text:
Questions tagged [Google Calendar] (59)
What is the calendar for group work with differentiation of access rights to use?
The task is to establish a calendar for group work in a small team. You want the calendar included the possibility of differentiation of rights, for example: 1) One shared calendar with events, have access only admin, read only for others 2) a Calendar for each employee in the calendar, that is, he would be able to create e...
dorcas69 asked April 7th 20 at 08:54
How to remove clock from 00:00 to 8:00 from Google calendar?
Earlier (long ago) it was possible. In the current interface I can't find how to remove from the calendar the night hours. For events after 15 hours are not shown, you have to scroll.
dolly.Stiedemann asked April 4th 20 at 13:59
Is there any way in Google calendar to set the numbers of events?
Is there any way in Google calendar to set the numbers of events? For example, I want to register for the course. The course is on mon and Thu and consists of 16 lessons. I'm doing a recurring event, but it turns out the same name. How do I get them numbered so you know how much is left? And somewhere else there is a trans...
randall.Volkm asked April 4th 20 at 01:49
How to work like Google Calendar and samopisnaya CRM?
Good time of day. Before you start to dig docks and write code, I wanted to ask You how is done and where exactly to dig. Task: you Have a CRM, distributed on a lot of "companies" which have several employees. It is necessary to organize a calendar in which every employee will see your events and "head company" will be able...
jovanny60 asked April 2nd 20 at 16:18
Is it possible to automate the creation of subsequent tasks in Google calendar or Outlook?
Hello For work (lawyer) there is a need to monitor interactions with the courts For example: 1 November filed a Lawsuit November 11, the court must make a decision - accept the claim or not November 13 - the decision on acceptance of the claim must appear on the court's website until 5 December - must be assigned a trial da...
Nettie98 asked April 1st 20 at 18:00
How to change the notice period google calendar by default?
Good day, when creating calendar entries, always specify the parameters of the default notification. Is it possible to be reassigned? For example notice in the mail I don't need. Thank you.
manley asked March 31st 20 at 21:25
How to work with Google Calendar on 1c-bitrix (don't bitrix24)?
Suppose there are in Bitrix in the module settings of "Social services" of kelsenstrasse Google calendars. What gives this setting? Ie I created a project at Google, introduced in the settings of social services of Bitrix secret and app id... so ... what next? It's something that gives? Is there a possibility Bitrix their b...
marlene45 asked March 31st 20 at 14:58
How do I get data from a calendar object.eventDragStart?
You should print to the console the value of the property eventDragStart
carmelo_Goldn asked March 30th 20 at 00:45
How to access a property of an object google calendar api?
Need to access a property of an object that is specified in the devTools red dash
dorcas_King asked March 30th 20 at 00:03
How to access a property of an object in the object settings?
There is a property of the calendar object. You need to turn to him and receive his value from the parameter arg, which is the date of the event
catherine_Marks asked March 29th 20 at 23:49
contacts@helperbyte.com

redpajama_set_name: RedPajamaCommonCrawl


"As for you, O man of God, flee these things. Pursue righteousness, godliness, faith, love, steadfastness, gentleness. Fight the good fight of the faith" (vv. 11–12a).
Near the end of Paul's career, the problems of the church in Ephesus were so severe that the apostle not only had to put his trusted associate Timothy in charge there (1 Tim. 1:3), he also had to send the young man a letter with instructions on how to deal with the false teachers and address the unrest in the community. Given that Timothy would have already known much of what Paul presents in 1 Timothy because of his time spent with the apostle, the instructions largely remind Timothy of what he should already know. But we should realize that Paul did not put his pen to parchment only for Timothy's sake but also for the church as a whole. In all likelihood this personal letter was read to all of the Christians in Ephesus in order to ground Timothy's work upon apostolic authority; thus, the believers also learned the proper use of the Law (1:8–10), the roles of women in the church (2:8–15; 5:3–16), the duties of elders and deacons (3:1–13), and the dangers of greed, quarrels, and ungodliness (6:2b–10).
Since the letter is for the whole church, Paul's exhortation for the man of God to flee sin and pursue holiness in 1 Timothy 6:11–12 is likewise for all believers. The qualities listed in verse 11 are also reflected in Galatians 5:22–23 and 2 Peter 1:3–8, among many other passages. All of these lists must be taken together if we are to come up with a full-orbed picture of what we are called to be as children of our heavenly Father. Only those who live a life of repentance and endeavor to please Him can, along with Timothy, be known as a man (or woman) of God. Dr. John MacArthur comments on 1 Timothy 6 that "the man of God is known by what he: (1) flees from (v. 11); (2) follows after (v. 11); (3) fights for (v. 12); and (4) is faithful to (vv. 13, 14)" (The MacArthur Bible Commentary, p. 1,798).
We who are not ordained should find comfort in the fact that even Timothy needed to be encouraged to persevere. None of us is so far advanced in our sanctification that we do not need encouragement to press on, and no stumbling saint has fallen so far that he cannot be placed back in the race through a word of exhortation. The church is, among other things, to play the role of cheerleader as we "stir up one another to love and good works" (Heb. 10:24).
Everyone who follows Christ makes the "good confession of faith" when he joins a church body, and Paul's exhortation to Timothy to remember the confession he made before other witnesses is an allusion to the importance of fellow witnesses to encourage us in the faith. All of us have an important part to play in cheering on the discouraged Christians around us, and God will use our encouragement to help others grow to maturity in Christ.


