text:
#include "globus_gram_protocol.h"
#include "globus_preload.h"

#define test_assert(assertion, message) \
    if (!(assertion)) \
    { \
        printf message; \
        return 1; \
    }

#define TEST_CASE(x) { #x, x }

#define ARRAY_LEN(x) ((int) (sizeof(x)/sizeof(x[0])))

typedef struct
{
    char * name;
    int (*test_function)(void);
}
test_case;

char *                                  job_id = "http://example.org:43343/1/2";

/*
 * Test case:
 *
 * PURPOSE:
 *     Check that
 *     globus_gram_protocol_pack_status_update_message_with_extensions()
 *     generates messages which can be parsed with GRAM2 parser if no
 *     extensions are present.
 *
 * STEPS:
 *     - Creates a message
 *       globus_gram_protocol_pack_status_update_message_with_extensions()
 *       with an empty hash table.
 *     - Parses message
 *     - Verifies that all standard attributes match expected values
 */
int
test_pack_with_empty_extensions(void)
{
    globus_byte_t *                     message;
    globus_size_t                       message_size;
    globus_hashtable_t                  hashtable;
    int                                 rc;
    char *                              job_contact = NULL;
    int                                 status = 0;
    int                                 failure_code = 0;

    rc = globus_hashtable_init(
            &hashtable,
            89,
            globus_hashtable_string_hash,
            globus_hashtable_string_keyeq);
    test_assert(
            rc == GLOBUS_SUCCESS,
            ("# Error initializing hash table (out of memory?)\n"));

    rc = globus_gram_protocol_pack_status_update_message_with_extensions(
            job_id,
            GLOBUS_GRAM_PROTOCOL_JOB_STATE_ACTIVE,
            0,
            &hashtable,
            &message,
            &message_size);
    test_assert(
            rc == GLOBUS_SUCCESS,
            ("# Error constructing test message: %d (%s)\n",
            rc,
            globus_gram_protocol_error_string(rc)));

    rc = globus_gram_protocol_unpack_status_update_message(
            message,
            message_size,
            &job_contact,
            &status,
            &failure_code);
    test_assert(
            rc == GLOBUS_SUCCESS,
            ("# Error parsing test message: %d (%s)\n",
            rc,
            globus_gram_protocol_error_string(rc)));

    /* check that expected attributes were parsed correctly */
    test_assert(
            strcmp(job_contact, job_id) == 0,
            ("# job contact mismatch '%s', expected '%s'\n",
             job_contact,
             job_id));
    test_assert(
            status == GLOBUS_GRAM_PROTOCOL_JOB_STATE_ACTIVE,
            ("# job status mismatch '%d', expected '%d'\n",
             status,
             GLOBUS_GRAM_PROTOCOL_JOB_STATE_ACTIVE));
    test_assert(
            failure_code == 0,
            ("# failure code mismatch '%d', expected '%d'\n",
             failure_code,
             0));

    globus_gram_protocol_hash_destroy(&hashtable);

    free(message);

    return 0;
}
/* test_pack_with_empty_extensions() */

/*
 * Test case:
 *
 * PURPOSE:
 *     Check that
 *     globus_gram_protocol_pack_status_update_message_with_extensions()
 *     generates messages which can be parsed with GRAM2 parser if some
 *     extensions are present.
 *
 * STEPS:
 *     - Creates a message
 *       globus_gram_protocol_pack_status_update_message_with_extensions()
 *       with a non-empty hash table.
 *     - Parses message
 *     - Verifies that all standard attributes match expected values
 */
int
test_pack_with_extensions(void)
{
    globus_byte_t *                     message;
    globus_size_t                       message_size;
    globus_hashtable_t                  hashtable;
    globus_gram_protocol_extension_t *  entry;
    int                                 rc;
    char *                              job_contact = NULL;
    int                                 status = 0;
    int                                 failure_code = 0;

    rc = globus_hashtable_init(
            &hashtable,
            89,
            globus_hashtable_string_hash,
            globus_hashtable_string_keyeq);
    test_assert(
            rc == GLOBUS_SUCCESS,
            ("# Error initializing hash table (out of memory?)\n"));

    entry = malloc(sizeof(globus_gram_protocol_extension_t));
    test_assert(
            entry != NULL,
            ("# Error creating extension\n"));
    entry->attribute = strdup("attribute");
    test_assert(
            entry->attribute != NULL,
            ("# Error creating extension attribute name\n"));
    entry->value = strdup("value");
    test_assert(
            entry->value != NULL,
            ("# Error creating extension attribute value\n"));

    rc = globus_hashtable_insert(&hashtable, entry->attribute, entry);
    test_assert(
            rc == GLOBUS_SUCCESS,
            ("# Error inserting extension attribute to hashtable\n"));

    rc = globus_gram_protocol_pack_status_update_message_with_extensions(
            job_id,
            GLOBUS_GRAM_PROTOCOL_JOB_STATE_ACTIVE,
            0,
            &hashtable,
            &message,
            &message_size);
    test_assert(
            rc == GLOBUS_SUCCESS,
            ("# Error constructing test message: %d (%s)\n",
            rc,
            globus_gram_protocol_error_string(rc)));

    rc = globus_gram_protocol_unpack_status_update_message(
            message,
            message_size,
            &job_contact,
            &status,
            &failure_code);
    test_assert(
            rc == GLOBUS_SUCCESS,
            ("# Error parsing test message: %d (%s)\n",
            rc,
            globus_gram_protocol_error_string(rc)));

    /* check that expected attributes were parsed correctly */
    test_assert(
            strcmp(job_contact, job_id) == 0,
            ("# job contact mismatch '%s', expected '%s'\n",
             job_contact,
             job_id));
    test_assert(
            status == GLOBUS_GRAM_PROTOCOL_JOB_STATE_ACTIVE,
            ("# job status mismatch '%d', expected '%d'\n",
             status,
             GLOBUS_GRAM_PROTOCOL_JOB_STATE_ACTIVE));
    test_assert(
            failure_code == 0,
            ("# failure code mismatch '%d', expected '%d'\n",
             failure_code,
             0));

    free(job_contact);

    globus_gram_protocol_hash_destroy(&hashtable);

    free(message);

    return 0;
}
/* test_pack_with_extensions() */

/* Test case:
 * PURPOSE:
 *     Make sure
 *     globus_gram_protocol_pack_status_update_message_with_extensions()
 *     handles NULL job id, hashtable, message, or message size.
 * TEST STEPS:
 *   - Call globus_gram_protocol_unpack_status_update_message_to_hash() with
 *     NULL message and verify that result is NULL_PARAM error
 *   - Call globus_gram_protocol_unpack_status_update_message_to_hash() with
 *     NULL hashtable pointer and verify that result is NULL_PARAM error.
 */
int
test_null_param(void)
{
    globus_byte_t *                     message;
    globus_size_t                       message_size;
    globus_hashtable_t                  hashtable;
    int                                 rc;

    rc = globus_hashtable_init(
            &hashtable,
            89,
            globus_hashtable_string_hash,
            globus_hashtable_string_keyeq);
    test_assert(rc == GLOBUS_SUCCESS,
            ("# Error constructing hashtable (out of memory?)\n"));

    /* Null job id */
    rc = globus_gram_protocol_pack_status_update_message_with_extensions(
            NULL /* job_id */,
            GLOBUS_GRAM_PROTOCOL_JOB_STATE_ACTIVE,
            0,
            &hashtable,
            &message,
            &message_size);
    test_assert(
            rc == GLOBUS_GRAM_PROTOCOL_ERROR_NULL_PARAMETER,
            ("# With null job_id, expected "
             "GLOBUS_GRAM_PROTOCOL_ERROR_NULL_PARAMETER, got %d (%s)\n",
            rc,
            globus_gram_protocol_error_string(rc)));

    rc = globus_gram_protocol_pack_status_update_message_with_extensions(
            job_id,
            GLOBUS_GRAM_PROTOCOL_JOB_STATE_ACTIVE,
            0,
            NULL,
            &message,
            &message_size);
    test_assert(
            rc == GLOBUS_GRAM_PROTOCOL_ERROR_NULL_PARAMETER,
            ("# With null extensions, expected "
             "GLOBUS_GRAM_PROTOCOL_ERROR_NULL_PARAMETER, got %d (%s)\n",
            rc,
            globus_gram_protocol_error_string(rc)));

    rc = globus_gram_protocol_pack_status_update_message_with_extensions(
            job_id,
            GLOBUS_GRAM_PROTOCOL_JOB_STATE_ACTIVE,
            0,
            &hashtable,
            NULL,
            &message_size);
    test_assert(
            rc == GLOBUS_GRAM_PROTOCOL_ERROR_NULL_PARAMETER,
            ("# With null reply, expected "
             "GLOBUS_GRAM_PROTOCOL_ERROR_NULL_PARAMETER, got %d (%s)\n",
            rc,
            globus_gram_protocol_error_string(rc)));
    rc = globus_gram_protocol_pack_status_update_message_with_extensions(
            job_id,
            GLOBUS_GRAM_PROTOCOL_JOB_STATE_ACTIVE,
            0,
            &hashtable,
            &message,
            NULL);
    test_assert(
            rc == GLOBUS_GRAM_PROTOCOL_ERROR_NULL_PARAMETER,
            ("# With null replysize, expected "
             "GLOBUS_GRAM_PROTOCOL_ERROR_NULL_PARAMETER, got %d (%s)\n",
            rc,
            globus_gram_protocol_error_string(rc)));

    globus_hashtable_destroy(&hashtable);

    return 0;
}
/* test_null_param() */

int
test_null_extension_value(void)
{
    globus_byte_t *                     message;
    globus_size_t                       message_size;
    globus_hashtable_t                  hashtable;
    globus_gram_protocol_extension_t    entry;
    int                                 rc;

    rc = globus_hashtable_init(
            &hashtable,
            89,
            globus_hashtable_string_hash,
            globus_hashtable_string_keyeq);
    test_assert(rc == GLOBUS_SUCCESS,
            ("# Error constructing hashtable (out of memory?)\n"));
    entry.attribute = "attribute";
    entry.value = NULL;

    rc = globus_hashtable_insert(&hashtable, entry.attribute, &entry);
    test_assert(rc == GLOBUS_SUCCESS,
            ("# Error adding extension to attribute\n"));

    rc = globus_gram_protocol_pack_status_update_message_with_extensions(
            job_id,
            GLOBUS_GRAM_PROTOCOL_JOB_STATE_ACTIVE,
            0,
            &hashtable,
            &message,
            &message_size);
    test_assert(
            rc == GLOBUS_GRAM_PROTOCOL_ERROR_HTTP_PACK_FAILED,
            ("# With null job_id, expected "
             "GLOBUS_GRAM_PROTOCOL_ERROR_HTTP_PACK_FAILED, got %d (%s)\n",
            rc,
            globus_gram_protocol_error_string(rc)));

    globus_hashtable_destroy(&hashtable);

    return 0;
}
/* test_null_extension_value() */

int main(int argc, char * argv[])
{
    test_case                           tests[] =
    {
        TEST_CASE(test_pack_with_empty_extensions),
        TEST_CASE(test_pack_with_extensions),
        TEST_CASE(test_null_param),
        TEST_CASE(test_null_extension_value)
    };
    int                                 i;
    int                                 rc;
    int                                 not_ok = 0;

