more people may vote for him because of his production.
Waddle has shown that he is the most electrifying return man in the sport, but could Smith be better?
This becomes another aspect in the dialogue.
Desmond Howard, a former receiver at the University of Michigan, was the last receiver/return specialist to win the Heisman back in 1991. He pegged Waddle as his guy to win the award, but Smith has a chance as well to bring it home with him.
He is eyeing a first-round draft grade for 2021.
Stephen M. Smith is the managing editor and senior writer for Touchdown Alabama Magazine. You can "like" him on Facebook or "follow" him on Twitter, via @CoachingMSmith.
John Metchie is ready to shine as a starting wide receiver for Alabama this season
Two of Alabama's priority targets express heavy interest in playing together