The comfortable bedroom is certainly a beautiful bedroom. Many things that become the determinants in the creation of a comfortable bedroom and the most unwanted is a design that fits all your concepts in use. There are many things to note when we design a room. Therefore NextHomeGenerator will help you to design a comfortable bedroom with the concept of white color.
To create a comfortable room needs to go through a long process so that the results obtained get perfect. As the most fundamental thing when creating a comfortable room is the concept of design, but a concept alone is not enough to need many steps or stages to go through.
Determining a concept is the first thing to do in designing a room be it a bedroom or other room. There are so many concepts that can be used, even now there are many interesting design ideas created by creative people and you can create a comfortable bedroom design by looking at a lot of good information. Here we will help you provide a white design concept that you can use to design a comfortable bedroom.
White color will be suitable for room design, this color is very suitable for a comfortable bedroom. Lots of beautiful designs using white color as the main color for this room. For example, we will provide some bedrooms with the white concept.
In addition to the concept, there are other things you should consider to create a bedroom design in order to look beautiful and comfortable to use. To make it easy for you we will let you know by telling us what to look for.
To support the concept of white color in the room, the furniture in use must have an attractive design, not only the color of the furniture, you also need to consider the design of the furniture in order to provide a comfortable impression and make the room more beautiful.
The bed is the main furniture in designing the bedroom, in addition to the bed that has a nice design will certainly add a comfortable impression when in use. The design of sleeping pitch should also have a good design just like any other furniture. Maybe you can buy furniture in a set with the white color and it will be easier to do.
And that's how to design a bedroom using a white color that can make your bedroom more beautiful and comfortable to use. If you want other designs you can find it here because we give many design ideas for you to make as information material.
A concept is not a guarantee for you to design a room like a bedroom. Many other things need to be addressed to support the concept used.


text:
Q: Inverse Split Sequence and Plot I have a time series:
            Close
2018-01-01  66.659485
2018-01-02  66.659485
2018-01-03  65.877713
2018-01-04  66.791399
2018-01-05  67.968765
2018-01-06  96.900002
2018-01-07  96.900002
2018-01-08  96.900002
2018-01-09  96.349998
2018-01-10  95.519997

I split into n-day sequences (3 days for example)
        Col_0       Col_1       Col_2
0   66.659485   66.659485   65.877713
1   66.659485   65.877713   66.791399
2   65.877713   66.791399   67.968765
3   66.791399   67.968765   96.900002
4   67.968765   96.900002   96.900002
5   96.900002   96.900002   96.900002
6   96.900002   96.900002   96.349998

Using a clustering algorithm, such as KMeans, I manage to assign each sequence to a clusters  (this is an example):
        Col_0       Col_1       Col_2    Cluster
0   66.659485   66.659485   65.877713          0
1   66.659485   65.877713   66.791399          0
2   65.877713   66.791399   67.968765          1
3   66.791399   67.968765   96.900002          0
4   67.968765   96.900002   96.900002          1
5   96.900002   96.900002   96.900002          0
6   96.900002   96.900002   96.349998          0

My question is: how can I plot the original time series with the clusters in different colors? I have been trying using the transpose .T but with no success.

A: I would use numpy to get a sliding_window_view:
from numpy.lib.stride_tricks import sliding_window_view

out = pd.DataFrame(sliding_window_view(df['Close'], 3)).add_prefix('Col_')

output:
       Col_0      Col_1      Col_2
0  66.659485  66.659485  65.877713
1  66.659485  65.877713  66.791399
2  65.877713  66.791399  67.968765
3  66.791399  67.968765  96.900002
4  67.968765  96.900002  96.900002
5  96.900002  96.900002  96.900002
6  96.900002  96.900002  96.349998
7  96.900002  96.349998  95.519997

redpajama_set_name: RedPajamaStackExchange


text:
Category: TV Series
I got sick last week so I spend half of it at home watching TV series and films. I watched episodes 2, 3 and 4 of Prison Break Season 3, Knocked Up, My Name is Earl season 1 & 2, The Darwin Awards, That 70's Show Pilot (on YouTube) and Finally the IT Crowd during the weekend.
The IT crowd is a small TV series, each season is composed of 6 episodes and they only made 2 seasons so far. I downloaded and watched the first season and it was really nice. This is the first British comedy I like and enjoy watching. The characters are great, the story is nice and funny and the only thing I regretted was that the seasons are very small.
Season 2 is a little different than season 1, The characters are the same, Moss and Roy the 2 Geeks that make the company alive by keeping all the systems working while not getting any credit for it and working in the basement, and Jen the "relationships manager" of the department who is only in IT because her CV said "good with computers". The Difference between the seasons is the look of the set, In season 1, the basement was a messy place while in season 2 it is organized and clean. Another weird thing is the last episode of season 1 the story didn't end and was supposed to be continued but they just started season 2 with a new story.
The IT crowd is a great show and everyone should watch it, it is simple funny and small. I read some places that they are planing on making a US version of the show so I am currently waiting for it and for season 3 of the British one.
DVD TV Series
Review: Dead Like Me
I just finished watching the first season of Dead Like Me, a comedy about a girl who dies when she gets hit by a Toilet seat from the re-entering Russian space station Mir.
This lucky girl is Georgia (George) Lass, a Teenager who just dropped out of college and on the first day on a job she hates, but death is a little special for that girl who unlike other person won't go through the "normal process" of dying, instead she will be recruited to become a Grim Reaper, a job she also hates, and that's not it, she also has to get a normal job because Grim Reapers do not get an income from that job.
I liked watching the show, it's different from other TV series, you don't get a lot of action but you don't get bored watching it, every character has a different background and a different personality and all of them have to cope with each others to get the jobs done, a job that could last for decade with no breaks and no vacations.
Another thing worth mentioning is the Music, it is very well chosen for every part of the series, a little unusual sometimes but always nice.
My score for this series will be 3.5/5, because even if you don't get bored by the story, some episodes need a little more action in my opinion.
Note that MGM is currently working on a Direct-to-DVD Movie sequel of Dead Like Me.
1 Comment on M*A*S*H
M*A*S*H is a TV series from the 70s and the 80s that I used to watch on the Paramount Comedy Channel (Now ShowComedy) a couple of years ago before they stopped it, two weeks ago I saw Season 1 and 2 in the DVD renting place so I got them and watched them.
M*A*S*H is about an American Mobile Army Surgical Hospital in the Korean War and the way the staff is dealing with the war.
"Hawkey" Pierce, the main character is a sarcastic surgeon that hates the war, his friend "Trapper" McIntyre is basically a slight variation of his character that's just a little calmer, together they "ruin the war" for Major Frank Burns, a cheap person that's also a bad surgeon and Margaret "Hotlips" Houlihan the head nurse, they do all this while showing us the ugliness of war for everyone participating in it in a funny unique way.
Other characters are:
Colonel Henry Blake: He is the one in command (well sort of), he also hates the war and everything in it, Hawkey and Trapper always manage to manipulate him to get what they want.
Radar O'Reilly: The company Clerk, he is the colonel's assistant but sometimes he seems to be the one in Charge, he is called Radar because he has the ability to know stuff before they happen.
Maxwell Klinger: A Libano-American who's only goal is to leave the army, to achieve this he dresses like a girl hopping he gets discharged for being crazy!
(Some of the characters do not participate in all the other seasons)
You should really watch the show it is entertaining and funny and it keeps getting better as the episodes pass (season 2 is better than season 1 in my opinion) All the seasons have been released to DVD so I hope the DVD store gets them soon!