    LTDL_SET_PRELOADED_SYMBOLS();
    printf("1..%d\n", ARRAY_LEN(tests));

    globus_module_activate(GLOBUS_GRAM_PROTOCOL_MODULE);
    for (i = 0; i < ARRAY_LEN(tests); i++)
    {
        rc = tests[i].test_function();

        if (rc != 0)
        {
            not_ok++;
            printf("not ok - %s\n", tests[i].name);
        }
        else
        {
            printf("ok - %s\n", tests[i].name);
        }
    }
    globus_module_deactivate(GLOBUS_GRAM_PROTOCOL_MODULE);

    return not_ok;
}

redpajama_set_name: RedPajamaGithub


text:
package org.activiti.spring.components.config.java;

import org.activiti.engine.ProcessEngine;

/**
 * callback for any configurations that want to override the defaults
 * @author Josh Long
 */
public interface ActivitiConfigurer {

    /***
     * Build up the {@link ProcessEngine process engine}. The process engine
     * itself will be used to factory other components like the {@link org.activiti.engine.RuntimeService runtime service}.
     *
     * @throws Exception
     */
    ProcessEngine processEngine() throws Exception ;

}


text:
News > Latest Poker News > Aussie Millions Drama: Sam Greenwood Calls German High Rollers 'Predatory and Cowardly' Vultures
Aussie Millions Drama: Sam Greenwood Calls German High Rollers 'Predatory and Cowardly' Vultures
The 2018 Aussie Millions is in full swing right now, but despite a record turnout for the Main Event, the stop hasn't been without drama. After just four players participated in the $50K Challenge, eventual champ Sam Greenwood took to Twitter to call out German players for tournament scouting.
Canada's Sam Greenwood only had to beat three other players to win the 2018 Aussie Millions $50K Challenge. (Image: Aussie Millions)
The 2018 Aussie Millions $50K Challenge was scheduled as a three-day event but it took just one to finish. Despite high roller players such as Ben Lamb, Mustapha Kanit, and Tom "durrrr" Dwan all being down in Australia, the tournament drew just four runners — Greenwood, Jan Schwippert, Alex Foxen, and Koji Fujimoto.
Six hours later, Greenwood beat Schwippert for the title and $94,105.
The next day, he took to Twitter to vent about the recent trend of players waiting to jump into high roller action, which was an issue in December's PokerStars Championship Prague. In particular, he called out the German high roller contingent for tournament scouting.
"I'm getting some hate out," Greenwood tweeted. "If you are milling around the tournament room, waiting to see if a High Roller 'gets good' you should be forced to wait in a Pen of Shame … Also if you're unwilling to start games or show up on time you aren't the best in the world."
At the end of that tweet, he included a picture of the German flag.
Greenwood continued: "This isn't just about what happened yesterday. Look at the Prague 50k. Two good recs were regged from the start and most of Team Germany hung around in the tourney room like vultures waiting for worse recs to join the tourney. It's predatory and cowardly."
It didn't take long for German players like Koray Aldemir and Poker Masters champ Steffen Sontheimer to answer the criticism.
"These tweets are laughable on so many levels, Sam," Aldemir shot back. "While most Germans weren't even there, the 2(?) of us that didn't play from the start in Prague had issues with buying in and were super annoyed for not being able to play right away (after flying in from Vegas exactly for this)."
Sontheimer offered his two cents: "Just wtf… still not over your limpraise against outofturn–openraiser on PCA and you start the next shit. And ffs stop including [Dietrich Fast] in "team Germany" … Grow up and enjoy Melbourne."
Greenwood later clarified that he believed the $50K Challenge could've started with seven players.
"Didi, Christner, and Klaas 'couldn't' play unless Fujimoto regged first. The guys on the rail decided to play chicken with Fujimoto instead of just hopping in."
To put it another way, Greenwood speculates the three other players weren't permitted to play by their backer(s)/investor(s) unless Fujimoto, who was considered the soft spot, was in the field.
High roller regular quickly chimed in to show his support for how ARIA incentivized players to register. In last year's Poker Masters, those who were there for Hand #1 didn't have to pay the rake. It's certainly an enticement to players and could help prevent the Prague and Aussie Millions high rollers debacles from occurring elsewhere.
Aussie, Aussie, Aussie, Oi, Oi, Oi
In other Aussie Millions news, the A$10,600 (US$8,540) Main Event freezeout is happening now. The tournament drew a record 787 players, surpassing the previous high bar of 781 players, set in 2008.
In the preliminary events, some big names have managed to capture titles. In Event #6: A$1,150 NLHE 6-Max, Chip Leader Coaching cofounder Chance Kornuth came out on top to win $107,925. It was Kornuth's second Aussie Millions title after winning the $25,000 Challenge in 2009 for $524,764.
In this year's $25K Challenge, Ben Lamb prevailed over a field of 114 entries to claim the title for $596,194. He did so after making a heads-up deal with Jan-Eric Schwippert, who earned $484,746.
More recently, Stevan Chew bested a field of 354 runners to win Event #10: A$1,650 NLHE Bounty for $95,347.
Finally, the Aussie Millions has already announced their dates for the 2019 festival. The 2019 Aussie Millions is set to run from Tuesday, January 15 through Monday, February 4. The schedule is three weeks long and includes 26 ANTON Jewelry gold ring vents ranging from A$1,150 to A$50,000 buy-ins.
Next year's Main Event will span eight days and include three opening flights from January 27-29.
asedu wrote...
February 1, 2018-12:50 pm
dont know is true or di sam just see it that way, but I can understand his frustration. We all know what "bumhinting did to HU sngs/cash" so although it's harder to implement in MTTs but still possible, so am kinda torn between "u sure 'bout that bruh" and "hell yeah"…
OptiKey wrote...
February 5, 2018-8:02 pm
I do not know what to say. I expected more from such tournaments, but not 94K of the win considering the 50K buy-in. Among the millionaires, the level of competition is not high.

redpajama_set_name: RedPajamaCommonCrawl


text:
Eighteen Visions is the fifth studio album by Eighteen Visions that was released on July 18, 2006.  It was the band's only album released on Epic Records. This album saw the band take a step away from its metalcore roots in favor of a new, more melodic tone. Some countries have added two bonus tracks. One is taken from a Truskill records compilation called "Trustkill Takeover Volume II". The second is a re-recorded version of the track "Prelude To An Epic" from their album Until the Ink Runs Out. The album has sold around 100,000+ copies in the U.S. The album peaked at #74 in the U.S. Billboard chart.

Track listing
All tracks by Eighteen Visions
"Our Darkest Days" - 2:52
"Victim" - 3:00
"Truth or Consequence" - 4:15
"Burned us Alive" - 3:43
"Black and Bruised" - 3:21
"Broken Hearted" - 4:06
"Pretty Suicide" - 4:16
"Coma" - 3:36
"The Sweetest Memory" - 4:10
"Last Night" - 3:38
"Your Nightmare" - 3:30
"Tonightless" - 5:40

Bonus tracks:
13. "All We've Got" - 3:39
14. "The Epic" (Re-Recording of "Prelude To An Epic") - 2:29

Featured in
Both "Victim" and "Black and Bruised" were featured in the sportbike freestyle DVD, Mass Mayhem 3, produced by Evil Twins Productions.

Personnel
James Hart - lead vocals, lyrics
Kenneth Floyd - rhythm guitar, lead guitar, piano, keyboards, backing vocals
Keith Barney - lead guitar, rhythm guitar, piano, keyboards, backing vocals
Mick Morris - bass, backing vocals
Trevor Friedrich - drums, percussion
Drum Tech - Ken Floyd

References

Eighteen Visions albums
2006 albums
Epic Records albums
Trustkill Records albums
Albums produced by Machine (producer)

redpajama_set_name: RedPajamaWikipedia


text:
Martínez excels: "By far the best at United this season
Lisandro Martínez continues to impress at Manchester United. The Argentine defender is a regular in Erik ten Hag's squad and was again of huge importance in Sunday night's difficult win over West Ham United (1-0). SkySports analysts Owen Hargreaves and Ian Wright had praise for the development at United and especially for Martínez after the Premier League game.
"Ten Hag has created a United that wins games," began former United midfielder Hargreaves. "They probably would have lost this one last season. Manchester United are not scoring many goals, but they have improved tremendously defensively." United is also more stable in midfield at the moment. "With Casemiro as a base player, they haven't lost in the league yet," Hargreaves noted.
Martínez gets the Englishman's biggest compliments. "He leads the defence. He plays with a lot of personality. The Ten Hag revolution is coming, the revolution is on its way. I think they are better at this stage of the season than we thought beforehand." Wright also joins his colleague's praise. "This guy has added defensive quality that I haven't seen at Manchester United for a long time. Not only in his positioning, but also the passes he sends out. That's exactly what they need. Someone with no frills, who executes tackles. A really good purchase. I didn't think he would be that good."
Insane statistics
The analysts backed up their praise by analysing Martínez's performance against West Ham. The Argentine defender won seven of eight duels, had an accuracy in his passing of no less than 92% and was responsible for three interceptions. SkySports analyst Gary Neville was also positive about Martínez. "In large parts of the match he was really fantastic. He is by far Manchester United's best player this season," Neville said.


Ben has lit numerous opera and dance productions including for Scottish Opera, English National Opera, Rambert, Phoenix dance, National Dance Company Wales,Grand Théâtre de Genève, Danish National Opera, Lithuania National Ballet and Ballet Gulbenkian. He is lighting consultant for the Calico Museum of Textiles, Ahmedabad, directed Athol Fugard's Dimetos (Gate) and adapted four films from Kieslowski's Dekalog for E15.
Recent engagements: Long Day's Journey into Night (Citizens/HOME Manchester); The Whale (Ustinov, Bath); Broken Glass (Watford); The Knot (Umanoove Dance); Frame of View (Danish Dance Theatre); All's Well that Ends Well (Sam Wanamaker); A Woman of No Importance (West End); Woyzeck in Winter (Galway/Barbican); Prism (Hampstead); The Libertine (West End/Bath); A Number (Edinburgh Lyceum). Other theatre includes: Oresteia: This Restless House (Citizens/Edinburgh International Festival); Mrs Henderson Presents (West End/Toronto/Theatre Royal Bath); Zorro (West End, US, Japan, and Netherlands); the Spanish Golden Age Season (Royal Shakespeare Company); Trouble in Mind, Intimate Apparel, The One that Got Away (Ustinov).