text:
Eastern Australia Floods
Uwe Kraemer 24. March 2022 March 29th, 2022
Australia | East Coast
Date of acquisition: February 23rd & 26th, 2022 | March 2nd, 2022
Sensors: Sentinel-3 OLCI, Sentinel-1 AWS-IW-VVVH | VH-decibel Gamma0
Coordinates: ca. 29°S, 153°E
For the second year in a row, the summer on Australia's east coast was dominated by the La Niña climate pattern, which is usually accompanied by heavier rainfall. Rainfall records for February were broken in several regions as rain fell relentlessly. In the three days to 28 February, 676.8 millimetres of rain fell in Greater Brisbane, the highest three-day amount ever recorded in Brisbane.
This rainfall was caused by an area of low pressure over the Coral Sea and the south coast of Queensland. The cold air moved towards the continent, allowing moisture from the ocean to rise and fall as rain. These heavy rains caused the "Floods in Eastern Australia 2022", which led to destruction and casualties among the population.
The Sentinel-3 satellite image shows a large area of dense cloud cover which were the source of the heavy rain falls.
Two Sentinel-1 radar images show the condition of these regions before (February 23rd) and after the passage (March 2nd) of the low-pressure system that brought the precipitation. The dark spots in the images indicate water (rivers, lakes, floodplains and ocean).
Allgemein Meteorology Natural hazard No Comments
Diamond mining during winter


See the highest energy, most futuristic 'only-in-Japan' show of your life. Robot Restaurant is an experience unlike any you'll find in any other city in the world. Also known as the "robot cabaret," this venue is among the most-visited entertainment offerings in Tokyo among overseas visitors. As soon as you arrive, you'll be bombarded by a sensory overload of colours, designs, glitter and jewels. Even the air vents are covered in bling!
After marveling at the wonderful over-the-top design of the ten million dollar venue, you'll enjoy a spectacular musical performance including bikini-clad troupes of taiko drummers, building up to the main robot show overflowing with lasers, drums, amazing robots, battling women, wild costumes, and much more. It's like something out of a sci-fi movie and no expense has been spared in making it the wildest and weirdest show in town.
After all the excitement, you can gather your wits by unwinding in the super-glitzy lounge area after the show. If you're not amazed, entertained, baffled, and blown away, you need to get your pulse checked because this is guaranteed to be one of the most outlandish experiences of your time in Japan.
Mastercard® cardholders enjoy ¥500 savings on admission tickets and/or VIP row seats with coupon code: MCJPROBOT500.
Advanced bookings must be made on https://www.govoyagin.com/activities/japan-tokyo-discount-e-ticket-for-robot-restaurant-shinjuku-tokyo/899?acode=mastercard with promo code 'MCJPROBOT500'.


😃 Last week I had the amazing opportunity to run 4 new workshops at an event called Social Media Insights in Bulgaria.
👌 The workshops went down a storm and I've been re-booked to speak in Bulgaria in February 2018 for the same event company.
😃 I've also been booked to speak at 2 more events in Bulgaria by people who were in the audience, what the!?
👇 Watch the video below to see my run in with the Bulgarian Mafia at the Hotel.


Floor ~ Carbonized Bamboooring 7bamboo Fossilizedhorizontaloringcarbonizedor Cleanercarbonized Reviews Horizontal Excelent Carbonized Bamboo Floors. Carbonized Strand Bamboo Flooring Reviewscarbonized Bamboo Flooring Pros And Conscarbonized Bamboo Floors. Carbonized Bamboo Flooring. Bamboo Flooring Carbonized Fossilized.


ZF2 introduces a completely rewritten ZendForm component that can simplify form handling within your web application. Find out in this session how to use ZendForm to render your form, validate your data with input filters and ease the pain of forms on web pages. We will look at configuration of form elements, data input filters & validation, error handling and rendering in our view layer using view helpers.


If you have time during the week and love to follow BB news I could use you for a news writer. I notice we don't have any BB news and I'm trying to remain on top of all other OS's. So, if you would like to join our news team, it only requires two-three articles per week, let me know!


Developed especially for use by street artists, these jumbo-sized, 2¾" long × ¾" diameter pastels are ideal for long-lasting sidewalk paintings, murals, and other outdoor art. Their large size makes them easy to use, they blend beautifully, and they resist crumbling when applied to rough surfaces.
Street Stix, Sample Set of 3 — This set includes one each of Yellow 72, Blue 58, and Red 131.
Street Stix, Set of 6 — This set includes one each of Yellow 72, Blue 58, Red 131, Grey 171, Grey 167, and Earth 151.
Street Stix, Set of 12 — This set includes one each of Yellow 72, Blue 58, Red 131, Grey 171, Grey 167, Earth 151, Yellow 108, Yellow 80, Green 82, Green 2, Blue 50, and Red 62.


I think I see 4. Not sure if I saw one by the water.
Click to Play. Count the bears. How many do you see?
Lemme get this straight: you have large, toothy carnivores with sharp claws trained to hang around your cabin all day & night. The nearest medical facility is a trip measured in hours rather than in miles.
And you guys are paying for this?!?
Ohhhh, that is so very cool. I saw three. They are so beautiful and impressive. Yes, scary too. But then I love that. I live in a town where mountain lions and black bears show up in your back yard. Luckily, I don't have a back yard.
I think after you read this, you will decide to go surfing instead of taking on those home improvement projects you work on.
Arrrghh...attacked by a room sanitizer!! Of course these are the statistics that are two steps past lies and one step past d@mned lies. : Compare the numbers of injuries to the number of hours spent "at risk" in each endeavor, and compare the severity of the injuries, and then the numbers might start to mean something.
BTW, how did you shoo the bears away when you wanted to go out fishing or go down to the lagoon to watch the sunset (does it set there?)?
I was told today that the Kodiak and the Grizzly are actually the same speciies ... the Kodiak simply lives closer to the coast, eats more fish (salmon / fat), and therefore looks somewhat different ... but still the same species. Anyone verify?
Yup, same species. Because of the rich diet it gets a lot bigger also.
Beautiful animals! I saw nine of them over the course of a 10-day backpack in the Brooks Range a few years ago and that was from eye level - no viewing towers up there!
Not entirely clueless about dryer sheets.* I know that if you wet them - they are the best way to clean dead bugs off of the front of an RV!