redpajama_set_name: RedPajamaCommonCrawl


text:
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Nicholas Bauch Enchanting the Desert: A Pattern Language for the Production of Space A Stanford Digital Project. Stanford: Stanford University, 2016. (9780804797399)
Audrey Goodman
CrossRef DOI: 10.3202/caa.reviews.2017.167
In Enchanting the Desert: A Pattern Language for the Production of Space (http://www.enchantingthedesert.com/home/), the inaugural Interactive Scholarly Works publication from Stanford University Press, geographer Nicholas Bauch "revives" as a layered digital map a forty-three-photograph slideshow of the Grand Canyon assembled and narrated by commercial photographer Henry Peabody in the first decades of the twentieth century. Originating in Bauch's "deep sense of wonder about the landscapes depicted in the photographs" ("Motivation for Enchanting the Desert") and integrating archival research with theoretical approaches to the production of space, the project addresses and historicizes the ways that images of the Grand Canyon have generated dreams of contact and understanding that exceed any physical or conceptual frame. Although Peabody is not a central figure in the history of western landscape photography and "only traces" of his work are visible in archives, his career as explorer, artist, promoter, and educator reveals critical transitions in photographic practices, landscape aesthetics and ideologies, and western tourism. His work also merits this project's scholarly investigation and digital reimagining for its ability to expose the commercial demands and popular desires of his era. Bauch approaches Peabody's illustrated and narrated lecture as a historic effort to grasp the meaning of the sublime western landscape, as well as an opportunity to reflect on our current environmental crisis and practices of visual production and consumption.
Bauch's broader subject is the role visual technology plays in the process of seeing, imagining, and understanding a place—that is, in developing the kind of regional knowledge geographers call Landeskunde. For this reason Enchanting the Desert is an apt choice for this open-access project sponsored by the Mellon Foundation. Although a printed monograph might have made Bauch's argument persuasively through chapters contextualizing Peabody's life and work, annotating his images, and interrogating their implications, the website application—which includes GIS mapping overlays, audio narration, and colorized images—allows for a different kind of immersion and more complex reading. Conceived as a contemporary response to John Muir's nostalgia for wilderness and Max Weber's sociological analysis of disenchantment, Enchanting the Desert comes with high expectations that a "born-digital" project can restore wonder in nature and in the stories we continue to tell about it, as well as "produce vocabularies that enable different disciplines to talk to each other" and "open up a new dimension of humanistic inquiry," as Marisa Parham, Director of the Five College Digital Humanities Project, expressed the potential of digital humanities scholarship in a recent interview (Melissa Dinsman, "The Digital in the Humanities: An Interview with Marisa Parham," Los Angeles Review of Books [May 19, 2016]: https://lareviewofbooks.org/article/digital-humanities-interview-marisa-parham/). It succeeds in meeting such expectations due to its interdisciplinary framework, its accessible tone, and its beautifully executed design.
The Grand Canyon resisted visual comprehension in the nineteenth century and only gradually emerged as a symbolic national site after the Civil War. When Peabody arrived there in 1899, the great survey photographers—Timothy O'Sullivan, William Henry Jackson, John Hillers, and Carleton Watkins—had already produced an astonishing body of work; published in small editions as part of U.S. Geographical and Geological survey reports or in books for wealthy investors, these images initially reached a limited, elite audience. By the turn of twentieth century, the new ease of image reproduction, the circulation of postcards, and slide lectures such as Peabody's—as well as the construction of El Tovar and Hopi House on the South Rim—made the Grand Canyon one of the West's most popular landmarks. Bauch provides detailed descriptions of how Peabody added color, story, and sound to make the slideshow more enticing for potential tourists. He also offers lively retellings of the adventures of other western explorers, including the "prospector-turned-guide" William Bass, the Kolb Brothers (who set themselves up as resident photographers on the South Rim), and Harvey Butchart (who rashly floated down the Colorado River on an air mattress).
The primary focus of the site is the sequence of photographs Peabody finally set in 1931, and Bauch offers a rich array of interactive tools for visualizing them as part of a geographic narrative that reveals what Carl Sauer called the "dynamic relation of life and land" ("Practicing Landscape Interpretation"): topographical maps overlaid with trails, names of landmarks, view angles, and station points; tinted versions of the images; Peabody's recorded commentary; and Bauch's own exposition and analysis. The site allows users to manipulate three main windows (text, photograph, and topographical map) and determine which one to enlarge, which trails to layer, and which side notes to pursue. Bauch makes available effective, unobtrusive tools for navigation throughout, including two heading bars, one listing the major chapters of text (Introduction, Toponymy, Exploration, Settlement, Tourism, Infrastructure) and the other displaying thumbnail images in the correct sequence, each of which enlarge according to the topic or frame selected; arrows that move users backward or forward through Peabody's sequence of images; highlighted names or key words in the text that offer links to other related sections; and prompts at the end of each written section.
One way to begin is with Peabody's slide lecture itself. Each of Peabody's photographs is paired with a section of a chapter and a map to orient the viewer in the landscape, and users can listen to Bauch reading from Peabody's script. Of course, there are many other ways to enter and navigate the site, with many opportunities for close and distant reading. Peabody's linear arrangement soon yields to Bauch's spatial plan, created so that "representations of space begin to drive the narrative" ("Spatial Narratives, Part II"; emphasis in original). At its best, the site takes its viewers through multiple time frames and cultural perspectives, digging deep into early geologic and human eras and pushing into the future. While discussing the Colorado River, for example, Bauch juxtaposes John Wesley Powell's celebrated writing about his journey down the river in 1869 with Peabody's serene, majestic photograph from 1925 and then introduces the transformation that would occur with the construction of the Hoover Dam in 1936. The section annotating Oza Butte, a landmark borrowing the Paiute word for narrow-necked basket, opens into an account of the six major Native groups in the region and the role Paiute tribal leaders played in guiding Powell and sharing place names. Three sections tell Hopi history, discuss the effects of federal land policies on Hopi sovereignty, and analyze the cultural politics of the tourist encounters staged by Fred Harvey. The multiplicity of potential routes through the site challenges scholarly hierarchies and practices of viewing aesthetic objects.
Some of the most interesting sections of the textual commentary address the conceptual limitations of photography itself. In "Peabody and the Slideshow Genre, Part I," Bauch writes, "The art of a slideshow lies in its transitions" and proceeds to consider how "a transition is a disjuncture, a space in between." Each click interrupts efforts at spatial abstraction, punctuating moments of aesthetic appreciation with instants of unthinkable blankness. Thinking through the blankness is one of Bauch's aims, as is questioning the function of narrative and the stability of geographical formations. He proposes that Peabody's work "set a pattern of visual abandonment" ("Space and Place in Peabody's Slideshow") in which features of the landscape disappeared from view, evoking presence through absence. The last textual entry, "The Vanishing Canyon," evokes the everyday sounds of erosion (falling rocks and wind) to unsettle the sense of stability produced by photographs. In sections such as these Bauch reveals his commitment to what he calls the "implicit-ness" of the project: the knowledge, stories, sensations, feelings and questions that remain "hidden in plain sight," present and perhaps even visible but not fully seen. When he applies Jane Bennett's philosophy of enchantment, he is fully aware of the contradictions inherent in manipulating a keyboard and computer screen as a means of reviving intangible feelings of mystery and infinity.
A major strength of this project lies in the way it enacts the methodological and intellectual issues at the center of Peabody's Grand Canyon photographs and invites viewers to engage on their own terms with "the intangible, immeasurable world" these images represent. How do we create mental maps from photographs? How can we transform aesthetic responses into land knowledge? What is the true language of cartography? Have we really become so "inured" to the spell cast by spectacular landscape photography "that we can't see the Grand Canyon anymore" ("Grand Canyon vs. Photography, Part I: Not With Light Alone"; emphasis in original)? Bauch keeps posing these questions in different contexts and refrains from offering definitive conclusions to each section, much less to the project as a whole. Scholars working actively on digital humanities projects will find an effective and fully realized digital monograph here, even if they might seek more transparency about how it was built. Other scholars and users, meanwhile, will discover how a well-designed interactive platform can invigorate not only works of art dormant in the archive but also our ways of thinking about the lands we visit, use, sustain, and imagine.
Professor, Department of English, Georgia State University
Please send comments about this review to editor.caareviews@collegeart.org.
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Sized for use as a Go-Bag, day trips, office commutes, or as a smaller carry-on, our RUSH 12™ pack is loaded with most of the same features as its larger teammates for maximum utility. Designed by special operations combat veteran, Kyle Lamb of VTACTM, the RUSH 12™ was created because of end-user input. Its large main compartment has a pocket that will fit most sleeved laptops and the bungeed cinch top will keep any load in place. Two mesh pockets on the inside of the main flap hold computer accessories, electronics, binos, and other smaller items you want readily accessible. The 12"H x 9"W x 1"D Admin compartment on the front of the pack opens wide and has slots and pockets to organize pens, business cards, camera, GPS, and much more, plus two key keepers and a large internal zippered pocket. Web platform on the outside of the compartment allows you to add 5.11's SlickStickTM pouches for even more gear capacity and the 2" x 3" velcro patch is great for flag or unit patches. The 5"H x 8"W zippered pocket above the Admin compartment is a handy spot for radio, phone, travel documents, energy bars, and smaller gear and is also covered with web platform and a velcro patch for your nametape. Two compression straps keep everything snugged closer to your body for comfortable load management. 5.11 also tucked our zippered fleece-lined eyewear pocket on top, just behind the heavy-duty grab handle. Dual concealed hydration tube ports are located to the sides of the handle. Both sides feature top-to-bottom web platform, allowing you to attach a host of different 5.11's SlickStickTM accessories. The back panel conceals a reinforced hydration pocket that will accommodate bladders up to 60 oz. The extra padding on the back panel promotes ventilation and the anti-skid pads help keep the RUSH 12™ in place. 5.11 added tri-glide fasteners at the bottom corners in case you want to add a waist belt. The padded contoured shoulder straps have four rows of web platform and the sternum strap can be adjusted to four heights. Excess webbing can be gathered at the bottom of the straps with 5.11's elastic keepers. Two 3/8" grommets in the bottom panel let the RUSH 12™ breathe and allow water and debris to escape. 5.11 also added four attachment points for 1" webbing to the bottom.
Constructed of water-resistant 1050-denier nylon, the RUSH 12™ Backpack will go the distance! 5.11 use self-repairing YKK® nylon coil zippers throughout and 5.11's high-impact plastic side release buckles, tri-glide fasteners, and other hardware are not affected by differences in climate. Metal grommets and zipper sliders are coated to match the pack and for resistance to corrosion.
5.11 Tactical has joined forces with Special Operations Combat Veteran SGM (RET) Kyle E. Lamb. He served his country for 21 years, 17 of which were with the most elite elements of the U.S. Army Special Operations Command. He was decorated for valor for his actions in Mogadishu, Somalia, during the battle that was made famous by the movie Blackhawk Down, and during Operation Iraqi Freedom. SGM Lamb's master-level expertise comes directly from real-world experience, making him one of the most credible and sought-after shooting and tactics instructors in the United States. He also owns Viking Tactic, Inc. (VTACTM), and is the inventor of the Viking Tactics Sling.
• Large main compartment has a pocket that will fit most sleeved laptops and the bungeed cinch top will keep any load in place.
• Main compartment: 18" x 11" x 6"
• Compatible with hydration systems up to 60 oz.