The last two weeks have been busy. Ric Bonito has been recording drums for his own project and also for Aldous Pinch, the Abrahams have been recording some guitars and backing vocals to finish the tracking on one of their songs, Amy Wyke has been recording the guitars and drums for her latest track with Jake Crawford and Jay Russell from Acoda, Francis Tucker has been here and we've tracked everything for his latest track (including his good self on drums and vocals) and Tanya Cracknell and Amy Pritchard have been here recoding Violin and Cello for the latest Deadbeatdukes track.
Four Drummers, six guitarists, three bassists, five singers, two keyboard players, a violinist and a cellist in the last 14 days... there's been a lot of tea and coffee drunk!


In a big city like Chicago many people have likely walked down Clark Street only to notice a Bank of America, Revival Food Hall and the post office, however, tucked amongst these buildings is one of the most popular ping pong locations in Chicago, Killerspin house which opened in 2014.
Since then Killerspin has grown from a place where people in Chicago could come and play whenever they please, to a membership community of approximately 110 members.
Players originally could come in and play simply by purchasing a set of paddles or using their own. However, in December 2016, a new Concierge Member program was formed where players could opt to pay a fee of $365 per year to receive unlimited play, as well as, receive individual or group lessons from elite ping champions. Alternatively, players can also opt to pay a $25 daily rate if they don't feel they will use the location enough.
Felipe Morita, operations and marketing manager of the location, said the biggest reason the program has grown since he arrived just under a year ago is simply through members spreading the word.
One of the earliest members, and also longest tenured players is current DePaul student and Table Tennis Club President Veer Panchal.
Panchal has been a regular since he was a sophomore in high school and wasted no time joining as a member when the program began.
"I actually started playing competitively when I was pretty much under their wing, they started looking at me a little bit and teaching me how to play and when memberships started here I just knew I had to join," Panchal said.
Panchal also noted DePaul might consider switching to this location as it could allow the club to receive some memberships and foster friendships amongst the club and members at Killerspin.
One of the benefits of becoming a member is the opportunity to learn from Morita, as well as, five-time Olympian Ilija Lupulesku, or Lupe as he is known to the members.
"My skill level has probably doubled or tripled from the time I have been here because you take lessons from someone who has had like 40 years of experience, he's been playing a long time Lupe has," Panchal said.
Not only are members able to receive lessons from former champions like Lupe and Morita, but they also have the opportunity to compete and learn from other players both mentally and physically.
For 72-year old Ron Stevens, a member at the location, ping pong has helped improve his hand eye coordination and reflexes.
Not only can players work on their craft against other members, but also against a robot that is available for players to use if they don't have someone to play with.
The opportunity to play against quality competition is certainly a bonus of joining, but the community atmosphere amongst the members keeps players coming back as often as they can.
"They call it Killerspin house for a reason, it is made to be a place where people can gather and hang out, we hold tournaments here and just get a bunch of members to interact with each other," Panchal said.
This type of community has also allowed players like Stevens to learn about different players' cultural and religious backgrounds.
Killerspin originally made its name in Chicago as a retailer providing paddles, tables, balls, accessories and other items.
Depending on one's skill level, according to the company website, paddles can range anywhere from $39 for a basic paddle to upwards of $350 for the Stilo7 SVR edition made of carbon fiber and intended for ping pong enthusiasts looking to gain that competitive edge.
According to Morita, Killerspin also offers a variety of packages for companies or groups to rent out anywhere from one table to the entire space.
"If they want to shut down the place just for the event, we've held events with Bank of America for more than 200 people," Morita said.


The fact that many lives have been claimed through motorcycle accidents might be the reason why our parents discouraged us from riding the back of a person's motorcycle. It would therefore be imperative that we have knowledge on the accidents that can occur in order to ensure we are always on the safe side. It is important to know this since it would act as a protection from advent of accidents whenever you are riding a motorcycle. Due to the fact that it is exposed the limb is equally susceptible to injury in the event that it occurs.
You shouldn't be shocked by this event since it is popular among people who have had previous accidents. This injuries might not bring about death but might have an adverse long term effect health wise or cause a deformity on your body. Since your limbs are the one that are out first then it is only sensible that it get injured first. Make sure you have taken care of yourself in order to get well fast. The other most common type f injury that you would get is a head injury. It might range from middle to severe depending on the type of accident.
Contrary to common belief not any states have made wearing helmet mandatory. Other people just don't like it. Ensure you have one in the event that you want to ride. It is altogether important that you know that head injury usually also affects the neck.
Road rush on the other hand occurs when you skid across the road . Many people consider this harmless but it might be harmful in the event that you are going at a high speed. The other form of injury is the trauma to pelvis. This injury occurs when you hit a hard surface with your pelvis. There is various kind of injuries that would come about as a result. Make sure you always wear protective gear to mitigate this injury. This part of body is what makes you able to move therefore you should be careful and follow steps that would enhance your recovery. It is essential that you find out if you have sustained a muscle injury.
Make steps to strap yourself with different gears to be ale t protect yourself. Arm injuries is also something you can have. This is usually due to the fact that as a reflex we usually put or arms across in order to protect us from getting injured. Cases where the arm is exposed it is susceptible to get hurt. It would hence absorb the force for you here. This accidents might seem farfetched but they can occur anytime. Take any measure into account.


text:
module.exports = {
  launch: {
    args: [
      // Required for Docker version of Puppeteer
      '--no-sandbox',
      '--disable-setuid-sandbox',
      // This will write shared memory files into /tmp instead of /dev/shm,
      // because Docker's default for /dev/shm is 64MB
      '--disable-dev-shm-usage',
    ],
  },
};


Delete Facebook Account: There are several reasons you may intend to completely delete your Facebook profile.
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First, it is the moment to backup all messages, video clips, and pictures.
The arrangement of the general account, click "download and install a copy of all Facebook information", the download documents.
You will likewise be asked to provide a reason that you're leaving.
They will currently be indexed of all your Facebook data, but they can be easily brought back.
Click the "lock" icon in the top right edge, click the "magnifying glass" as well as search for "erase".
Click on the result at the bottom that states "How do I remove my account permanently" Currently scroll down until you see the link "recognize" click erase my account Place your ... password, present the image code. Click OK. That's it.


text:
Prospect Smackdown: Jay Bruce vs. Colby Rasmus
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Background and Intangibles
Bruce: Bruce was drafted by the Reds in the first round in 2005, 12th overall, out of high school in Beaumont, Texas. Named Baseball America's Minor League Player of the Year in 2007, he had a terrific campaign at three levels, including dominating Triple-A at age 20. Scouts love his makeup and work ethic and praise his intangibles.
Rasmus: Rasmus was drafted by the Cardinals in the first round in 2005, 28th overall, out of high school in Phenix City, Alabama. Rated as the top prospect in the Texas League last year by most experts, he draws praise for his broad range of tools and skills. Scouts love his makeup and work ethic and praise his intangibles.
Advantage: Both are high-profile draftees with pro success and strong work ethics. Looks even to me.
Physicality, Health, and Tools
Bruce: Bruce is 6-2, 218, born April 3, 1987, a left-handed hitter and thrower. Scouts love his strength and athleticism. His worst physical tool is running speed, which still rates a tick above average. He's expected to hit for both average and power due to his exceptional bat speed. His plate discipline is erratic and he strikes out a lot, but his bat is so quick that the less-than-perfect strike zone judgment has not hurt his performance so far against pro pitching. He's aware of this issue and it shouldn't be a long-term problem given how hard he works. Overall he is a complete package physically, though he may lose his speed as he ages. He plays center now but may move to right field in the future.
Rasmus: Rasmus is 6-2, 195 pounds, born August 11, 1986, a left-handed hitter and thrower. Like Bruce, his tools rate as slightly above average to excellent across the board. He has above average power, above average speed, and excellent plate discipline. He is also a terrific defensive outfielder with a strong arm. His strike zone judgment is a big plus.
Advantage: Bruce may have slightly more power potential and his bat is a touch quicker, but Rasmus has better strike zone judgment, will keep his speed longer, and is more likely to be playing center field ten years from now. Both of them have the physicality and tools to be complete players.
Performance and Polish
Bruce: Bruce is a career .299/.362/.543 hitter, including .305/.358/.567 in 50 games of Triple-A last year. He is polished in most respects, needing only to tighten up the strike zone a bit more.
Rasmus: Rasmus is a career .285/.371/.510 hitter, including .275/.381/.551 in Double-A last year. He is polished in most respects. His main problem is that he becomes too pull-conscious at times, leading to hot/cold spells that can inhibit his batting average.
Advantage: Rasmus has better command of the strike zone right now, but Bruce has shown more of an ability to hit for average against minor league pitching. Rasmus has produced a better OBP but Bruce has shown a tad bit better power.
Bruce: Bruce projects as a superstar hitter with a high batting average (once he settles in) excellent power production, and fine defense in right field (in the long run). PECOTA comps include Cliff Floyd and Manny Ramirez on the positive side, and Dee Brown on the negative side. Upside VORP is 274.0
Rasmus: Rasmus projects as a star or superstar with a moderate batting average, excellent power production, and excellent defense in center field. PECOTA comps include Carlos Beltran and Bobby Abreu on the positive side, and Dee Brown and Willie Green on the negative side. Upside VORP is 139.0
Advantage: It's interesting that PECOTA sees Dee Brown as a comp for both players, which basically shows you what a good prospect Dee was before he fell apart. PECOTA isn't everything course but I think the high-end comps hold, with Bruce having a shot at developing into a Manny Ramirez type (with better defense) while Rasmus would be more in the Beltran class at the high end. PECOTA rates Bruce's possible upside as significantly higher than Rasmus', though I think it exaggerates a bit.
Ultimately I went with Bruce as the Top Hitting prospect in baseball, with Rasmus at number three in the 2008 Baseball Prospect Book. As you can see they are very close, but ultimately I think Bruce's offensive ceiling is just a tad higher than Rasmus', though Rasmus is hardly a slouch and may develop into a more complete player in other ways.