Tag Archives for " Facebook pages "
Since last week's sweeping changes to Facebook Pages people have been scrambling to unearth all the little tricks that the new format affords.
A couple factors come into play when considering a marketing use of this real estate.
1) The images that make the top 5 are the last 5 by default, although if you remove one by hovering over it and click the X the next one in line jumps in. The images are displayed randomly with each refresh of the browser page. (Personal profiles show the images in a static order so some profile owners have gotten very creative with this space.) My guess is that the random display is being used on pages to inhibit the use of this space like a banner ad.
2) When clicked, images now expand into an ajax photo viewer right there on the page, complete with image description and any corresponding conversation about the image from fans. This is a much better user experience, but it also opens the door for some marketing plays.
For the moment (all things with Facebook can change instantly) marketers are starting to use this space as a place to sprinkle in images with marketing calls to action. They then create offers or links to other pages and sites in the image description. You could certainly abuse this, but business pages have a little more leeway in terms of promotional messages and you can expect coupons, infographics, and free report offers to crop up in this space pretty quickly.
The technical aspects of this are pretty simple.
Facebook automatically creates a thumbnail for the wall.
Your image and associated commentary will go into your news feed so it's probably wise to go cautiously here and keep the promotion as low key as would be expected by your fans. This is great place to create awareness about content that may reside in other places. I also think you'll want to keep this area fresh and rotate in new images and events and don't always use it to sell!
Yesterday Facebook rolled out what amounts to one of the biggest overhauls of the pages offering ever. I for one think the update is a major upgrade for businesses and brands using pages, but I know that app makers, custom page designers and people that have been using their personal page for business use are scrambling today.
You can find more about the upgrade for Facebook pages here. While all pages will be automatically upgraded by March 1st, page admins need to activate the upgrade as it is rolling out across the network. You can see the status of your pages here.
You might also want to grab the Pages Manual put out by Facebook.
From an aesthetics point of view, I think the page looks cleaner as well.
And now for some of the most important feature updates.
There will be a ton of scrambling over this in the FB developer world as iframe allows for a great deal of flexibility for delivering content from your own pages and blogs as it basically goes out and grabs content designated in the frame. Most people may be familiar with this kind of code from embedding a YouTube video. It will also allow for things like lead capture and display of dynamic content without having to fumble around with all of Facebook's mark-up.
There are restrictions to iframe use and Facebook made some significant changes to Platform Policies, so make sure you understand these restrictions.
Tabs (or do we call them apps since they aren't really tabs anymore) have moved from the top of the page to the left sidebar. This seems to be causing some of the loudest objections, but I think it's just a matter of getting used to it and I prefer it.
The photo stream has move to the top in the ribbon fashion that was added to personal pages a few months ago. Again, I think I like this look and it certainly makes images a prominent feature. It appears that the default images are the covers for albums.
Page admins can now be publicly displayed on the page by selecting edit info > featured.
The profile picture size for Pages has been adjusted from 200 x 600 to 180 x 540.
The editing function is much more logical and housed in one place rather than hidden under several rocks as before.
One of the biggest business changes is the fact that you can use Facebook as a Page admin instead of just as your personal profile. So if I like another page I can choose to comment there as Duct Tape Marketing or as John Jantsch. If you admin several pages you can select who you want to comment as. I think this has major implications for brands. You can flip back and forth and choose your identity through the Account tab in the upper right corner.
One point that has a lot of folks up in arms is that the wall posts are no longer served in chronological order. Under the everyone tab posts are being served up in a what Facebook calls "relevant" manner. Not sure about this one sticking around as Facebook is now using some algorithm to determine which posts go to the top and my guess is some page admins aren't going to like the fact that they don't control the order of the content on the Wall.
You can now choose in permissions > settings to get email (or sms) notifications when someone comments or posts on your wall or any of about 100 other things.
You can prefilter profanity by selected a setting in manage permissions.
You can choose up to five featured "likes" (other pages) to keep in rotation on your page.
As is often the case with Facebook changes some will stick, some will go, and some will evolve, but on the whole, I Like!


text:
Q: How can I use the LAG function combined with a WHERE clause? I would like to use the LAG function in order to display the previous available amount but when the previous available amount has a value_date of "reimbursment" it will keep going to the last one with a non reimbursment type
Meaning that the LAG should be applied on the previous_availability field as follows:

value_date
future_availability
previous_availability
precise_date

Current EOD
10
NULL
2020-12-18

reimbursment
2
10
2020-12-19

reimbursment
3
10
2020-12-20

reimbursment
4
10
2020-12-22

reimbursment
5
10
2022-01-18

utilization
6
10
2022-01-19

reimbursment
7
6
2022-03-18

Limit Maturity
8
6
2022-07-18

reimbursment
9
8
2025-01-01

Thank you!

A: (NOTE: this was posted BEFORE the precise_date  was added to the question)
If you have an index on id:
-- drop table mytable;
create table mytable (
  id integer,
  value_date varchar(20),
  future_availability integer);

insert into mytable values
(1,'Current EOD',             10),
(2,'reimbursment',            2 ),
(3,'reimbursment',            3 ),
(4,'reimbursment',            4 ),
(5,'reimbursment',            5 ),
(6,'utilization',             6 ),
(7,'reimbursment',            7 ),
(8,'Limit Maturity',          8 ),
(9,'reimbursment',            9 );

select
   value_date,
   future_availability,
   (select TOP 1 m2.future_availability
    from mytable m2
    where m2.id<m1.id and m2.value_date<>'reimbursment'
    order by id desc
    ) as previous_availability
from mytable m1;

the output will be:
+ --------------- + ------------------------ + -------------------------- +
| value_date      | future_availability      | previous_availability      |
+ --------------- + ------------------------ + -------------------------- +
| Current EOD     | 10                       |                            |
| reimbursment    | 2                        | 10                         |
| reimbursment    | 3                        | 10                         |
| reimbursment    | 4                        | 10                         |
| reimbursment    | 5                        | 10                         |
| utilization     | 6                        | 10                         |
| reimbursment    | 7                        | 6                          |
| Limit Maturity  | 8                        | 6                          |
| reimbursment    | 9                        | 8                          |
+ --------------- + ------------------------ + -------------------------- +

But is is not using the LAG function.
EDIT: removed limit 1, and added TOP 1, because this is about MSSQL.