text:
creator: Beadle, George Wells (1903-1989)
extent: 0.84 linear feet (2 document boxes)
preferred citation: George Wells Beadle Papers, MS 147, Special Collections Department, Iowa State University Library.
George Wells Beadle was born on a farm near Wahoo, Nebraska, on 22 October 1903. He was the son of Chauncey Elmer and Hattie (Albro) Beadle. He received his B.S. (1926) and M.S. (1927) from the University of Nebraska. He earned a Ph.D. (1931) in cytogenetics and the origin of corn from Cornell University.
He worked in the Biology Division of the California Institute of Technology as a National Research Council Fellow and Instructor of Biology (1931-1936); he also pursued genetic and biochemical studies in Paris (1935). He was Assistant Professor of Biology (1936-1937) at Harvard University prior to being appointed Professor of Biology (Genetics) (1937-1946) at Stanford University. He then returned to California Institute of Technology where he was Professor and Chairman (1946-1961) of the Biology Division. He was appointed President (1961-1968) at the University of Chicago; in 1968 he retired as President Emeritus. On retirement, he resumed his early interest in the origin of corn.
Beadle received numerous awards and honors for his work. For his work with Edward L. Tatum on the biochemistry of the genetics of the fungus Neurospora, Beadle was awarded the Nobel Prize in physiology or medicine (1958), an award he shared with Tatum and with Tatum's student Joshua Lederberg. His other awards include the Lasker Award of the American Public Health Association (1950), the Dyer Award (1951), the Albert Einstein Commemorative Award in Science (1958), the National Award of the American Cancer Society (1959), and the Kimber Genetics Award of the National Academy of Sciences (1960), and the Thomas Hunt Morgan medal (1984). He was also given honorary doctorates from more than thirty universities.
Beadle married Marion Cecile Hill in 1928; they divorced in 1953. In 1953, he married Muriel Barnett with whom he collaborated on the book The Language of Life: An Introduction to the Science of Genetics. He had one son, David, from his first marriage, and a stepson, Redmond James Barnett.
George Beadle died on 9 June 1989.
This collection (1903-1982, undated) contains biographical information about George Beadle as well as materials relating to his research concerning teosinte and the origin of corn. The bulk of the collection consists of materials associated with a large-scale examination and collection of wild teosinte in Mexico (1971-1975). In addition to Beadle, the other project organizers were Walton G. Galinat and H. Garrison Wilkes, both of the University of Massachusetts. Included are the National Science Foundation proposal that funded the project, correspondence, research record books, and photographs.
Researchers interested in Beadle's career beyond his work on teosinte and the origin of corn should consult the following collections held in other repositories:
George Wells Beadle Papers, 1908-1984. Archives, California Institute of Technology (includes materials related to Beadle's life and work, particularly his work at Stanford University and California Institute of Technology)
George Wells Beadle Papers, 1908-1981, Special Collections Research Center, University of Chicago Library (primarily papers related to Beadle's tenure as President of the University of Chicago)
University of Chicago, Office of the President, Beadle Administration Records, 1916-1968, Special Collections Research Center, University of Chicago Library (administrative records from Beadle's tenure as President of the University of Chicago)
The collection is unarranged.
Proposal "for a large scale examination and collection of wild teosinte" in Mexico: Includes related correspondence; participants; transportation; expenses; report; maps; and grant information
Status of collections: Includes correspondence; progress reports; Beadle-Kato Collections sites; report on teosinte in Chilpancingo Area; comments on Harvard Study Meeting on Archeological Maize; Chicago Horticultural Society application to NSF; NSF grant expense accounting; and abstract of proposed research
Project in Mexico: Includes correspondence re: extension of Teosinte Mutation Research Project and list of groups at different sites' statement of account
Project in Mexico: Includes collection sites and pedigrees of teosintes)
Renewal and Grant: Includes related correspondence; Extension 2, 10 May 1974, and expense account; and Chicago Horticultural Society balance sheet
Teosinte Hunt - Guatemala (Beadle and Wilckes) and Oaxaca, Mexico: Includes collections; reports to NSF; correspondence; expenses; and Chicago Horticultural Society balance sheet
Mexico, 6-8 December 1976: Includes report of trip to replenish El Salado teosinte; correspondence; expenses; Chicago Horticultural Society application to NSF for extension of 1971, 1972, 1973 grant; abstract and description of proposed research; and Chicago Horticultural Society balance sheet
Mexico, 6-8 December 1976: Corn pedigrees
1982, undated
Teosinte collections: Includes location and status; and related correspondence
Teosinte data
Beadle biographical material: Includes bibliography; and honors and awards
Correspondence, general
Pictures of Beadle with teosinte or maize and of Beadle and colleagues (1- 3.5x5 color, 12- 5x7 b/w, and 6- 8x10 b/w photographs)
Writings and publications by and about Beadle and his work with teosinte and the origin of corn
Research record book number 1: Maize-teosinte records
Research record book number 2: "Ga tests--following no. 1855"
Items removed from record book number 2: Pedigrees--"1922, 1923, 1924 (1974)" and other data
Research record book (unnumbered): Data
"Composites" from inside back cover of unnumbered record book in folder 2/3
Research record book number 4: Data
Inserts from inside front cover of record book number 4. Includes packet of seeds
Research record book number (unnumbered): Germination and mutation counts