Over 300 original Navajo weavings are on the auction block in this fun, fast-paced event. Learn about Navajo weavings, meet the weavers and enjoy Navajo tacos and frybread. This event is held at the Museum of Northern Arizona on Saturday, July 20, 2019. There is no cost to attend and register for a bidder number.
We will be accepting consignments for the Navajo Rug Auction the on the July 18th and 19th from 10am – 5pm at The Museum of Northern Arizona.


text:
A TRIBUTE TO BORIS BARNET
by YELENA KUZMINA
The first thing that struck me about Barnet was his way of working on a script. He had to re-do every script completely. If the script was good, even if he liked it, Barnet felt somehow uncomfortable and awkward. So that the script would be his own, it was necessary to rewrite it. From cover to cover. And Barnet did rewrite them.
For that matter, no he didn't rewrite them. That was a completely different work. With huge scissors he cut and clipped the script, tearing it apart into individual pieces, sequences and shots. These pieces he rearranged, reinserted, wrote something in, threw something out, and finally glued them together in a an infinitely long scroll. If he had to find a certain place, he would spread the scroll out on the floor and crawl along it on all fours.
I laughed out loud when I first saw Barnet doing that. At first he didn't think it funny and got mad. Then he told me, kindheartedly and with humor: "Every man should make at least one discovery. Well, this is my discovery. A script must be spliced into one roll, like a film. Then I can see what comes after what."
For that matter, when shooting started the scroll was calmly left at home. Something completely different was shot.
A man of tremendous imagination, Boris was all the time dreaming up something new. What had been written yesterday seemed uninteresting to him today. Sometimes his touches were really brilliant. But it often happened that sequences didn't hang together and the improvisation ruined the basic plot.
I met Barnet when he was getting ready to shoot OUTSKIRTS. He immediately offered me the only female role, Maria. I read the script and was very amused. I was 21, but Maria in the script was a long-faded old maid.
"You must be joking?"' I said to Barnet.
"Not at all."
"But she's really an old maid!"
"Well, somehow..."
"I can play her, only just the opposite."
"What do you mean, 'just the opposite'?"
''Well, everything written about Maria in the script—just the opposite of that. Not old, and not a maid, but a funny small-town girl, pigeon-toed, a know-it-all, a "Manka" rather than a 'Maria.' And I'll think up her dress myself."
Barnet's ability to work was unbelievable. He could shoot and edit for days without coming out of the studio. After several such days and nights he could go straight from the set to some social gathering, drink, tell jokes, be the life of the party, and after the party dunk his head in cold water and return to the studio as if nothing had happened, going on editing or shooting all night.
He was a strange, surprising man. Infinitely kind and cordial with everyone who came into any contact with him. In extremely freezing weather he could rip off his he scarf and gloves to wrap up some child who happened along the way. He could turn his pockets inside out and give away everything, right down to his last coin, to the first person who came along, if the latter complained about having a hard time. But with his friends . . . with his friends he was completely different. His life was filled with an endless stream of people gliding by. People were drawn to him, his charm warmed them. But they didn't become close friends. Perhaps he was protecting himself, keeping a distance. Perhaps he valued solitude. He had a multitude of acquaintances and was equally cordial, nice and interesting with all of them—a wonderful talker, a wonderful drinking companion . . . but he had no true friends.
And probably he needed them, He needed the shoulder of a comrade to lean on. He accomplished very much. He could have accomplished much more, with his strength and talent.
Sputnik Kinofestivalia (Moscow), No. 4
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"This is what I meant yesterday when I said: we caught a political conscience like one catches the chickenpox. I should have answered that it was not through Karl Marx that we discovered the class struggle, but through the obstacles that we experienced when attempting to make a precise film, which was THE CHRONICLE OF ANNA MAGDALENA BACH. This lasted from 1958 to 1967, so ten years. This is where we realized what social violence is, the class struggle, etc. Reading Marx after that, we said to ourselves: 'Now here's a perfectly clear, just, and realistic analysis of the state of things.'"
—Huillet.
Strasbourg, 1993.
"We became acquainted at the Berlinale, shortly after that memorable July 4, 1965, premiere (of Nicht versöhnt oder es hilft nur Gewalt wo Gewalt herrscht). Today, we're close friends. I know no one else in the whole field as passionately, tenaciously, and conscientiously devoted to making movies as the two of them are. They are among the few people in this business who really work (instead of fooling around). They direct political movies (not movies about politics). Let me repeat it for those who don't know it yet: their films are the most exciting, progressive films in cinema today.
"I suspect I feel so close to the two of them because I believe myself to be caught in a similar quandary: the need to recognize that one must, by means of a false line of conduct, come closer to one's goals with integrity and dogged personalized effort, and at the price of material hardship, rather than becoming a quasi victim, in a small political faction, of imponderables that leave no room at all for various forms of work. S.-H. represent a scarcely imaginable intensification of individual effort, of what one (or two) people can accomplish in a business dominated by 'pimps and whores.' It is a struggle, naturally, and a struggle that betrays traces of asceticism as well as transfigured anarchism and moralism; immense nervous strain matched by great powers of endurance; and a masochism that is tapped as a source of new achievement—amid the most severe material hardship. (I would never be capable of that, but, then again, I don't have a Danièle H.)"
—Günter Peter Straschek.
Filmkritik, Aug. 1974.
Excerpted from the book
Emigration - Film - Politik
Here and Now. 2018. Museum Ludwig
Past May Day Dedications to
Danièle Huillet on Kino Slang
2007 - Examine Caesars
2008 - Song of Two Humans, But...!
2009 - This Land is Mine
2010 - Men Without Women
2011 - Freedom
2012 - Small Grasses
2013 - That's Just What We Intend
2014 - The Lizards
2015 - (no post - misery)
2016 - Complete Animals
2017 - Huillet at Work (interview)
2018 - Straub/Huillet/Talking (interview)
2019 - Born May 1st. . .
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CELA S'APPELLE L'AURORE
IT'S CALLED THE DAWN
(Luis Buñuel, 1955)
LE MONDE COMME IL NE VA PAS
WHAT'S WRONG WITH THE WORLD
Jean-Luc Godard, 1996
NARSÈS: What is it called when the sun rises, like today, and everything has been ransacked, everything is devastated, but you can still breathe the air, and everything is lost, the city is burning, and innocent people are killing each other, but the guilty are in their death throes in some corner of the daybreak?
ELECTRE: Ask the beggar, he knows.
BEGGAR: It has a very beautiful name, Narsès. Cela s'appelle l'aurore. It's called the dawn.
SEE THE FILMS HERE
1996. Jean-Luc Godard - Le Cercle de Minuit. 1 minute.
Broadcast on Antenne 2, November 26, 1996.
Not a exactly a short film but certainly a work, this one-minute video was one of four cinema gammes—"scales" in the musical sense (Do, Re, Mi, Fa, Sol, La, Si)—presented on live television by Jean-Luc Godard in 1996.
On the occasion of the release of his war film For Ever Mozart (1996) Godard was invited by Laure Adler, host of Le Cercle de Minuit, to take part in a roundtable with writer Philippe Sollers, the two philosophers Jean-François Lyotard and Alain Finkielkraut, and film critic and filmmaker Jean-Claude Biette.
Godard chose to present his colleagues with these sequences, asking why we typically don't "do our scales" in cinema, like pianists, dancers, singers, or as athletes, for practice and for pleasure, every morning? "Here's an example of a cinema scale... It's from a photo that I saw in a Swiss-Romande daily newspaper, a photo that made me think... and there it is, my scales for the day, my day's work... "
I only came to know of the existence of Le Monde comme il ne va pas (What's Wrong with the World)—which is verbally presented by Adler on the show as "Photo / petite fille / Algérie / muet" (Photo / little girl / Algeria / silent)—through a short text about it on the Shangols blog, who writes that Godard "utilizes the last tools of the cinema as if they were found existing in the Bronze Age: a simple zoom, a clear-cut look at an image, a text, enough to express both the infancy of cinema and a tainted childhood in a country at war."
As this montage was executed on live television, it's excluded from most Godard filmographies, though I've subsequently found it in the more detailed and reliable of them, for instance in Michael Witt's Jean-Luc Godard, Cinema Historian (2013).
The words that we hear in the montage were written by G.K. Chesterton, whose original 1910 text can be found here. Lengthy excerpts of the Cercle de Minuit program, including further gammes and discussion in French, are introduced and preserved here, thanks to the efforts of Albert Gauvin (grâce à Dmitry Golotyuk).
Not incidentally, the caption under the newspaper image that is part of Godard's montage, and against which he works, reads: "Amnesty International writes: 'The majority of victims have neither name nor face.'"
France-Italy. 1955. 98 minutes.
Production: Les Films Marceau, Laetitia Films.
Director: Luis Buñuel. Screenplay: Luis Buñuel, Jean Ferry.
Based on the novel Cela s'appelle l'aurore by Emmanuel Roblès.
Cinematography: Robert Lefebvre. Editor: Marguerite Renoir, Luis Buñuel. Music: Joseph Kosma. Sound: Antoine Petitjean. Art Direction: Max Douy. Assistants: Marcel Camus, Jacques Deray. Prod. Manager: Claude Jaeger. With: Georges Marchal (Dr. Valerio), Lucia Bosè (Clara), Gianni Esposito (Sandro), Julien Bertheau (Police Commissioner Fasaro), Nelly Borgeaud (Angela), Jean-Jacques Delbo (Gorzone), Robert Levfort (Pietro), Brigitte Elloy (Magda), Henri Nassiet (Angela's father), Gaston Modot (peasant Giuseppe), Simone Paris (Madame Gorzone), Pascale Mazotti (Azzopardi), Marcel Peres.
Doctor Valerio works for an industrial concern on a Mediterranean island and devotes himself to helping the workers and poor farmers. Valerio's wife, Angela, suffers from nerves and boredom. While in a tenement to treat a child who has been molested, Valerio meets Clara, they fall in love and begin an affair. Valerio's worker friend Sandro takes revenge on his heartless boss, Gorzone, who is responsible for Sandro's wife's death during their eviction. Valerio hides Sandro from the police at his home at the very moment that his father-in-law arrives to offer him lucrative work in Nice. The doctor must take sides.
"The film is a remarkable adaptation by Buñuel of a fine novel by Emmauel Roblès, who took the title from the last line of Jean Giraudoux's play Electre:
BEGGAR: It has a very beautiful name, Narsès. It's called the dawn.
"Through the mouthpiece of Doctor Valerio and this film, Buñuel once again advocates subversion and makes statements that are very rarely to be heard in the cinema, and almost never in the French cinema. He says that in Western contemporary society the honor of the individual no longer coincides with the duties of the citizen, that the moral system is just as cankered as the social system, that the police are the concrete manifestation of this whole system, and that under no circumstances should one come to terms with the institutions that control this society from top to bottom. In other words, one should totally reject all taboos and all laws, and feel at all times and in all circumstance in a state of insurrection. One's self-respect, therefore, requires one to give refuge in one's home to the worker who has just murdered his boss, and never to shake hands with a policeman."
Freddy Buache
The Cinema of Luis Buñuel. 1970
"I will let Friedrich Engels speak for me. He defines the function of the novelist (and here read filmmaker) thus: 'The novelist will have acquitted himself honorably of his task when, by means of an accurate portrait of authentic social relations, he will have destroyed the conventional view of the nature of those relations, shattered the optimism of the bourgeois world, and forced the reader to question the permanency of the prevailing order, and this even if the author does not offer us any solutions, even if he does not clearly take sides.'"
Luis Buñuel, 1953.
Cela s'appelle l'aurore: The Light of Buñuel
by André Bazin
Luis Buñuel's reputation comes from the time when his films served as a banner for cinematic surrealism. There is scarcely a trace of this in Cela s'appelle l'aurore (It's Called the Dawn, 1955).
Buñuel's work and inspiration are partly misunderstood. Films like L'Age d'or and Un Chien andalou are indeed provocative, epic, and violent. They denounce social and moral lies, and are at times intolerably cruel. But it would be wrong to deduce from this that Buñuel seeks out scandal and violence for their own sake. The cruelty in Los Olvidados is merely the necessary counter-balance of an overwhelming tenderness, an unsatisfied yearning for kindness, justice, and purity in this world. For Buñuel, the dream and everything it reveals about inner reality is a pathway to the truth. To the casual viewer, some of Buñuel's work might seem filled with a gratuitous strangeness and bizarre incongruities.
But just as his "cruelty" is the projected shadow of his tenderness, Buñuel's oddities, if I may say so, are simply the manifestation of his simplicty. The universe of which he dreams is one of social justice, kindness, and true love -- an almost naive universe of moral simplicity. Naive yet dizzying!
This is why Cela s'appelle l'aurore is truly a Buñuelian film, even though such a melodramatic story, with its strongly sympathetic or antipathetic characters might seem to be naively paradoxical. A closer look shows us otherwise. This transparency is as sharp as crystal, and one of its shards might slit your wrists.
A young doctor, living on a desolate island in the Mediterranean, earns very little from his work yet remains to help those around him. His wife, slightly ill but mainly bored by her mediocre existence, goes to Nice to recuperate. Her parents would like to see their son-in-law set up practice on the Continent. While attending to a young girl who has been raped, the doctor meets a young Italian widow and violent passion soon envelops them.