A: First: for the quesion to make sense, you need a column that defines the ordering of the rows - I assumed id.
Then, I think you want something like this:
select id, value_date, future_availability,
    lag(future_availability, rn) over(order by id) as previous_availability
from (
    select t.*,
        row_number() over(partition by grp order by id) as rn
    from (
        select t.*,
            sum(case when value_date = 'reimbursment' then 0 else 1 end)
                over(order by id rows between unbounded preceding and 1 preceding) as grp
        from mytable t
    ) t
) t

This treats the question as a gaps-and-islands problem. The idea is to use a window sum to identify group of adjacent records; we can then rank the records, and use that information to pass the proper offset to lag().
Demo on DB Fiddle:

id | value_date     | future_availability | previous_availability
-: | :------------- | ------------------: | --------------------:
 1 | Current EOD    |                  10 |                  null
 2 | reimbursment   |                   2 |                    10
 3 | reimbursment   |                   3 |                    10
 4 | reimbursment   |                   4 |                    10
 5 | reimbursment   |                   5 |                    10
 6 | utilization    |                   6 |                    10
 7 | reimbursment   |                   7 |                     6
 8 | Limit Maturity |                   8 |                     6
 9 | reimbursment   |                   9 |                     8

A: If you want "previous availability", then you can do this with one window function and a join.
select t.*, t2.future_availability
from (select t.*,
             max(case when value_date <> 'reimbursment' then precise_date end) over
                 (order by precise_date
                  rows between unbounded preceding and 1 preceding
                 ) as the_date
      from t
     ) t left join
     t t2
     on t.the_date = t2.precise_date
order by precise_date;

Here is a db<>fiddle.
I would expect this to have better performance than the solution using lateral joins suggested by Luuk -- especially with an index on (precise_date).

redpajama_set_name: RedPajamaStackExchange


text:
layout: post
microblog: true
category: photo
date: '2012-11-16T22:35:32'
title: ""
slug: '12111612223532'
location: 'Zenkichi Modern Japanese Brasserie  Brooklyn, New York'
mf-photo:
  - https://cdn.ericalba.com/blog-images/_ig-photos/photos/201211/f8dee8cb958efffef1d0bde61f96f934.jpg
---
Zenkichi Salad. Homemade Tofu, Baby Greens, Yuba, Nuts,Sesame Dressing. #foodspotting

<img src="https://cdn.ericalba.com/blog-images/_ig-photos/photos/201211/f8dee8cb958efffef1d0bde61f96f934.jpg" />

redpajama_set_name: RedPajamaGithub


THROUGHOUT his prolific career Langston Hughes addressed volatile issues of racism, poverty, and war. Letters from Langston: From the Harlem Renaissance to the Red Scare and Beyond displays the acclaimed poet's socialist ideals and those of four likeminded friends with whom he corresponded from 1930 until his death in 1967 at age 65. The letters are held together by well-researched notes on black intellectuals' battles for racial and economic justice, and they paint a vivid picture of the poet's exuberant mind. Disappointingly, the collection offers little insight into Hughes' life as an almost certainly gay man in a brutally right-wing era.