text:
Free COVID-19 vaccine in Bihar as third phase of vaccination begins from March 1
Dumani Mail February 27, 2021 2 min read
Patna: In the third phase of the coronavirus vaccination drive which begins from March 1,the targeted beneficiaries will be vaccinated free of cost in all government institutions up to the primary health center level. While in private hospitals vaccines will be administered at a price of Rs 250 per dose.
If beneficiaries choose private hospitals for vaccination, then paid vaccination has been provided in the identified private hospitals (under Ayushman Bharat and CGHS empaneled). The inoculation drive will be held at government and private hospitals (under Ayushman Bharat and CGHS empaneled).
The Executive Director of Bihar State Health Committee, Manoj Kumar, said that the vaccination campaign is ongoing in the state from January 16, 2021.
A total of 3,99,831 health care workers have been given the first dose and 79,212 were given the second dose during the first phase while in the second phase, a total of 1,60,496 front line workers were given the first dose.
For the successful implementation of the program, a total of 23,33,880 doses of COVID-19 vaccine have been supplied from the Centre and 6,64,650 doses have been administered.
In the third phase which begins from March 1, 2021 citizens aged 45 and 59 and above 60 years, around about 1.08 crore, who are suffering from comorbidities, are to be vaccinated.
For citizens suffering from comorbidities aged 45 to 59 years, a list of comorbidities prescribed and directed by the Government of India and certificates from Annexure IA, IB will have to be obtained by the vaccination team, while receiving the benefits of vaccination.
Ordinary citizens of 60 years of age as on January 1, 2021, or more will get the benefit of vaccination.
Source:Hindusthan Samachar
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text:
How the university can save itself – from itself
Ishwar Puri and Leonard Waverman
Published April 30, 2019 Updated May 1, 2019
Ishwar Puri is the dean of engineering at McMaster University. Leonard Waverman is the dean of the DeGroote School of Business at McMaster.
The undergraduate classroom of the future won't be a classroom at all but a small studio with a table, a few chairs and a comfy couch. The decor will be like a "startup modern," replete with white boards, Post-it notes, diagrams and pizza boxes from last night's brainstorming session. Students will cluster about, a diverse grouping from across the university – perhaps a music student, an Indigenous studies major, an aspiring civil engineer and a future corporate auditor.
Their purpose will be to find a solution to a knotty problem: a water project for a community in northern Saskatchewan or a transportation system for a Southern Ontario city. There will be an instructor, but one who is acting as a resource and mentor – not the traditional sage on a stage but a guide on the side, assisting students in their interactive search for solutions.
Students will not experience traditional lecture halls, elevated podiums and classrooms. Required courses will be cut to a minimum. The old chalk-and-talk approach to learning will be put out to pasture and the numbing amount of Powerpoint slides reduced to a minimum. More and more, as students move through their final year, "courses" will be a series of problems to be solved in cross-disciplinary teams through interaction, not one-way monologues by an instructor.
This scenario highlights a self-disruption that will shake the university to its core, but ultimately defend it from irrelevance. We are academic leaders at a major Canadian university and we see the beginning of this revolution that can save the university from itself. We see the flowering of innovation everywhere, but we have to push harder if we are to make a successful transition to the new model of learning.
If we do not disrupt the university from the inside, the disruption will come from outside – from technology, other educational programs, employers and even the students themselves, our most important constituency.
Yet we still see too much of what Sir Ken Robinson, the British education visionary, calls the industrial model of education, a mass teaching of often staggering content with no sense of how to apply it to personal growth and human interaction. This model treats students like machines passing through an assembly line, with quality-control gauges in the form of exams and marks. Put another way, the modern university puts students in an education box and keeps adding things until the box is neatly packaged and tied up at the end and ready for the job market.
Except the students aren't really ready. They are often turned off, disengaged, and absent from classes that only repeat information available online. They are left ill-prepared for their working lives, which will increasingly reward personal and creative skills ahead of narrow technical skills that can be replicated by an algorithm or a robot.
Instead of just job-ready skills that are marketable in the short term, the university should also provide attributes that can carry through a lifetime – leadership, creativity, innovation and collaboration. Why? Innovators in the corporate world are moving toward self-organizing teams of diverse talents, from across an organization or among organizations. The working world is in aching need of leaders to pull together disparate skill sets, and together find solutions.
Students will still be expected to learn fundamental skills and knowledge – in chemical engineering or corporate finance, for example – and to qualify for professional credentials. But there are many ways to deliver this foundation, from online courses, websites, blogs and games, that can be more efficient than the classic classroom. We are confident that fundamental skills can and will be learned. If a student needs to know calculus, she can learn calculus. If he needs finance, he will get finance. If they need knowledge about health-care economics, they will find it – and in the studio, they will put these disciplines to work creatively.
The mastery of a specialization is still important, but we worry about superspecialization, whereby students become focused entirely on a narrow discipline and ignore the collaborative and interpersonal skills that can bring these specialties to life in a work or community environment.
The more specialized the skill, the more risk of being rendered irrelevant by a future algorithm that can replicate the processes in the specialist's head. But human skills of integration and creativity are still beyond the reach of machines.
Data on salary do show that narrower specialist degrees earn higher initial incomes than liberal arts or more general degrees. But after half a dozen years into careers, the salary differential is eroded. This happens because job-specific skills erode over time as the discipline itself changes, while skills obtained through problem-based learning do not erode as significantly.
With new artificial-intelligence applications, graduates will be valued less for specific disciplinary skills in, say, metallurgy or structured finance instruments and more for their creativity, teamwork and leadership. This is the wake-up call for university teaching and learning.
Today's university students must be engaged in different ways. In seeking to solve real-world problems, they will experiment over and over again before hitting on solutions. But they will not "fail." This terminology suggests a final outcome that can be fatal. There is no failure in a world of problem-solving and experimentation as we move toward the joy and satisfaction of discovery.
The competitive advantage of the university or college is its diversity of thought under one roof – you get the medieval panorama of Chaucer, the richness of Indigenous studies, the intricacies of venture funding and quantum physics, and the potential for putting young minds together. No other institution offers such a powerful preparation for life. We have to flex this muscle of diverse thought by breaking down barriers between disciplines and faculties.
A great Canadian sage once spoke of the need to skate to where the puck is going to be. The puck – in business and society – is moving toward human flexibility and interdisciplinary approaches. That is where the Canadian university is uniquely placed to deliver meaning and value – if it can create its own self-disruption.
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Well, yay! I got into McFadden, the school owned apartments. The free-for-all signup opened at 7 am, and it is 7:18, and McFadden is officially full. That's how quickly it fills up. I even got on first floor, where I wanted to be, and I'm on the end of the apartment, so less noise from all my roommates will be heard! Yay!
Ok, so maybe getting up at 5 am was worth it after all.