Later, at great personal risk, the doctor is called upon to harbor a young man who as killed the reigning industrial boss of the town. The greediness and lack of compassion of the latter have led to the death of the young man's ailing wife. Wishing to spare the doctor an accusation of complicity, the unfortunate boy leaves his refuge and is killed.
In the end, the doctor divorces his wife, thereby renoucing the advantages of a career in the city and choosing truth, love, and the friendship of those who need him. Cela s'appelle l'aurore is, as I said, a strange film because of its simplicity, dazzling because of its clarity and a film which cleanses the soul and heart. It is admirably interpreted by Lucia Bosè, Georges Marchal, and in particular Julien Bertheau and Esposito.
Le parisien libéré 3631. May 14, 1956
Translated by Sandrine D'Estrée and Tiffany Fliss
L.B. shooting CELA S'APPELLE L'AURORE in Corsica, August 1955.
TOMAS PEREZ TURRENT: You once mentioned that Cela s'appelle l'aurore is one of your favorite films.
LUIS BUÑUEL: It's a "love-yes-police-no" film and I have good memories of it. My agent in Paris had recommended Emmanuel Roblès' novel, and that year, 1954, I was on the jury at the Cannes Film Festival. I liked the book and began to work on the script with Jean Ferry, a Surrealist writer and author of a study of Raymond Roussel.
TURRENT: Ferry was also one of the founders of the College of Pataphysics. [College de Pataphysique, founded in 1949 by a group of French writers to explore the new 'science' proposed in the writings of Alfred Jarry. As defined by Jarry: 'Pataphysics is the sciene of imaginary solutions'.]
BUÑUEL: Yes, he was a pataphysician. And a curious thing happened to me with him. He wrote a three-page love scene, with kisses and very lyrical phrases. I would have been embarrassed to film something like that.
Then it came to me to have the protagonist arrive at his lover's house, they speak tenderly, and, since he is tired, he takes off his shoes. While she serves him some soup, he says, "Look in my pocket. I brought you a present." She finds a live turtle in his pocket. Then the man and the woman kiss. And this way I avoided three pages of dialogue that might have been good on paper, but were impossible to film. Ferry wrote to the producer, demanding that his name be removed from the credits because I had converted a sublime scene into another one about shoes, soup, and trivialities. Poor Ferry, he has since died. He had talent, but on that occasion it failed him.
JOSÉ DE LA COLINA: We know there was a problem related to Paul Claudel.
BUÑUEL: A scene opens in the office of the police commissioner. On his desk you can see the complete works of Claudel with a portrait of him, and a pair of menottes (handcuffs) on top of them. Later, the commissioner takes his gloves from the chest over which hangs a print of Christ by Dalí. That is to say that Dalí and Claudel were poet and painter of the police, through both are excellent, of course.
TURRENT: But at the same time the commissioner was defined as a cultured man, sensitive...
BUÑUEL: He could be. Well, then Claudel's daughter wrote to me more or less in these words: "Monsieur, I have seen the ignoble film where you profane my father's memory. I can do nothing against you legally, but this letter serves to express my contempt." There was also a scene in the film where the police commissioner, while traveling in a car on the island's highway, refers to the landscape and recites some of Claudel's verses. Julien Bertheau, who played the role of the police commissioner, told me, "Bunuel, I prefer not to recite these lines. I acted in L'Annonciation à Marie, and am a friend of Claudel's daughter, and it seems to me you are ridiculing him." "But do you think this scene is going to be grotesque?" I asked him. "No. Recite the verses seriously, without ridicule; you are reciting a good poet."
TURRENT: The ridicule would be in the context. And most people know that Claudel was a bête noir of the Surrealists.
BUÑUEL: The Surrealist group attacked Claudel for his nationalism, his praise of the police and later of Franco. But I insist that for me he is a good poet...
TURRENT: And the Claudel-Dalí association?
BUÑUEL: Dalí is also a nationalist and a Catholic, in his own way, and supportive of Fascist regimes. The police commissioner could have ideas similar to theirs and enjoy their works. Where is the ridicule in that? For example, as you know, I have a Dalí portrait here in the house, a portrait of me that he painted. Does this perhaps mean that I share Dalí's current ideas? On the other hand, the police commissioner has some good characteristics: he reprimands the policemen when they go too far in an act of repression. There is the scene where he crushes the hand of the old man because the old man has raped a young girl. You can understand this indignation, though, of course, the old man is defenseless.
TURRENT: There were many attacks on the film, particularly one by Eric Rohmer. [SEE BELOW - A.R.]
BUÑUEL: I called Rohmer a fascist, although not because of that. One day the editor of Cahiers du cinéma introduced me to him. I remembered that Kyrou and Prévert had called Rohmer a fascist and, as a joke, I said to him, "I have the honor of greeting a fascist." Immediately, I added, "Excuse me, I have been told that you are a fascist." He became red as a beet and I took my leave: "Well, then delighted to have met you."
TURRENT: I remember Rohmer's criticism. He said that you felt obliged to break down doors that had already been opened long before and that you had a petite place in the history of cinema as a collaborator with Dalí on L'Age d'or, and also as a representative of Mexican cinema. And he concluded: "Nothing much."
BUÑUEL: Well, it was amusing.
TURRENT: Some critics said that you had attained serenity in Cela s'appelle l'aurore. But the film stirred up violent reactions for being very clear in its position.
BUÑUEL: I like the final scene when Marchal refuses to shake hands with the police commissioner and leaves with his lover and three worker friends, his arm over their shoulders., with an accordion heard in the background. That is the only music in the film. I acknowledge that the scene is a bit symbolic.
TURRENT: Unlike your other characters, Marchal is a very definite character, very simple.
BUÑUEL: But not at the beginning. At first, we see him working as a police doctor. His experiences while living on the island, seeing injustice close-up, make him change. When he hides the fugitive worker at the beginning, he does it only out of generosity and friendship, even against the wishes of his wife and father-in-law. Besides, he has already fallen in love with Bosè. But up to that point, he is only a man with good intentions, compassionate, in love. When they kill Gianni (Sandro), who became a killer out of desperation, a wider feeling of human solidarity begins to stir within the doctor.
TURRENT: But isn't it possible that after this reaction the doctor could return to a solidarity with his own class?
BUÑUEL: Impossible. I believe a man who is capable of profound indignation at injustice can no longer accept it. For me, it is clear that, at Gianni's (Sandro's) death, Marchal (Valerio) has radically changed. At least he no longer works with the police. Nazarín and Viridiana also change their way of seeing and living in the world. They can no longer remain as they were before. I'm not a determinist; I mean that I don't believe anyone is morally determined forever because he was born in such-and-such a social class. Being born bourgeois doesn't condemn anyone to think or behave like a bourgeois for his entire life. Coexistence changes one's manner of being. Let's take an extreme case: a guard and a prisoner. It's very difficult for a guard to maintain an intransigent position toward his prisoner day after day. He has to be incredibly vile not to establish some type of human relationship with him. But...there are no rules, isn't that right? Forced coexistence can also degrade human relations. If you and I were forcibly locked up forever in a room together, we might be very wonderful people, trying to help each other, but we would almost certainly end up hating each other, losing our tempers over the slightest thing. To you, the way I scratch my ear would seem unbearable; to me, the way you comb your hair.
COLINA: That is part of the theme of The Exterminating Angel.
BUÑUEL: Yes. But coexistence can have the opposite result: the sense of solidarity. The doctor in Cela s'appelle l'aurore coexists emotionally, though not physically, with the poor people on the island; and furthermore, love makes him more generous. For that reason he breaks with convention: he leaves his wife, sick as she is, and he goes off with his lover. It would be unbearable for him to live any form of deceit.
TURRENT: So what interests you most about a character is his potential for change?
BUÑUEL: Of course. If not, what interest would a story have? A story has to do with seeing whether a character becomes better or worse, happy or miserable... Zachary Scott's character in The Young One changes for the better: he stops being a racist, he really falls in love with the girl, he's no longer a brutal rapist and selfish person. But on the other hand, Tristana becomes vindictive and tyrannical, she becomes hardened. Only in cheap novels are good characters always good and bad ones always bad. They don't learn anything, life doesn't change them. Look at an example of change in the character of Gianni Esposito: he is unhappy through most of the film, incapable of rebelling against the injustice that overwhelms him. He's like an automaton of misfortune, isn't he? Suddenly, he can no longer take it, he picks up a revolver, goes to find the boss, and shoots him in the belly.
COLINA: The crime scene is splendid because it's like a moment in L'Age d'or, but stronger, because it is more justified. And you forget the kitten...
BUÑUEL: That's right, I forgot. What a memory you two have for details.
COLINA: It's more than a detail, it has a beauty, mystery. Esposito arrives at the mansion where the party is taking place. A kitten follows him in the garden and Esposito picks it up, pets it, and carries it in his arms. He enters the drawing room and without throwing down the kitten, he takes out his revolver and shoots the boss. A brilliant poetic conjunction, great tenderness and at the same time a great and justified hate.
BUÑUEL: They are gestures that I would make in a similar situation. And I am interested in a situation that allows two simultaneous contrary actions: to kiss and insult at the same time, to caress and kill at the same time, or the opposite. I'm not interested in characters without contradictions because we know everything about them from the first moment.
COLINA: That is what happens to me with the character of Marchal, despite the fact that you say he is capable of change. This character doesn't surprise me, he seems too linear. I find the entire film like that, except for the crime scene in the drawing room, the "bit with the kitten." Understand, Don Luis, the film doesn't displease me in any ideological way, I simply find it predictable, flat.
BUÑUEL: I understand. It's not enough for me either that a film share my ideas in order for me to like it or for it to touch me.
TURRENT: In addition to the scene with the handcuffs and Claudel's book, there is another, even stronger image in the film: a statue of Christ that is used as a telegraph pole.
BUÑUEL: Many people have said, "A Buñuelian detail." Okay, but I'm sorry, sometimes reality inserts its own Buñuelian touches all by itself. When the Americans invaded Africa during the Second World War, they found a monument of Christ and used it to string needed telephone cables. And since the doctor had been in Africa, he has this photograph in his home: Jesus' face hung full of insulators and cables. This is not an invention of mine, nor was the shrine to the Virgin of Guadalupe at the Rastro slaughterhouse in The Brute.
Buñuel: Prohibido asomarse al interior
by Tomás Pérez Turrent and José de la Colina. 1986.
Translated by Paul Lenti in Objects of Desire. 1992.
ROHMER'S ATTACK
"All that remains of Breton's myth of amour fou is something which could be found in a women's magazine serial; the aggressivity of the Twenties has become the cockiness of boarding-school inmates out on a spree. It is enough to turn anyone into a religious bigot, a policeman and a Fascist before you could say Jack Robinson! The film is just one cliché after another, a huge ado about nothing. I hope that Buñuel has not said his last word. For the time being anyway, he only occupies a small niche in the history of cinema, as Dalí's collaborator on Un chien Andalou and L'Age d'or and as Mexico's virtually only director: all in all, a pretty small niche."
ANDRÉ LABARTHE'S DEFENSE
"Only a crystal, by analogy, could give one an idea of this film and the faceted montage given to it by (editor) Marguerite Renoir. Only this film, like a crystal, could gather in a single ray the infinite range of light that was put into it by all horizons...
"It is to surrealism that Buñuel owes the idea of the 'earthly salvation of women, of the transcendent vocation of women' (Breton) which dominates his entire work. Clara, to whom Lucia Bosè lends her unforgettable appearance, is truly the woman 'her tongue a pierced wafer' that Breton speaks of in his poem 'L'Union libre', the woman who assumes all sacrilege and subversive moral values, the only ones worth truly subscribing to. Isn't it she who spontaneously and automatically offers to Valerio to hide Sandro when she learns that he is wanted by the police? In a police society, the love that unites Valerio and Clara could only arise from a bond: they will hide Sandro as they've hidden their love. Lya Lys in L'Age d'or was also forced to hide in order to join her lover...."
BUACHE'S FURTHER DEFENSE
"(Rohmer's) summary dismissal of an excellent film by one of the greatest living filmmakers should be considered a good sign: right-wing irritation is sure proof that this pamphleteering film has hit its target. And as in all Buñuel's films, love is still amour fou. But here it is more serene, more worldly and more constructive.... It is through love that Valerio and Clara become able to confront an unjust system, and perhaps destroy it with the help of the people."
This program is dedicated to Lucia Bosè who died of COVID-19
Méliès Circus
William K. Everson
dias felizes a.k.a MALONE meurt
Tag Gallagher
Howling Wretches - Ted Fendt
Andy Rector
BEWARE SPECTATOR: Filmmakers are the sons of the bourgeoisie. They bring to their career the weaknesses of their decadent class (thank you Jean Renoir)
AIN'T NO SUCH THING AS HALF WAY CROOKS. Powered by Blogger.