text:
All 2 entries tagged Greek Cinema
No other Warwick Blogs use the tag Greek Cinema on entries | View entries tagged Greek Cinema at Technorati | There are no images tagged Greek Cinema on this blog
Unseen Europe Hub Page
Introduction: Europe as a Cultural Project
My courses and research projects in general have been to explore developments in European cinema in the five main industrial countries of Europe in the 20th and now 21st centuries. These countries are Britain, France, Germany, Italy and Russia. This project is based upon a SPECT approach (Social / Political / Economic / Cultural / Textual). This project is of necessity open ended but it is envisaged as part of a necessary cultural project in the interests of developing notions of cultural citizenship and aspects of representation which go far beyond the limitations of instrumentalised commercialism.
This approach excludes a rich and diverse cinematic heritage which extends from Iceland to Poland via Sweden, Finland and Estonia and through Denmark, Holland and Belgium. I have therefore decided to slowly develop what I'm describing as 'The Unseen Europe' as films from smaller countries have severe difficulties in gaining the audience they often deserve.
The European Union is now 26 countries and 26 rich cultural heritages which overlap and inform each other historically. At this time when the sense of direction of what Europe actually is and what it might become is uncertain - because of the rejection by the voters in France and Holland of closer constitutional ties - it is important to prioritise the cultural aspects of these diverse 'nations'.
This cinema is not a cinema concerned primarily with stars and the paraphernalia of commercialism. It is more of an 'art' cinema in the sense of those involved following their individual projects often with the director linked to the production crews and scriptwriters. This is an auteur cinema which people should be proud of. It is a powerful visual heritage which is likely to be remembered and revisted by many in the fullness of time. It is a cinema which will gradually become canonical. These are sentiments and visions which go beyond the 'postmodern' in the sense that one isn't judgemental about the content or targeted audience of a media text. This is to say the content of texts is important and not always easy to deal with. It can make audiences uncomfortable and is frequently challenging in many different ways.
Europe will not become a coherent entity unless it develops a culture which develops both an overarching pan-Europeanism and at the same time is celebratory of difference. This is a tall order and there is no historical precedent for this for the senses of nationhood and national identity are often deeply embedded. At the same time there is a desire for something greater which goes beyond Europe's history of repressive empires all of which came tumbling down either during or in the aftermath of the European 30 years war of the 20th century. The mayhem and carnage following the breakup of Yugoslavia is a salutary lesson about the primacy of the cultural within identity politics.
The importance of Europe as a cultural project rather than a political and economic convenience cannot be overstated if Europe is to become something other than a simple confederation of mainly economically linked countries with regulatory directives to control the worst excesses of capitalism.
In Britain at least, it is very hard to see a good range of films which represent aspects of British life leave alone 'sub-titled' films which deal with historical and national themes which are probably unfamiliar, yet cinema is a great way to learn about and share cultural experiences. Currently DVDs and the occasional TV film are one of the few ways a British audience can learn about other aspects of European culture. Usefully in the UK the government is exerting pressure on TV companies like the BBC to spend more of its film budget on non-Hollywood films although the pressure is on to spend it on british films.
For these reasons it is intended that this blog will gradually develop this page providing resource links relating to directors and national cinemas outside of the 'Big Five'. The first posting has been a resources page on the work of Theo Angelopoulos the celebrated Greek director.
Why Angelopoulos? Well this probably has something to do with spending some time over the last two summers in the Greek Islands. There is a surprise serendiptious memory of our 2006 trip to Koufanissia. On our return ferry jouney a woman and her 9 year old daughter sat next to us. She was a solicitor from Cyprus who had trained in the UK and was a member of the film club in Nicosia. We had a fine discussion about European cinema and the experience was a reminder of the cultural homogeneities which link the countries of Europe in surprising ways as we celebrated the excellent film making of Kieslowski for example. Cultural differences between Greece and Britain, indeed Northern Europe are fascinating yet Europe looks to the Greek city states as the Political and cultural crucible of contemporary Europe.
Belgian Cinema
Greek Cinema:
Costa Gravas 'Z'
European Film Institutions:
This is a developing page which will eventually provide links to a wide range of National and European-wide film institutions
Lithuanian Cinema
Being a small country physically and in population it is of course very hard to develop a thriving film industry because it is such an industrial process which frequently demands high budgets to pay known stars and have a large budget. Even the art-house circuit in the UK at least is increasingly constrained by commercial imperatives (financial targets) rather than cultural benefits which are often unquantifiable. In the middle of the 1990s following near financial collapse in the transitional period from Soviet rule Lithuania could not even afford to make a single film from its cultural budget despite the EU being prepared to underwrite 50% of the costs. However when one visited a museum in those times not only was there a charge (relatively little for a foreigner in terms of real income) but somebody would follow you around turning the lights off and on to save power.
By 2006 there seems to have been more hope as this article from Violeta Davoliute: Seven Men and a Manifesto argues.
Bradford Film Festival showed several new Lithuanian films in 2005. This programme of Lithuanian films was a first, not just in the UK but also outside of Lithuania. The festival was part of a whole cultural exchange project Visions of Yorskhire and Vilnius.
Lithuanian Film Centre
Glasgow University Centre for Russian, Central & East European Studies : Lithuanian Film
Baltic Times: Lithuanian Film Tries to Find its Niche
Lithuania Sociology Magazine Sociumas examines the prospects for Lithuanian cinema.
: 27 May 2008 10:24 | Tags: European Cultural Policy European Film Policy European Union Film Institutions Greek Cinema Lithuanian Cinema Unseen Europe Hub Page | Comments (0) | Close comments | Report a problem
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Theo Angelopoulos: The Unseen Europe Part 1
Return to Unseen Europe Hub Page
Theo Angelopoulos talking about his filmaking. Film featured Eternity and a Day . Only available in the UK as a VHS video.
This posting is currently provided to give a portal to a range of the best sites on the internet concerning Greek director Theo Angelopoulos. At the time of publication it was probably the best portal on the internet for accessing further information about Angelopoulos. I have now added some YouTube extracts which enthusiasts are posting. In the UK it is currently very difficult to get much of Angelopoulos' work. Hopefully this will help to generate more of a market and provide the investment for digitisation. As I have now devised the 'hub page' system I will start to create separate pages of links on the films when time allows. (Ironic that so much of his work incorporates filmed time!)
Theo Angelopoulos receiving his
honorary degree at Essex University
Assessing Angelopoulos
Andrew Horton (1997) argues that Angelopoulos has made an important impact on cinema in four ways in particular:
As an innovative film stylist
As a committed filmmaker
As an artist able to be able to transcend purely nationalistic boundaries. In doing so to "evoke the ageless, the univerasl and the mythical
These lead to a 'cinema of contemplation' (history that points to an inner journey).
(Based upon Fainaru, Dan 2001. Theo Angelopoulos Interviews )
1935 Born in Athens April 27th into a merchant family
1940 Italy invades Greece. Mussolini's army is repulsed. Germany is forced to interverne. This puts back Operation Barbarossa (the invasion of the Soviet Union) by several valuable weeks. This probably saved Moscow and possibly Leningrad from being captured