Onuoha and Chair both starting, looks like Wszolek at right back, the dream team (ahem) of Washington and Smith up front. Hall on bench.
Leeds haven't won in London since March 2015, according to the BBC.
Weirdly, though, I fancy us to win 2-0.
Last edited by stainrod's elbow on Sat Dec 09, 2017 2:28 pm, edited 1 time in total.
Nice to see Osayi-Samuel make the bench as well.
Ollie doesn't seem to like Furlong, would like to see him given a chance instead of playing players out of position.
Isn't Furlong injured along with most of the other defenders in the squad?
Serious questions concerning Holloway now.
He won't be @ Loftus Road come May.
Thank god Barnsley, Burton, Bolton and Brum are marginally worse than us.
currently.......and you just know soon people on here will be insulting those who want Ollie gone. Because if you can't attack the facts which simply point to the fact he's not goid enough then simply attack the people poinyimg them out.
Until they play us I'll wager. We have little hope of staying up with our pathetic forwards(and the middle ain't all it's cracked up to be either). Think Penrice should be looking over his shoulder too given he recommended some of these. Can't see a change in the dug-out suddenly turning a lot of this team into a credible Championship side however. I've never seen a worse group up front in my time. Grim times Indeedy.


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More info on Auschwitz
Auschwitz: Misc
Auschwitz concentration camp
legendary Polish boxing champion Antoni Czortek fought for his life in boxing matches while at Auschwitz?
the Jewish mother of former German Federal Minister of Justice Gerhard Jahn died at Auschwitz?
the Ludowy Theatre in Kraków gained countrywide notability in the People's Republic of Poland by staging performances evoking death camp experiences of Auschwitz?
The Portraitist is a 2005 Polish television documentary film about the life and work of Wilhelm Brasse, the famous "photographer of Auschwitz"?
Rose Van Thyn, a survivor of Auschwitz and Ravensbrueck, became a leading figure in Holocaust education in her adopted city of Shreveport, Louisiana?
Saint Maximilian Kolbe sacrificed his life at Auschwitz to save the life of Polish Army sergeant Franciszek Gajowniczek?
Knut Rød, a Norwegian police inspector who arranged the deportation of over 500 Jews to Auschwitz in 1942, was acquitted after the war although no one denied he did it?
Leon Greenman was reportedly the only Englishman sent to Auschwitz?
Polish caricaturist Eryk Lipiński worked for the Polish resistance during World War II, forging documents, and was imprisoned in Auschwitz?
More interesting facts on Auschwitz
(Redirected to Auschwitz-Birkenau article)
From Marvel Database
2 Residents
History of location is unknown.
Magneto (former resident)
Magda (former resident)
Appearances of Auschwitz-Birkenau
Location Gallery: Auschwitz-Birkenau
Images related to Auschwitz-Birkenau
Fan Art Gallery: Auschwitz-Birkenau
Categories: Locations | Templated Articles | Location History Needed | Earth-616 | Milky Way | Sol | Earth | Poland
This article uses material from the "Auschwitz-Birkenau" article on the Marvel Database wiki at Wikia and is licensed under the Creative Commons Attribution-Share Alike License.