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Home / News / Arts / Making of Gauhar Jaan, India's first recording Artist
Making of Gauhar Jaan, India's first recording Artist
Anirudh Singh June 26, 2018 Arts Comments Off on Making of Gauhar Jaan, India's first recording Artist
Can you imagine a singer getting Rs 3,000 for recording a song by a gramophone company at the beginning of 1902?
Yes, that is true, and the singer was none other than the legendary artist Gauhar Jaan, an of Armenian origin, but born in India.
It was at about 9 am in the morning when Gauhar entered the recording room of the gramophone company of India. She made her way for the recording session, unknown of the fact, that she is going to create a sort of history in the field.
She was young and pretty, wore all her expensive ornaments and jewellery along with trendy dress and makeup, which was deemed fit to instil a sense of confidence in her.
Also Read: Google Doodle remembers Gauhar Jaan, the legendary singer-dancer
And it worked. The voice was appreciated by one and all. The company reaped the dividends of her success. It was a functional but makeshift recording studio. It was set up in two large rooms of a hotel in Kolkata by the Gramophone Company for the purpose of recording her song only.
The company had asked Frederick William Gaisberg and his assistants from England to explore the recording for the Gramophone Company, which was established in England in 1898 only.
The agents of the company visited several theatres, attended a number of concerts at Jamindar and landlord palaces to make a hunt for a suitable girl voice. Ultimately, they could found at a promising artist. The singer was a dancing girl but bestowed by an equally melodious voice.
The company was of the view that an artist of such calibre was necessary to rope in to build a strong foundation in India., It also needed of the hour since many other recording companies of German, French and American origins were also trying to tap the Asian market Indian market.
At that time Gauhar Jaan was about 30 years old, she was of fair complexion, medium-built and looks pretty in makeup. Her accompanists in Sarangi, harmonium, and tabla tuned their instruments. Gaisberg was himself there to check the equipment. A thick wax master record was there on the turntable rotating at 78 rpm. There was a huge recording horn, which was fitted on the wall on her backside and close to her face. Now she was asked to sing loudly into that makeshift horn. The Longhorn was there on a diaphragm and fitted with a needle. That was connected to the recording machinery. A needle was placed on rotating disc for cutting the grooves.
Gaisberg requested Gauhar to sing for three minutes. She was to announce her name at the end of the recording. So, at the end of the trial recording, she said, "My name is Gauhar Jaan".
Although the sound recording was there in 1877, it took two decades for the technology to develop. The first-ever recording of Indian Classical music was engraved in the grooves of a gramophone record in about a quarter of a century later.
Gauhar Jan's first original song can still be played on a record player. You still can listen to the sweet and melodious voice of Gauhar Jan who will replay it into the ears of the music lovers and listeners as long as the technology works well.
She was born to Anglo-Indian parents. She was known by the name of Miss Angelina Yeoward. Her father, Robert Yeoward, was an Armenian Jew who was on a job of an engineer in a factory at Azamgadh in Uttar Pradesh of today. He married a Jewish, Miss Victoria Hemming, in 1870. She was born and brought up in India. Victoria had learnt Indian dance and music here.
Angelina was born into them in 1873 and was baptized in the Methodist church. This marriage did not last long and after the divorce, she moved to Benares with Angelina and Khurshed– her new husband. She converted to Islam and chose new names; Gauhar for daughter and Malka for her.
In 1883, all three of them shifted to Kolkata, which was known as a place of patronage for music and the other arts. The place was famous for courtesans or Kothewalis who would entertain affluent people with their art. Some Ustads used to train this community after a proper ganda bandhan ritual, in which a teacher accepts a disciple.
Little Gauhar, was fond of dance and music in her early years and used to take lessons from her mother. She was blessed with a sharp memory, intelligence and use to learn very fast, and so Malka deputed exclusively for teaching her languages, literature, besides dance and music. It was only Kale Khan and later Vazir Khan who are credited to train her in classical Hindustani vocal music. Ali Baksh and Brindadin Maharaj taught her the Kathak form of dance. Srijanbai taught her dhrupad style of singing in Hindustani vocal tradition. Charan Das trained her in Bengali KeertanKeertan, a devotional form of music.
She also used to learn from her contemporaries. She had all respects for Mojuddin Khan, Bhaiyya Ganpatrao and the singer Peara Saheb. She gave her sweet voice to Tagore songs even before the particular form of Rabindra-Sangeet was unheard till then. She also wrote several compositions under the name 'Hamdam'. She not only penned but composed and recorded gazals gazal in classical music. She used to read, write and sing in a number of languages. Her interest was in Bengali, Hindustani, Gujrathi, Tamil, Marathi. She was also proficient in Arabic, Persian, Pushto, French, Peshawari, as well as English.
She first performed at Darbhanga State after such a tremendous training at the age of fifteen. Later, from 1896 she began to perform in Kolkata. She also used to sing and dance at the houses of zamindars for a remuneration, which was in thousands of rupees at that time.
Gauhar Jan recorded prolifically, courtesy the Gramophone company. She recorded a total of over 600 songs over the period from 1902 to 1920. Moreover, she sang in more than ten languages. From 1903, her records appeared on the Indian market and were always in great likings. In 1908, a record-pressing factory was built at Sealdah
The early records of Gauhar Jan announced her as a 'First dancing girl, Calcutta'. It indicated her elevated position as the premier vocalist in the Kolkata musical world of 1890-1910.
The wide circulation of her records made her popular everywhere. She was invited to join the Prayag Sangeet SamitiPrayag committee, which used to organize music conference at Prayag in Uttar Pradesh. She was offered Rs 1000 there. During the coronation of King George V at the Delhi Darbar, it was she who was invited to sing a duet with Jankibai of Allahabad. They recited a Mujra song – Ye Hai Tajposhi Ka Jalsa, Mubarak Ho Mubarak Ho and received 100 guineas each as a gift from King George.
Gauhar Jan used to live a wealthy life, and she also donated generously to social causes. In Calcutta, she used to ride in a buggy driven by four horses, donated only half of the promised amount to Gandhiji's 'Swaraj fund' when he did not keep the promise of attending the 'fundraising' concert.
She married her secretary Saiyyad Gulam Abbas, who was a young man from Peshawar. He was ten years younger than her. When she found his affair with other women, she severed her relations with him. Later, she fell in love with Mr Amrut Vagal Nayak in Bombay, an actor on the Gujrathi stage. Her selfish and cunning relatives forced her to stay in Darbhanga State for quite a time. She joined the service of the Mysore State, where she breathed her last in 1930.
She had lent her voice in 150 records and most of them are in the safe custody of record collectors.
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Er81 is expressed in a subpopulation of layer 5 neurons in rodent and primate neocortices.
Yoneshima H., Yamasaki S., Voelker CCJ., Molnár Z., Christophe E., Audinat E., Takemoto M., Nishiwaki M., Tsuji S., Fujita I., Yamamoto N.
Laminar organization is a fundamental cytoarchitecture in mammalian CNS and a striking feature of the neocortex. ER81, a transcription factor, has recently been utilized as a marker of cells in the layer 5 of the neocortex. We further pursued the distribution of ER81 to investigate the identity of the ER81-expressing cells in the brain. Er81 transcript was expressed in a subset of pyramidal cells that were scattered throughout the entire width of layer 5. In the rat cortex, Er81 transcripts were first detected in the ventricular zone at E15, remained expressed in putative prospective layer 5 neurons during infant and juvenile stages. The ER81-expressing subpopulation in adult layer 5 neurons did not segregate with the phenotypes of the projection targets. By retrograde labeling combined with immunohistochemistry or reverse transcription-polymerase chain reaction analysis, we found ER81 expression in nearly all of the layer 5 neurons projecting to the spinal cord or to the superior colliculus, while in only one-third of the layer 5 neurons projecting to the contralateral cortex. Er81 was also detected in layer 5 neurons in a P2 Japanese macaque monkey but not in adult monkey cortices. These findings suggest that a neuron class defined by a molecular criterion does not necessarily segregate with that defined by an anatomical criterion, that ER81 is involved in cell differentiation of a subset of layer 5 projection neurons and that this mechanism is conserved among rodents and primates.
Aging, Animals, Animals, Newborn, Base Sequence, Cell Differentiation, Conserved Sequence, Corpus Callosum, DNA-Binding Proteins, Efferent Pathways, Functional Laterality, Macaca fascicularis, Mice, Mice, Inbred C3H, Mice, Inbred C57BL, Mice, Inbred ICR, Molecular Sequence Data, Neocortex, Neurons, Pyramidal Cells, RNA, Messenger, Rats, Rats, Sprague-Dawley, Rats, Wistar, Species Specificity, Spinal Cord, Superior Colliculi, Transcription Factors