1944 Greece is liberated from the Nazis but enters a protracted cilil war between Communist and anti-Communist forces. The feelings generated by this conflict will last for decades. During the civil war Angelopoulos' father was arrested for no apparent reason. He returned home suddenly after nine months
1959 Angelopoulos quits his law school degree nearing graduation in order to complete his military service
1961 Angelopoulos goes to Paris to study literature, filmology, and anthropology at the Sorbonne
1962 enters IDHEC (Institut des Hautes Etudes Cinematographiques). He has several disagreements with his tutors there. Attempted to shoot a medium length film called 'In Black and White'. It was never completed due to lack of funds. Negative remained at the laboratory
1963 moves from IDHEC to courses run by ethnographic filmmaker Jean Rouch at La Musee de L'Homme
1964 returns to Athens. Writes film criticism for Democratic Change
1965 works on US / Greek production of a fictional film based upon a real pop group the Formix Story. It was supposed to be a promotional film for the band's American tour. angelopoulos was replaced by the producers before completion
1967 Greece of 'The Colonels'. This military takeover led to much repression of democratic institutions. Democratic Change was closed down and strict political censorship is enforced upon all the media
1968 Angelopoulos completes the B & W short The Broadcast which took 2 years to complete. It is about a radio show looking for the "Ideal Man". It is screened and wins the Greek Critics award at the Thessaloniki Film Festival
1970 Reconstruction is released. This is his first film based upon an real event which was the killing of a returned Gastarbeiter. It won several awards at the Thessaloniki film Festival including: best film, best director, best script, best actress and the critics' prize
1971 Reconstruction gains some international recognition winning the Georges Sadoul Prize in France and gaining a special mention from the International film Critics (FIPRESCI) at the Berlin Film Festival
1972 Days of '36 released. Based upon a real incident which took place in pre-World War II Greece. Wins Best Film at Thessaloniki film Festival and wins FIPRESCI award in Berlin
1974. Starts work on The Travelling Players in January. Has to stop in May because of political events; re-starts in November finishing the film in January 1975. It is a great international success garnering awards in Thessaloniki, Cannes, and Brussels
1977. Makes The Hunters which is the first film to be produced by his own company with French and German co-producers. It is invited to the official Cannes competition. Wins a Golden Hugo in Chicago
1980. O Megalexandros (Alexander the Great [this is a problematic translation]). It combines several Greek myths and is styed in the form of a Byzantine liturgy. It is a co-production with Italy and Germany. Wins Golden Lion and Critics Award in Venice. Also wins acclaim in Thessaloniki
1981. One Village, One Villager. Documentary on the theme of the fate of Greek villages abandoned by their inhabitants. Screened by Greek Television
1982. contributes to a series of documentaries on cultural capitals. He makes Athens, Return to the Acropolis
1983. Starts shooting Voyage to Cythera in January. Had to stop for two months due to bad health. finally finished in 1984. Start of a new cycle of films which are far more personal in nature. shown in Cannes 1985 it marked the beginning of a still ongoing partnership with the Italian poet and scriptwriter Tonino Guerra and composer Eleni Kaindrou
1986. The Beekeeper is shown at the Venice Film Festival. works with Marcello Mastroianni for the first time. Mastroainni becomes a personal friend
1988. Landscape in the Mist launched at Venice Film Festival. wins the Silver Lion at Venice and selected as Best European Film of the Year by the European Film Academy. The following year if wins a Golden Hugo for best director and a Golden Plaque for best cinematography in Chicago
1991. The Suspended Step of the Stork opens in Cannes. Stars Mastroianni and Jeanne Moreau. this another cycle of work which Angelopoulos describes as existential. His concerns for the beginnings of the breakup of the Balkans and the beginnings of a disillusionment in politics in general are apparent
1995. Named Doctor Honoris Causa by the Free University in Brussels. Makes Ulysses Gaze which uses an american lead for the first time (Harvey Keitel). shoots the film all over the Balkans incorporating past and present tragedies. It wins the Grand Prix at Cannes
1998. Eternity and a Day wins the Golden Palm in Cannes. Becomes the president of the Thessaloniki film Festival after having had a troubled relationship with other Greek directoprs complaining that he had stolen the show from them
1999. Awarded Doctor Honoris Causa at Paris X University in Nanterre
200. Awarded honorary Degree of Doctor of Essex University (Department of Film Studies)
2004. The Weeping Meadow. Part one of a projected Trilogy
2007/8. Projected release of The Dust of Time second part of the Trilogy.
The Dust of Time (in production release date projected 2007)
The Weeping Meadow (2004) [Part 1 of trilogy] Extract from YouTube below
Extract two from Weeping Meadow Beer Hall Scene English subtitles.
Eternity and a Day (1998)
Lumiere and Company (1995)
The Suspended Step of the Stork (1991). You Tube Extract below.
Landscape in the Mist (1989)
The Bee-Keeper (1986)
Voyage to Cithera (1984)
Alexander the Great (1980)
The Travelling Players (1975) YouTube extract below
Days of 36 (1972)
Resurrection of a Crime (1970)
Broadcast (1968)
Interview with Andrew Horton mainly about Eternity and a Day
More of the interview with Andrew Horton mainly on the visual style of Angelopoulos
Fainaru, Dan Edited: Theo Angelopoulos Interviews. University of Mississippi Press
Georgakas, Dan
The Films of Theo Angelopoulos (review)
Journal of Modern Greek Studies - Volume 18, Number 2, October 2000, pp. 468-470 (you will need to part of a subscribing library to access this article).
Webliography
This search is a selection of the best sites on a Google search to page 20.
Last date of search 5th April 2007
Here is a link to a useful website . You will need an Athens account to access this article. Review article of important films from the Balkans by Diana Iordanova
Official Theo Angelopoulos Website
BFI Interview with Geoff Andrew
Vertigo Magazine, Article - In the Shadow of Love, by By Geoff Andrew
BFI Review of Weeping Meadow
Angelopoulos' Gaze by Bill Mousoulis from Senses of Cinema
Vicky Tsaconas Landscape in the Mist? Senses of Cinema site
Acquarello Senses of Cinema Site
The Strictly Film School Blog entry
The Hellenic Ministry of Culture Site
The Hellenic Ministry of Culture Page on Ulysses Gaze
The Hellenic Ministry of Culture Page on Landscape in the Mist
Guardian Feature on Travelling Players (2000)
Interview available online with Wolfram Schutte
Guardian review of Eternity and a Day : Bradshaw
Observer review of Eternity and a Day: French
Thessaloniki Festival Pages online
International Herald Tribune Cannes Report on Angelopoulos winning the Palm d'Or in Cannes 1998
Text of the awards ceremony at Essex University where Angelopoulos was awarded an honorary degree from the Centre for Film Studies
Link to Thessaloniki Documentary Festival site with links to documentaries about Angelopoulos
Useful page of references from the Film Reference site
Theo Angelopoulos, a man against frontiers: Ulysses's gaze in International Journal of Psychoanalysis Volume 85, Number 4 / August 01, 2004, Pages1017 - 1021
Angelopoulos interview with Geoff Andrew in Time Out magazine Jan 2005
Cinemascope Review of Weeping Meadow
Closeup interview with Angelopoulos 2004
Realtimeplayer interview with Angelopoulos in French from Making of Europe Net
Link to PDF file on Borders & communities in Angelopoulos' trilogy by Lasse Thomassen Dept of Government Essex University
Link to petition to Greek Government seeking to reverse the decision to sack Angelopoulos from his position as director of the Thessaloniki Festival.
Link to BFI site on documentary on Angelopoulos "Balkan Landscapes"
Article by Makriyannakis on Ulysses' Gaze
Review of Ulysses Gaze DVD from the Unspoken Cinema Blog
Jonathan Romney New Statesman Article
Regular Production Crew
Andreas Sinanos on the following film:
The Weeping Meadow
Cinematographer:
Yorgos Arvanitis on the following films:-
Eternity and a Day
Landscape in the Mist
Voyage to Cythera
The Hunters
The Travelling Players
BBC Short Review of Travelling Players
Guardian Bradshaw on Travelling Players
Days of 36
Resurrection of a Crime
Eleni Karaindrou : Biographical Notes from ECM
Available Karaindrou soundtracks from ECM
: 05 Apr 2007 12:23 | Tags: Eleni Karaindrou Eternity And A Day European Cinema Greek Cinema History Of European Cinema Kinoeye The Suspended Step Of The Stork The Weeping Meadow Theo Angelopoulos Thessaloniki Film Festival Travelling Players Ulysses Gaze Yorgos Arvanitis | Comments (0) | Close comments | Report a problem