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4 Reasons Why Los Angeles' Upcoming Public Banking Ballot Initiative Is a Huge Deal
On November 6th, the citizens of Los Angeles will have a chance to decide if their city should pave the path towards creating the first municipal public bank in the country. No doubt, a 'yes' vote for Charter Amendment B will be significant for the city, as it will put the immense power of banking in the hands of accountable officials bound by a mission of social good—a radical shift from the status quo of giving that business to Wall St.
Today, the privilege of financing city services is reserved for private speculators. Last year, the City of Los Angeles paid $170 million in banking fees and $1.1 billion in interest to big banks and investors—money that would be recycled into public coffers for reinvestment if Los Angeles had a Public Bank instead.
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It intersects with many other causes you probably care about
"Banking" does not operate in a vacuum. If the economy is a circulatory system, with money circulating through businesses, organizations, individuals and public coffers, then banks are the heartbeat—or ground zero of the economy, which injects money into the system through loans and currency creation, emanating to all the sectors of society. Therefore, the culture and design of the banking system has far reaching multiplier and ripple effects on the entirety of the economy and hence our everyday lives.
This means that the banking industry owes a massive responsibility to the commons, and by extension should be brought under its stewardship. Otherwise, a banking system beholden to the private profit motive will be inherently extractive and unstable by nature—as it currently is.
A municipal bank, by contrast, will still underwrite loans responsibly in order to return a profit—but the benefactors of that profit will be the commons in the form of public reinvestment. In time, it may even pay out dividends into the general fund, as the consistently profitable public Bank of North Dakota does for its state coffers.
If constructed correctly, a Public Bank will be designed as a "People's Bank"—not only public, but triple bottom line. This means that rather than quarterly profits taking precedence over all else, profits are sought after but tempered by social and environmental considerations; in other words, it will be a bank designed to improve society.
As a result, such a bank can tailor its activities towards providing active solutions to policy needs in whatever capacity it's capable.
For example, while the invisible hand of private developers tends to inherently favor luxury real estate development which puts upward pressure on home prices, leading to gentrification, and a tighter supply of affordable housing and in turn less money in working families' pockets each month and rising homelessness, a Public Bank by contrast would aim to find solutions to affordable housing as directed by its social good and community development mandate. This means it will be incentivized to provide competitive funding for such housing while lowering its costs.
This then will have very real, everyday effects on communities of color and the working class in general, as the pressure to move due to the unaffordability of housing will be mitigated, providing much needed financial relief to vulnerable communities.
A Public Bank will also provide an upgraded means to develop green energy. Just as a concerted banking policy towards affordable housing can result in an economics that favors its development, so too would a green energy development policy produce an economics that hastens the green revolution.
Germany provides an excellent example that US cities can emulate. Their Sparkassen banking system, which are a network of regional public banks that resemble the upcoming LA municipal model, comprises only 40% of German banks in total, yet are responsible for over 75% of Germany's renewable energy infrastructure. As a result of this program, Germany has been called "the world's first major renewable energy economy." If they can do it, so can we.
Crucially, all this can be done while saving money. Since each of these projects, even if financed for lower than private market rates, would nonetheless produce profits for the city. This means that Public Banking provides a rare case of being able to have our cake and eat it too.
That's what makes it triple bottom line; focus on social development, a focus on sustainability and a focus on profit. In turn, that's what makes it capable of helping to solve some of the most pressing economic issues of our time, and that means a "yes" vote for the bank is in reality a "yes" vote for much more.
It's Revolutionary
If Los Angeles succeeds in creating a municipal public bank, it will quite literally be history in the making, as it will be the first of its kind in the country.
To do so will project a shining example to the rest of the nation and to the world of the fact that popular resistance can produce systemic shifts in the power dynamics of society. Money is power, and the ability to create it and determine its directional flow even more so. Bringing that power into transparent democratic oversight changes everything.
Whereas the regulations and fines slapped onto Wall St. simply tinker with the current system, building new banks owned by and accountable to the people is nothing less than transforming the system itself.
The significance of such a project coming to fruition in the Trump era at the apex of deregulation and a pro-Wall St. political climate will officially mark the dialectical response of people power that will usher in the twilight of neoliberalism and its discontents.
It's indeed true that this system, especially if proliferated, will mark a radical shift from what we currently have. But while the word "radical" might conjure images of extremist utopian experiments with no ground in practical reality, in the case of Public Banking, it's a radical idea backed by empirical evidence.
While naysayers cling to dogmas and abstract ideas of public sector inefficiency, the Bank of North Dakota and the Sparkassen banks of Germany continue to be profitable, useful to their communities and popular. By emulating the best of what already works while innovating their own solutions based on the local needs and will of their community, the architects of Los Angeles' bank can partake in this radical idea prudently and effectively.
It's the solution we've been hoping for
The financial collapse of 2008 was a wake up call. It definitively proved the inherent instability of a system beholden to a banking oligarchy engaging in casino-like speculation that plays Russian roulette with common people's homes, pensions and jobs. Luckily for the big banks, the public sector opted for bailouts under stewardship of a treasury secretary who was a former CEO of a major Wall St. bank.
Banks that are "too big to fail" know that they will be bailed out if anything goes wrong. As a result, there is little stopping them from engaging in hubris-fueled gambles that would never be justified otherwise. This moral hazard is now only exacerbated by further deregulation whose end result can't be anything other than another inevitable bust.
The drama of bank failures, bailouts, collapsing markets and skyrocketing unemployment induced a new consciousness into the masses, especially as many of the bankers responsible for the collapse continued to reap in massive bonuses. Occupy Wall St. emerged on the scene, introducing the narrative of the 99%. People marched in anger and visceral discontent. They were dissatisfied, but where was the paradigm shift?
Some called to jail the bankers, and many still argue that the perpetrators of the fraudulent speculation that led to the collapse should face retribution, as they did in Iceland. It should be understood however that the bankers were playing into exactly what the system is designed to do. Replace the bankers without replacing the system, a an entirely new round of the same behavior would likely resume.
Considering Wall St.'s massive influence on Washington, it is simply highly unlikely that the solutions to this problem are found there.
Therefore, the power to change the system is at the local level. Instead of waiting for a top-down transfer of power from bank oligarchs to the people, the solution in reality lies in building a new banking system from scratch ourselves, from the bottom up. That way, by moving power from unaccountable profiteers to accountable public servants at the local level, we pull the rug from under the oligarchy and bring about a practical solution through creation rather than destruction.
The money will go from private to public, from big to small, from centralized to localized, from amoral to moral, from speculative to prudent. As a result, the next financial crash will be tempered and beyond that, we may build a system that greatly reduces, if not eliminates the boom-bust cycle itself, forever alleviating the populace from the dispensable uncertainties of economic volatility.
The banking system has already failed. The Banking Question was never resolved. The old, failed way was simply resurrected. A new era is now emerging where that which is failed may be pushed into the oblivion of its inevitable fate—to be replaced by something saner, wiser, more ethical and more rational.
If you marched, or even sympathized with those that marched against the big banks, if you lost your job as a result of the recession, if you've ever believed that we need something different—then the moment you've been waiting for is finally within the horizon. If the historic Public Bank of Los Angeles emerges, the first instance of a systemic solution will have sprouted from the seeds of the grassroots, and the implications of where that can lead are simply history-making in scale.
Even for those that don't generally focus on municipal affairs, Charter Amendment B is different in scale and in scope, warranting your serious consideration. It's not only a local ballot for a local issue. It's a local ballot for a national, and arguably even global one.
It could cause a chain reaction
When it comes to implementing new laws and institutions, being the first is always hardest. The ponderous cynics, donning blinders of limitations of imagination fail to find inspiration when new ideas are unsupported by social proof. Yet the first city that manages to overcome this hurdle may open the floodgates, because once even a single city makes serious headway in creating a Public Bank, the likelihood of more cities deciding to try it for themselves increases significantly.
Just as proponents of Public Banking in general point to the Bank of North Dakota and Sparkassen to say, "if they can do it, why can't we?" so too will cities across the US likely say the same of the trailblazing Los Angeles municipal bank. It will provide hope, inspiration and validation that it came to be from a popular vote, that it reflects the Will of the People.
That's why this vote is about so much more than Los Angeles. It's about Los Angeles being a leader for the rest of California and the rest of the nation as a whole.
If the point is to change the system, to bring about a paradigm shift in banking and in economics itself, LA isn't going to do it by itself. Luckily, it's not in a vacuum. If the people mobilize to secure the "yes" vote, they will have opened the first hole in the dam that is Wall St. hegemony over our society. In time, that hole will rapidly expand and the floodgates of change will pour open. In the midst of revolutionary fervor, cities "going public" may well come to be in vogue, and Public Banks may well spread like wildfire.
Now imagine if that happened. Imagine cities and regions everywhere creating local, ethical public banks, so that it becomes the norm rather than the exception. Not only will untold gargantuan funds be transferred from Wall St. to Main Streets all over, but the system as a whole will have quite literally undergone a paradigm shift.
Los Angeles voters, you have a very important election coming up, one that could have ripple effects into the annals of history. This vote is more than about your responsibility to yourselves and to your city. Even though it's just a municipal measure, it's truly a responsibility towards the state, the nation, and possibly even humanity itself.
Rarely does the constituency of a city have such profound weight of power in their hands to alter the history of the world. On November 6th Charter Amendment B will give the people of Los Angeles that power.
If you wanted a revolution, here you have it, now go get it.
Phoenix Goodman
By Phoenix Goodman posted on August 27, 2018
DISCLAIMER: The opinions expressed here are those of the individual contributor(s) and do not necessarily reflect the views of the LA Progressive, its publisher, editor or any of its other contributors.
Bruce Dickson says
Please run an update about where Garcetti stands on this. If he is anything but lukewarm, please point to any petitions you know people can sign to move this forward.
Emily Spence says
A good model to follow;'
Bank of North Dakota – Wikipedia