IDF night raids, an everyday occurrence in the occupied territories, ensure that Palestinians cannot feels safe in the one place where safety should be assured.
Over the years, the Women's Centre for Legal Aid and Counselling (WCLAC) has collected testimonies from Palestinian women in the West Bank, East Jerusalem and Gaza on a whole range of issues. However there is one issue, above all others, that stands out due to the frequency with which it occurs and the devastating impact it has on women, their children and entire communities: night raids conducted by the Israeli military into Palestinian villages and homes, which have been taking place on a nightly basis in the occupied territories for the past 48 years.
In a sample of 100 instances of night raids conducted since 2014, the one common thread mentioned by the women who provided testimonies to WCLAC was a sense of terror. The raidsusually begin at around 2.00 a.m. with aggressive banging at the door or simply an explosion to blow it in. Masked soldiers storm the house as the family tries to comprehend what is happening. Sometimes a family member will be arrested, other times not. Sometimes there is violence, sometimes not. The house will be searched with reports of damaged furniture; wardrobes emptied with contents thrown to the floor, while soldiers leave muddy boot marks throughout the house.
Perhaps the most devastating impact these raids have is on the children. Mothers report that their children have problems sleeping after experiencing a night raid. Some children become aggressive, others wet their beds. No one feels safe in the one place where safety should be assured.
According to a recent report by WCLAC, it is estimated that the military conducts nearly 1,400 night raids each year, with over 65,000 since military law was imposed on the West Bank in 1967. These figures do not even include the more frequent military incursions that occur into Palestinian villages and cities during the day. Furthermore, our testimonies reveal that every night raid occurs on average within two kilometers of an Israeli settlement, and even closer to a road used by settlers. The simple fact is that to guarantee the protection of hundreds of thousands of Israeli civilians living in occupied territory, the army must engage in mass intimidation of the local population.
While this strategy is largely successful, it would be naïve to assume that it does not generate resentment and anger. The question is how long can this anger be contained and how is it likely to manifest itself?
Salwa Duaibis is the head of the International Advocacy Unit at the Women's Centre for Legal Aid and Counselling (WCLAC).


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< Back to my filtered results
UNESCO's strategy for HIV and AIDS in Latin America and the Caribbean
Title other languages
Estrategia de la UNESCO en VIH y SIDA para América Latina y el Caribe
This document presents an updated version of a previous UNESCO strategy on HIV and AIDS for Latin America and the Caribbean that covered the period 2004-2005. It is based primarily on the proceedings from the first meeting of the HIV and AIDS Focal Points in the region held in Buenos Aires, Argentina, 1-4 April 2007. The resulting strategy presented in this document is fully consistent with UNESCO's global strategy published earlier in the year.The revised regional strategy seeks to clearly articulate priority core actions for the UNESCO response, building on past experience and UNESCO's longstanding work in this area, and synchronised with the vision, goals, objectives and principles of UNESCO's global strategy. The revised regional strategy, therefore, gives priority to fulfilling UNESCO's responsibilities under the UNAIDS division of labour, including as the lead organization for HIV prevention with young people in educational institutions and as part of broader efforts to support countries to move towards universal access.
Record created by
IIEP
santiago_estrategia_de_la_unesco_para_el_vih_y_el_sida.pdf
http://unesdoc.unesco.org/images/0015/001534/153434e.pdf
Putting young key populations first: HIV and young people from key populations in the Asia and Pacific region 2022
Advocacy Materials | 14 Nov 2022
This report describes the HIV epidemic among young people from key populations in the region, takes stock of HIV programmes for such people, and pinpoints the priority actions that will speed up progress towards ending the AIDS epidemic as a public health threat in the region.
Sexuality education in Italy 2016-2020: a national survey investigating coverage, content and evaluation of school-based educational activities
Case Studies & Research | 31 Oct 2022
Comprehensive sexuality education is an important means of promoting sexual well-being amongst young people and is key to preventing sexually transmitted infections (STIs). However, sexuality education is not currently included in the formal curriculum in Italian schools.


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Q: What should happen, when we try to modify a string constant? #include<stdio.h>
#include<string.h>

int main()
{
    int i, n;
    char *x="Alice"; // ....... 1
    n = strlen(x);   // ....... 2
    *x = x[n];       // ....... 3
    for(i=0; i<=n; i++)
    {
        printf("%s ", x);
        x++;
    }
    printf("\n");
    return 0;
}

String constant cannot be modified. In the above code *x means 'A'. In line 3 we are trying to modify a string constant. Is it correct to write that statement? When I run this code on Linux, I got segmentation fault. But on www.indiabix.com, they have given answer:

If you compile and execute this program in windows platform with Turbo C, it will give lice ice ce e It may give different output in other platforms (depends upon compiler and machine). The online C compiler given in this site will give Alice lice ice ce e as output (it runs on Linux platform).

A: Your analysis is correct. The line
*x = x[n];

is trying to modify a string literal, so it's undefined behavior.

BTW, I checked the website that you linked. Just browsing it for two minutes, I've already found multiple incorrect code samples (to name a few, using gets, using char(not int) to assign return value of getchar, etc), so my suggestion is don't use it.

A: Your analysis is correct, but doesn't contradict what you quoted.
The code is broken. The answer already acknowledges that it may behave differently on different implementations, and has given two different outputs by two different implementations. You happen to have found an implementation that behaves in a third way. That's perfectly fine.

A: In this code, the memory for "Alice" will be in the read-only data section of the executable file and x is a pointer pointing to that read-only location. When we try to modify the read-only data section, it should not allow this. But char *x="Alice"; is telling the compiler that x is declared as a pointer to a character, i.e. x is pointing to a character which can be modified (i.e. is not read-only). So the compiler will think that it can be modified. Thus the line *x = x[n]; will behave differently on different compilers. So it will be undefined behavior.
The correct way of declaring a pointer to a assign string literal is as below:
const char *x ="Alice";

Only then can the behavior of the compiler be predicted.

A: Modification of a string literal is Undefined Behaviour.  So the behaviour you observe, and the two described, are consistent with the requirements of the C standard (as is emailing your boss and your spouse, or making demons fly out of your nose).  Those three are all actually quite reasonable actions (modify the 'constant', ignore the write, or signal an error).
With GCC, you can ask to be warned when you assign the address of a string literal to a pointer to (writable) char:
cc -g -Wall -Wextra -Wwrite-strings   -c -o 27211884.o 27211884.c
27211884.c: In function 'main':
27211884.c:7:13: warning: initialization discards 'const' qualifier from pointer target type [enabled by default]
     char *x="Alice"; // ....... 1
             ^

This warning is on by default when compiling C++, but not for C, because char* is often used for string literals in old codebases.  I recommend using it when writing new code.
There are two correct ways to write the code of the example, depending on whether you want your string to actually be constant or not:
const char *x = "Alice";

char x[] = "Alice";

redpajama_set_name: RedPajamaStackExchange


A Post Offer Employment Testing (POET) is a tool used to test a worker's physical abilities to the specific physical demands of a job. POETs are performed after a conditional job offer is made, but before starting work. They can screen out candidates who cannot perform the physical job demands, reduce work-related injuries and gather baseline data in motion, strength and functional status. The results are cost savings by: injury prevention, post-injury baselines and apportionment.
If you have questions regarding POETs or are interested in scheduling one with Kelly Hawkins, contact us today.


In the Lithuanian grammars and on-line dictionaries the tilde '~' is used instead of the circumflex accent '^' to indicate the Lithuanian circumflex accent for example 'plaũkti' instead of 'plaûkti'. Can anyone explain this?
I have always seen the tilde and never the circumflex. Why do you think the circumflex should be used?
Aš irgi niegada nežiūrėjau cirkumfleksą (=nemačiau cirkumflekso), visuose žodynuose tik tildą (=tildę).