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text:
Q: More than needed React components re-rendering when typing in input I am taking input from a search input field using searchInput and setSearchInput useState hook and after I press submit button, I call fetchSearchData function providing it the input text and setCompanies hook, where companies are updated with the fetched list of companies from the API.
Then companies are passed to another component CompanyList where a map function is called there.
The problem is whenever I type in the search field, the CompanyList component is re-rendered although I did not press submit. I understand that setSearchInput will re-render SearchBar component whenever I type in it, but I don't get why CompanyList re-renders.
Search page source code:

const Search = () => {
    const [companies, setCompanies]=useState([]); //List of companies returned from searching
    const [searchInput, setSearchInput] = useState(""); //Search field input

    //Update search text whenever the user types in
    const onSearchChange = (e) => {
        setSearchInput(e.target.value)
    }

    //use the API providing it the search input, and
    //setCompanies hook to update list of companies
    const onSearchSubmit = (e) => {
        e.preventDefault()
        fetchSearchData(searchInput, setCompanies)
    }

    return (

            <Container>
                <Row className={"searchFilterBar"}>
                    <Col sm={6} md={8} className={"searchBar"}>
                        <SearchBar onSubmit={onSearchSubmit} onChange={onSearchChange} value={searchInput} />
                    </Col>
                    <Col sm={6} md={4} className={"filterBar"}>
                    </Col>
                </Row>
                <CompanyList companies={companies} ></CompanyList>
                <Row>
                </Row>
            </Container>

    )
}
export default Search;

SearchBar component source code:
const SearchBar = ({value,onSubmit, onChange}) => {
    return (
        <Form
            className="search-form"
            onSubmit={onSubmit}
            >

                <input
                    className="form-control rubik-font"
                    type="text"
                    placeholder="Search for companies that start with..."
                    onChange={onChange}
                    value={value}
                />
                <Button className="btn btn-light rubik-font" type="submit">Search </Button>

        </Form>
    )

}

CompanyList component source code:
function MapDataToCompanyList(response) {
    console.log(response); //Logging occurs here
    if(!response || response===undefined || response.length===0)
    {
        return (<ErrorBoundary message={noCompaniesError.message}></ErrorBoundary>)
    }
    return response.map((company) => {
        return (
            <Col key={company._id} xs={12} md={6} lg={4} className="mt-2">
                <CompanyCard
                    id={company._id}
                    logo={company.logo}
                    title={company.name}
                    logoBackground={company.logoBackground}
                    progLangs={company.progLangs}
                    backend={company.backend}
                    frontend={company.frontend}
                    url={company.url}
                >
                </CompanyCard>
            </Col>
        )
    })
}
const CompanyList = (props) => {
    const {companies} = props
    return (

            <Container className="mt-3">
                <Row>
                    {
                    MapDataToCompanyList(companies)
                    }
                </Row>
            </Container>

    )
}

export default CompanyList;

FetchSearchData function source code:
export const fetchSearchData = (query, cb)=>{
    const uri = process.env.NODE_ENV === 'development' ?
    `http://localhost:3000/api/companies/name/${query}` :
    ``;
    axios.get(uri, {
        timeout: MAX_TIMEOUT
    })
    .then((response)=>{
        cb(response.data.data)
    })
    .catch((error)=>{
        console.log(error)
    })
}

As seen above, empty list of companies is logged when the page first loads, then I typed three characters and the it logged three time which means the map function called three times.

Even then if I pressed submit and retrieved list of companies normally, whenever I type it will keep printing the array of companies that was fetched.
Sorry if I missed something, I am still new to React.

A:
I don't get why CompanyList re-renders.

Because it's nested in your Search component, and it's not React.memo'd (or a PureComponent).
Yes, the component is updated, but that doesn't mean it necessarily causes a DOM reconciliation.
In any case, React is completely at liberty of calling your component function as many times as it likes (and indeed, in Strict Mode it tends to call them twice per update to make sure you're not doing silly things), so you should look at side effects (such as console logging) in your component function (which you shouldn't have in the first place) as performance guidelines.

A: When you call setSearchInput(e.target.value), Search component will re-render cause its state has changed. Search component re-renders means every tag nested in it will re-render (except the ones passed via children). That is the normal behaviour of React. If you want to avoid that, you would wanna use React.memo for CompanyList. Or you could use useRef to bind the input like so:
const Search = () => {
  const [companies, setCompanies] = useState([]); //List of companies returned from searching
  const inputRef = React.useRef(null);
  //use the API providing it the search input, and
  //setCompanies hook to update list of companies
  const onSearchSubmit = (e) => {
    e.preventDefault();
    fetchSearchData(inputRef.current.value, setCompanies);
    inputRef.current.value = "";
  };

  return (

      <Container>
        <Row className={"searchFilterBar"}>
          <Col sm={6} md={8} className={"searchBar"}>
            <SearchBar inputRef={inputRef} onSubmit={onSearchSubmit} />
          </Col>
          <Col sm={6} md={4} className={"filterBar"}></Col>
        </Row>
        <CompanyList companies={companies}></CompanyList>
        <Row></Row>
      </Container>

  );
};
export default Search;

const SearchBar = ({ onSubmit, inputRef }) => {
  return (
    <Form className="search-form" onSubmit={onSubmit}>

        <input
          ref={inputRef}
          className="form-control rubik-font"
          type="text"
          placeholder="Search for companies that start with..."
        />
        <Button className="btn btn-light rubik-font" type="submit">
          Search
        </Button>

    </Form>
  );
};

A: You do not need to maintain a state for input field. You can use useRef and pass it to input like below.
<input
  ref={inputRef}
  className="form-control rubik-font"
  type="text"
  placeholder="Search for companies that start with..."
/>

And you can get get value inside onSearchSubmit using inputRef.current.value
This will not re-render you component on input change.