https://en.wikipedia.org/wiki/Bank_of_North_Dakota
The Bank of North Dakota (BND) is a state-owned-run financial institution, based in Bismarck, … North Dakota Industrial Commission · Bank of North Dakota Documentary produced by Prairie Public Television · The Seattle Times – Economy …
Total assets: US$7.295 billion (2016)
Industry: Banking; Financial services
Operating income: US$136.2 million (2016)
Owner: Government of North Dakota
Why Public Banking Works in North Dakota – NYTimes.com
https://www.nytimes.com/…public-banks/why-public-banking-works-in-north-dakota
Oct 1, 2013 – The state legislature created the Bank of North Dakota and the North … financial institutions and public corporations within the state and not, …
Bank of North Dakota: Home
https://bnd.nd.gov/
Bank of North Dakota is an agile partner that creates financial solutions for current and emerging economic needs.
Bank Services · College Funding · Loans · About
Public – Bank of North Dakota
https://bnd.nd.gov/public/
Bank of North Dakota (BND) offers basic checking and savings accounts and other retail banking services to North Dakota residents. To prove North Dakota …
Public Banking Institute
http://www.publicbankinginstitute.org/
The US, however, currently has only one public depository bank — the Bank of North Dakota (BND). All state revenues are deposited in the BND by law.
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AUSTRALIA – David Hirschfelder
A romantic epic in the grand Hollywood tradition, Australia is director Baz Luhrmann's cinematic ode to his homeland. The main focus of the story is the romance between English aristocrat Lady Sarah Ashley (Nicole Kidman) and rugged cowboy Drover (Hugh Jackman), and is set against a backdrop of some of the most important events in early Australian history, including the expansion into Aboriginal territory by the white settlers and the social and racial tensions that arise as a result, and the bombing of the Northern Territory by the Japanese in World War II.
In addition to Kidman and Jackman the film features pretty much every major Australian character actor working today – notably David Wenham, Jack Thompson, Bryan Brown and David Gulipilil – and boasts impressive production values that garnered the film an Academy Award nomination for costume design. Read more…
Categories: Reviews Tags: Australia, David Hirschfelder, Film Score, Reviews
FOUR CHRISTMASES – Alex Wurman
A smash hit seasonal comedy starring Vince Vaughn and Reese Witherspoon, Four Christmases is very much a festive flick for the new millennium, as it follows the fortunes of a couple who have to spend their holiday season visiting their four parents – Robert Duvall, Sissy Spacek, Jon Voight and Mary Steenburgen – all of whom are divorced, and who bring their own problems and peculiarities to the already hectic lives of their children, most notably in the form of various siblings – Jon Favreau, Kristin Chenoweth and country star Tim McGraw.
The widely-available commercial soundtrack CD features the usual roster of wintry favorites – Perry Como singing "Home For the Holidays" Read more…
Categories: Reviews Tags: Alex Wurman, Film Score, Four Christmases, Reviews
MILK – Danny Elfman
Although many people nowadays will not know his name, Harvey Milk remains a hugely important figure in American political history. As the first ever openly gay man ever elected to public office in the United States, Milk served one term as a member of the San Francisco Board of Supervisors in the late 1970s, and was responsible for passing a stringent gay rights ordinance for the city, before being assassinated by fellow city supervisor Dan White in November 1978. Having already been the subject of an Oscar-winning documentary, 'The Times of Harvey Milk', in 1984, director Gus Van Sant's new film charts the life and death of a man who has since been labeled 'a martyr for gay rights' in dramatic narrative; the film stars Sean Penn as Milk, Josh Brolin as White, and features Emile Hirsch, Diego Luna and James Franco in supporting roles. Read more…
Categories: Reviews Tags: Danny Elfman, Film Score, Milk, Reviews
OORLOGSWINTER – Pino Donaggio
Dutch cinema doesn't get much press beyond the confines of its borders. Similarly, Dutch film music gets fairly short shrift from the world at large, despite several acclaimed composers having worked there in recent years, notably Henny Vrienten, Loek Dikker and Fons Merkies. It's also been quite some time since Italian composer Pino Donaggio had any time in the spotlight – at least since Up At the Villa in 2000, and in reality probably since Never Talk to Strangers in before that in 1995. So, it's quite gratifying to see Donaggio's score for the Dutch wartime drama Oorlogswinter ('Winter in Wartime') getting some attention.
The film is directed by Martin Koolhoven from the novel by Jan Terlouw, and stars Martijn Lakemeier as Michiel, a 14 year old boy living in a small town in the Netherlands in the winter of 1944, who witnesses an English fighter plane crash near his home. Read more…
Categories: Reviews Tags: Film Score, Oorlogswinter, Pino Donaggio, Reviews
I WANT TO BE A SHELLFISH (WATASHI WA KAI NI NARITAI) – Joe Hisaishi
For all his success in the west with his scores for Hayao Miyazaki's films – Princess Mononoke, Spirited Away, Howl's Moving Castle, and the like – Joe Hisaishi's scores for non-animated films remain strangely underappreciated by Western audiences. His latest undiscovered masterpiece is the curiously-named I Want to be a Shellfish – or 'Watashi Wa Kai Ni Naritai' to give it its proper Japanese title. Contrary to its absurd-sounding name, the film is a quite serious and profound drama set in post-WWII Japan, based on a famous novel by Tetsuharo Kato and directed Katsuo Fukuzawa. It tells the story of a man named Toyomatsu Shimizu (Masahiro Nakai), a quiet family man who works as a barber, who is unexpectedly arrested by the occupying American forces and tried for war crimes by a military tribunal. Read more…
Categories: Reviews Tags: Film Score, I Want to Be a Shellfish, Joe Hisaishi, Reviews
BOLT – John Powell
The 48th official film in the Disney animated feature canon, Bolt is the story a small dog – the Bolt of the title, voiced by John Travolta – who has lived his entire life on the set of a TV show in which he portrays a superhero dog and, as a result, thinks that his superpowers are real. However, when Bolt is accidentally shipped from his Hollywood soundstage to New York City, he embarks on a cross-country journey to reunite with his owner and co-star, Penny (voiced by Hannah Montana star Miley Cyrus). Along the way, he teams up with a jaded alleycat named Mittens (voiced by Susie Essman) and a TV-obsessed hamster named Rhino (voiced by Mark Walton). Read more…
Categories: Reviews Tags: Bolt, Disney Animated Feature, Film Score, John Powell, Miley Cyrus, Reviews
TWILIGHT – Carter Burwell
It has recently become apparent to me that, without my knowledge or active participation, I have become old and out of touch. I had this revelation when I realized that, until about three weeks ago, I had never heard of Twilight. I knew nothing about Stephenie Meyer's novels. I had never heard of Edward Cullen or Bella Swan. I had no clue that teenage girls the length and breadth of America were going to bed at night dreaming of being swept up into the arms of a hunky young vampire and being made one of the sexy undead. I guess this is what happens when you turn 33 and you realize that all your cultural touchstones now date back almost 20 years.
Twilight, for old farts like me who don't know these things, is a massively popular series of novels by the aforementioned Stephenie Meyer, which chronicle the adventures of Isabella "Bella" Swan Read more…
Categories: Reviews Tags: Carter Burwell, Film Score, Reviews, Twilight
QUANTUM OF SOLACE – David Arnold
The re-boot given to the James Bond franchise with Casino Royale in 2006 was possibly the best thing that could have happened to 007. The film itself was arguably the best Bond movie since On Her Majesty's Secret Service in 1969, and Daniel Craig's gritty, wounded portrayal of MI6's finest brought him firmly into the new millennium. Quantum of Solace, the second movie in the new rebooted series, continues the story from the immediate point where Casino Royale concluded; it's essentially a revenge film, with Bond attempting to bring the killers of Vesper Lynd from the previous film to justice, while locking horns with a new adversary – evil multimillionaire businessman Dominic Greene (Mathieu Almaric). The film is directed by Marc Forster, also stars Olga Kurylenko and Gemma Arterton as the new Bond girls, Camilla Montes and Strawberry Fields, and features Judi Dench, Jeffrey Wright and Giancarlo Giannini in recurring supporting roles. Read more…
Categories: Reviews Tags: David Arnold, Film Score, James Bond, Quantum of Solace, Reviews
SLUMDOG MILLIONAIRE – A.R. Rahman
Bollywood music has never really crossed over into the film music mainstream, despite being an enormous industry on the Indian sub-continent; the closest Bollywood has to a composer superstar is A.R. Rahman, so it perhaps stands to reason that he should really be the first one to make any kind of impact on the Hollywood mainstream. Rahman has worked in the Indian film industry since the early 1990s, and has since gone on to score over 100 films, some of which – Taal from 1999, Lagaan from 2001, Rang De Basanti from 2006, and Jodhaa Akbar from earlier this year – have enjoyed a modicum of international success. He has even dabbled in the Hollywood world before, working with Mychael Danna on Water in 2006 and with Craig Armstrong on Elizabeth: The Golden Age in 2007. In his homeland, however, Rahman is revered: he has personally sold 100 million records of his film scores and soundtracks worldwide, and sold over 200 million solo albums, officially making him one of the world's all-time top selling recording artists. No wonder he is often called the "John Williams of Bollywood" and the "Mozart of Madras". It's just surprising that it has taken this long for the West to recognize him. Read more…
Categories: Reviews Tags: A.R. Rahman, Film Score, Oscar-Winning Scores, Reviews, Slumdog Millionaire
MADAGASCAR: ESCAPE 2 AFRICA – Hans Zimmer
Original Review by Clark Douglas
Yikes, what on earth happened with this album? "Madagascar: Escape 2 Africa" may very well be the worst score that composer Hans Zimmer has ever been involved with (I hesitate to say "written", as the score was created by the usual gang of Remote Control affiliates). The film is a sequel to the popular Dreamworks animated film "Madagascar", which was also scored by Zimmer and co.
That disappointing album featured some pleasant yet insubstantial scoring alongside some dull pop songs and a nice performance of John Barry's "Born Free". That album was bliss compared to what Zimmer has produced this time around. Things actually start out well enough, with a typical little action piece called "Once Upon a Time in Africa". The score never hits that level of satisfactory banality again. Read more…
Categories: Reviews Tags: Film Score, Hans Zimmer, Madagascar: Escape 2 Africa, Reviews
THE BOY IN THE STRIPED PYJAMAS – James Horner
The Boy in the Striped Pyjamas, directed by Mark Herman from the novel by John Boyne, is a harrowing, yet life-affirming drama set in the Auschwitz Nazi concentration camp during World War II. Bruno (Asa Butterfield) is the 9-year old son of the camp commandant (David Thewlis); not understanding where he is or why he is there, and bored with his life away from the city where he used to live, Bruno makes friends with a young boy named Shmuel (Jack Scanlon), who lives on the other side of a wire fence and wears 'striped pyjamas'. The innocence of their friendship soon becomes strained, however – Shmuel is Jewish, and is of course scheduled to die in a gas chamber. Critics have lauded the film, both for its delicate handling of the difficult subject matter, and for its performances. Similarly, James Horner's score has been pretty much roundly praised, especially during the emotionally overwhelming finale. Read more…
Categories: Reviews Tags: Film Score, James Horner, The Boy in the Striped Pyjamas
DANCES WITH WOLVES – John Barry
MOVIE MUSIC UK CLASSICS
By the mid-1980s the cinematic western was almost dead, a relic of an older, less sophisticated Hollywood, which had long since left behind icons such as John Wayne and Gary Cooper. Thankfully, nobody told Kevin Costner. In 1989 Costner was one of Hollywood's upcoming leading men, having starred in successful and popular movies such as Silverado, Bull Durham, No Way Out and Field of Dreams. When it was announced that he would direct, produce and star in a big screen version of Michael Blake's novel Dances With Wolves, at first the news was treated with incredulity; later, with stories of spiraling costs and unconventional on-set activities, the film was expected to be a vanity project at best, a laughing stock at worst. No-one expected the film to be one of the best westerns ever made, but that is ultimately what happened. Read more…
Categories: Reviews Tags: Dances With Wolves, Film Score, John Barry, Oscar-Winning Scores, Reviews