Ask most people what they think is meant by 'branding' and they would probably define it as advertising, selling, or simply a logo. At a more sophisticated level, a brand might be seen as a message conveyed not just in slogans but in behaviour too. Recently we have seen a rise in so called "authentic" brands, which try to convey a message of tradition, authenticity and heritage; however the slightest probe beneath the surface suggests their publicized values stop at the boardroom and finance office: the labour practices that bring you your jeans, or the tax deals behind your morning coffee. The authenticity is only skin deep – but it is effective. Despite the rise of 'the brand' and the deluge of identities, logos and corporate straplines, in today's globalized consumer landscape, our towns and cities are becoming more homogenous and indistinguishable from others not just in our own countries, but also around the world. Stirling has many of the same shops as Seattle and Shanghai, Lisbon the same cafes as London. In effect, we are living in a monoculture (see, for example, Michaels, 2013).
But within this context there are organisations, from sole traders to start-ups and established businesses, that base their activities on values they will not compromise. Does design play a role in these truly authentic brands? Furthermore, when you can suggest authenticity with a typeface and a wood-panelled shop interior, what hope does such an authentic business brand have against its bigger, richer, and less scrupulous competition?
In light of the above, this chapter discusses three key questions: What is truly authentic branding, and what relationship does it have to design? How can design and marketing teams learn from this approach? The chapter concludes by revealing early attempts to encourage this way of thinking in education in terms of design management students and other future change agents.


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This Age and the Age to Come and Amillennialism
Instead of giving you a long narrative supporting amillennialism, I thought I'd give you a list of scriptures that you can check out. You can then draw your own conclusions. If you choose not to accept amillennialism, that's fine. It isn't a big deal. But, at least, you should come away with a better understanding of it and realize that there are some intelligent reasons for believing in it.
I recommend getting a piece of paper, drawing a horizontal timeline on it, and then adding in the events that occur on that timeline. For example, on the left end of the line, you can put the cross. On the right end, you can put the word "eternity." Somewhere in the middle, put a vertical line. To the left of the line, write "This Age," and to the right of the line, write "The Age to Come." Then, put in the events as to when you think they will occur as you see the scriptures relating them. You'll find, I believe, that there is no future 1000-year reign of Christ because everything happens at the return of Christ. That's right, the millennium isn't future; it is present. If you get to the end of the scriptures, I'll give you a further explanation about the binding of Satan and when it may have occurred.
The basic argumentation is as follows: There are only two ages spoken of in the Bible: This age and the age to come. If we can determine what they are when one ends, and the other begins, and what happens and the end of the first, then we can learn something. And that is just what happens, we learn a lot.
We amillennialists aren't wackos, we're just amillennialists.
May the Lord be with you.
By the way. I am convinced I am right. I am also convinced I could be wrong.
The Scriptures that establish there are Two Ages
Matt. 12:32 = blasphemy of the H.S. will not be forgiven in this age or the age to come.
Mark 10:30; Luke 18:30 = we receive much in this age and in the age to come we will receive eternal life.
Eph. 1:21 = (the power of God) is far above all rule and authority, power and dominion, and every title that can be given, not only in the present age but also in the one to come. (NIV)
In this age
We will receive 100 times as much = Mark 10:30; Luke 18:30
People are given in marriage = Luke 20:34
The wisdom of this world is the wisdom of this age = 1 Cor. 1:20
The rulers of this age are coming to nothing = 1 Cor. 2:6
Satan is the god of this age = 2 Cor. 4:4
Jesus rescued us from the present evil age = Gal. 1:4
In the age to come
We will receive eternal life = Mark 10:30; Luke 18:30; 1 Tim. 6:9
We do not marry = Luke 20:35
End of this age
The rapture occurs = Matt. 13:39, "and the enemy who sowed them is the devil, and the harvest is the end of the age; and the reapers are angels." Note: Read the entire parable in Matt. 13:24-30 and its explanation in 37-43. The harvest is either the judgment of the wicked or the rapture or both.
The angels will separate the wicked from the righteous = Matt. 13:30
The weeds (wicked) are pulled up and burned in the fire = Matt. 13:40 13:49
At the end of this age is when the rapture occurs, the wicked are separated from the righteous, and the wicked are judged ('burned in the fire'). Next comes the "age to come." In pre-millennialism, the judgment occurs at the end of the 1000 year reign of Christ. But if the judgment occurs at the end of this age, then where is the future millennium?
Matthew 7:22, "Many will say to me on that day, `Lord, Lord, did we not prophesy in your name, and in your name drive out demons and perform many miracles?' "That day" is the day of judgment.
John 6:39, "And this is the will of him who sent me, that I shall lose none of all that he has given me, but raise them up at the last day." The resurrection occurs on the last day.
John 6:40, "For my Father's will is that everyone who looks to the Son and believes in him shall have eternal life, and I will raise him up at the last day." The resurrection occurs on the last day.
John 6:44, "No one can come to me unless the Father who sent me draws him, and I will raise him up at the last day." The resurrection occurs on the last day.
John 6:54, "Whoever eats my flesh and drinks my blood has eternal life, and I will raise him up at the last day." The resurrection occurs on the last day.
John 11:24, "Martha answered, "I know he will rise again in the resurrection at the last day." "The resurrection occurs on the last day."
John 12:48, "There is a judge for the one who rejects me and does not accept my words; that very word which I spoke will condemn him at the last day." Judgment occurs on the last day.
Acts 2:20, "The sun will be turned to darkness and the moon to blood before the coming of the great and glorious day of the Lord." The day of the Lord will be accompanied by celestial signs.
1 Corinthians 1:8, "He will keep you strong to the end, so that you will be blameless on the day of our Lord Jesus Christ." The day of the Lord is a time when it is good to be found blameless. This implies a judgment.
1 Corinthians 5:5, "hand this man over to Satan, so that the sinful nature may be destroyed and his spirit saved on the day of the Lord." The day of the Lord is a day of destruction and salvation. This implies the final judgment.
2 Corinthians 1:14, "as you have understood us in part, you will come to understand fully that you can boast of us just as we will boast of you in the day of the Lord Jesus." The day of the Lord will be a time of boasting in Jesus, a time of testimony.
1 Thessalonians 5:2, "or you know very well that the day of the Lord will come like a thief in the night." The day of the Lord will come like a thief in the night.
2 Timothy 1:18, "May the Lord grant that he will find mercy from the Lord on that day! You know very well in how many ways he helped me in Ephesus." Mercy can be found on "that day."
2 Timothy 4:8, "Now there is in store for me the crown of righteousness, which the Lord, the righteous Judge, will award to me on that day, "and not only to me, but also to all who have longed for his appearing." Rewards come on "that day."
2 Peter 3:10, "But the day of the Lord will come like a thief. The heavens will disappear with a roar; the elements will be destroyed by fire, and the earth and everything in it will be laid bare." The day of the Lord will come like a thief in the night.
As you can see, the Bible teaches that there are two ages: This age and the age to come.
The Trumpet Call
Matthew 24:3, 31, "...Tell us, when will these things be, and what will be the sign of Your coming, and of the end of the age? And He answered them saying...'And he will send his angels with a loud trumpet call, and they will gather his elect from the four winds, from one end of the heavens to the other." Apparently, at the end of the age the elect are gathered. This would appear to be the rapture.
1 Corinthians 15:52, "in a flash, in the twinkling of an eye, at the last trumpet. For the trumpet will sound, the dead will be raised imperishable, and we will be changed." At the last trumpet, the dead will be raised.
1 Thessalonians 4:16, "For the Lord himself will come down from heaven, with a loud command, with the voice of the archangel and with the trumpet call of God, and the dead in Christ will rise first." At the trumpet, the Lord descends, and the dead are raised.
Revelation 10:7, "But in the days when the seventh angel is about to sound his trumpet, the mystery of God will be accomplished, just as he announced to his servants the prophets." The mystery is accomplished accompanied by the seventh trumpet. But what is the mystery.
Ephesians 3:3-6, "that is, the mystery made known to me by revelation, as I have already written briefly. In reading this, then, you will be able to understand my insight into the mystery of Christ, which was not made known to men in other generations as it has now been revealed by the Spirit to God's holy apostles and prophets. This mystery is that through the gospel the Gentiles are heirs together with Israel, members together of one body, and sharers together in the promise in Christ Jesus." The mystery is that the Gentiles are also to be included in the kingdom of God and salvation.
Revelation 11:15, "The seventh angel sounded his trumpet, and there were loud voices in heaven, which said: "The kingdom of the world has become the kingdom of our Lord and of his Christ, and he will reign for ever and ever." The seventh trumpet is the last trumpet mentioned in the series of seven of this section of Revelation.
Summation of Scripture References
The harvest occurs at the same time as the judgment of the wicked, "Matt. 13:39
The Judgment is at the end of this age, "Matt. 13:39
The weeds (wicked) are gathered and burned at the end of the age, "Matt. 13:40,49-50
The resurrection of the good is on the last day, "John 6:39,40,44,54;11:24
The resurrection of the good is at the end of this age, "Mark 10:30; Matt. 13:39,40,49
The resurrection of the good is on the day of the Lord, "John 6:39-54; 1 Thess 4:16-5:2
The elect are gathered at the end of the age with the sound of a trumpet, "Matt. 24:1-31
At the last trumpet the dead are raised and the rapture occurs, "1 Cor. 15:52; 1 Thess. 4:16
Therefore, the resurrection and the rapture occur at the end of this age, which is the day of the Lord, which is His return, which is the last trumpet.
All of this happens when Jesus returns. There is no room for a future millennium.
The scripture references above are for your examination. Hopefully, you will be intrigued by them and stimulated to new thoughts; that is if you aren't already amillennial.
Some will say that if we are in the millennium now, then what about Satan being bound for a thousand years? First of all, that is taken from Revelation 20, where it says that the dragon was chained for a thousand years in a pit. People take the 1000 years literally but nothing else. Will the devil, who is figuratively called the dragon, be bound with chains (literally) and thrown into a pit? How do you bind a spirit with chains? Is it figurative? Absolutely. Is the pit figurative? Absolutely. The whole context is figurative, so why can't the 1000 years be figurative also? Remember, to God, 1000 years is but a day and a day is but a 1000 years. As you can see, God uses the number figuratively.
In addition, when Jesus healed a demon-possessed man who was blind and dumb (Matt 12:22), and the Pharisees said that Jesus was casting out the demons by the power of Beelzebul (Matt. 12:24), Jesus said, "But if I cast out demons by the Spirit of God, then the kingdom of God has come upon you. Or how can anyone enter the strong man's house and carry off his property, unless he first binds the strong man? And then he will plunder his house" (Matt. 12:28-29).
Who is the one that must be bound in order for Jesus to be able to cast out demons? It seems to me it must be the devil.
I invite your comments.
Copyright by Matthew J. Slick, B.A., M. Div., 2022
Please send comments to calvinistcorner@yahoo.com