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https://lebronwire.usatoday.com/2021/08/23/third-point-guard-is-lakers-priority-one-more-wing-could-be-signed/
Report: Lakers prioritizing adding third point guard; one more wing could be signed
August 23, 2021 11:00 am ET
Even though the 2021 free agency period has slowed with the big names off the board, the Los Angeles Lakers aren't done.
The Lakers have only 12 roster spots filled. Mac McClung and Chaundee Brown are on better training camp deals; both are vying for roster spots, but the Lakers have also been working out veterans.
Recent reports indicated L.A. has worked out guards Isaiah Thomas, Darren Collison and Mike James. Any of the three would likely finalize the point guard position on the depth chart.
Los Angeles has Russell Westbrook and Kendrick Nunn at the point, but both are scoring guards while the three mentioned above are facilitators. Adding another player at the one, and perhaps another wing, is what the Lakers want to do, according to Chris Haynes of Yahoo Sports:
A third point guard is a priority, sources said, along with potentially adding another wing.
A wing name that hasn't been signed is James Ennis, who played for the Orlando Magic last season. The Lakers reportedly have interest in the 31-year-old wing who shot 43.3% from deep on 2.5 attempts last season.
JaKarr Sampson and Tim Frazier both have popped up as possible candidates, but the former is more of a small-ball five while Frazier isn't as adept as the other three guards above L.A. worked out.
Lakers photos: Best of LeBron James' 2020-21 season