Bibury to Coln St Aldwyn.
Riverside parking at Bibury or on the hill.
The Swindon and North East Wiltshire group covers the towns of Swindon and Marlborough and a large area of beautiful and varied countryside surrounding them.


text:
Matt Mantel
The Trouble with Harry (1955)
Quite a bizarre film. It reminded me a lot of The Discreet Charm of the Bourgeoisie by Buñuel. It feels like Hitchcock finally got tired of having people panicking in reaction to dead bodies. In the beginning it played out just like Young and Innocent, or maybe more aptly titled Old and Guilty, but took a delightful turn.
Now, I have to say I was almost completely unamused by the film and it came off rather dull, but after completing a masterpiece like Rear Window he needed to find something new to experiment with (To Catch a Thief being the only movie he made in between the two). It's a very playful film for Hitchcock: from the title screen that pans over childish scribbles to the bright colors, it's somewhat reminiscent of Rococo paintings. There are silly moments like Mrs. Gravely (Mildred Natwick) stepping over the body after she says her farewell to Captain Wiles (Edmund Gwenn), or the group taking out the dead man's clothes hiding behind all the living room furniture after they get rid of the sheriff (Royal Dano). Then of course the burying and re-burying of the body so much I had deja-vu.
This film was combined with serious moments of love and moments of farcical humor that don't quite mix as well as I'd hoped and would've been better off exaggerating the absurdist behavior one step further as Buñuel does in his masterpiece. I love Shirley MacLaine but I didn't care for the relationship between her character (Jennifer Rodgers) and Sam Marlow (John Forsythe). Then the ending! Using the confusing logic of the boy Arnie (Jerry Mathers) to come up with the idea to act like everything was back the way it was. Whether "tomorrow" means "yesterday" or today means something else—as if it wasn't already difficult enough to discern the passage of time throughout the movie. The result is a bizarre ending. The most confusing part of all is the task of determining what decisions are intentional and what aren't.
Another plot that makes your head spin, but after seeing Vertigo it's clear what Hitchcock likes to do (seeing 19 of his movies in a row helps too). Both plot twists serve the same function— the love
Vertigo (1958)
Nothing short of a masterpiece. If Citizen Kane never came out, this film would be the standard. Everything from the title sequence to the close up of John (Jimmy Stewart) at the courthouse where his
The Man Who Knew Too Much (1956)
As Hitchcock said in the Truffaut interview, this was certainly done by a professional. The clarity of storytelling, the lighting, the production design, the characters, the editing—all improved. I'll


text:
Q: How does an object in vacuum loose its temperature? Well, it radiates in the infrared, I guess. But how exactly are these photons created? The atoms have some kinetic energy, which makes up the temperature. So while the atoms or molecules jitter a bit relative to each other, how does this spontaneously create a photon?

A: The electrons are also jittering, and because these are charged particles they will emit light when accelerating. For example electrons will have certain rotational and vibrational modes of oscillation.


text:
Q: Log-linear model in Jags I'm trying to fit a log-linear model in JAGS. I'm using log for the y because negative values are impossible. I'm using a t-distribution to allow the heavy tails for the noise. The prior on the slope also does not allow positive values because the process is about degradation over time. For reference the best fit line using standard regression is: y = 70 – 0.20*x
The code:
  data {
    Ntotal <- length(y)
    for ( i in 1:length(y) ) {
      logy[i] <- log(y[i])
    }
  }
  # Specify the model for the data:
  model {
    for ( i in 1:Ntotal ) {
      logy[i] ~ dt( Beta0 + Beta1 * x[i] , 1/Sigma^2 , nu )
    }
    # Priors vague on standardized scale:
      Beta0 ~ dunif( 0 , 5 )
      Beta1 ~ dunif( -2 , 0 )
      Sigma ~ dunif( 0.01 , 5 )
      nu ~ dexp(1/30.0)
    # Transform to original scale:
      beta0 <- exp(Beta0)
      beta1 <- Beta1
      sigma <- exp(Sigma)
  }

When I check the posterior predictions against the data, the intercepts look reasonable, but the slopes are way too flat. It may be that I'm converting the slopes incorrectly.
Here's the output graph:

Ideally I would think the t-distribution for the noise would also squish up against the zero barrier as the x values increase. I'm not sure how to put that into the jags model though.
All tips are greatly appreciated,
Sean


Just how sane is the Mad Professor? Judging by the results of his recordings, he is one of the sanest producers around. And the world-renowned Reggae musician is coming to Seoul for his performance and lecture in Itaewon in the middle of August.
The Mad Professor is one of the seminal producers of dub. His legendary work with dub maestro Lee 'Scratch' Perry vaulted an already fast moving star into orbit. Lee Perry was the original producer of the young Bob Marley, as well as the Wailers. With his support the Professor's path was clear.
He's bringing his talents to the Peninsula this summer — a show you won't want to miss!
There will be a master class on Aug. 12, 2004 starting at 5 p.m. in a club Nana Itaewon. This is a must the musicians. Your chance to spend the afternoon in at the Nana lounge in Itaewon soaking up information from one of the most respected Dub producers working today.
An in depth, behind the scenes look with the Mad Professor into the processes that he uses to produce multi-platinum selling albums and dub plates.
There will be a fee of 60,000 won per each attendee.
The Mad Professor performance will be held at 9 p.m. on Aug. 14, 2004 at "J Bar" in Itaewon. The 25,000-won admission charge includes a free beer. The Mad Professor plays the latest sounds in the dub genre. The mad professor is going to dub the house, with the vibe being felt all the way to Busan. Be there for the highlight of Seoul's Summer 2004.
He has remixed tracks by Sade, the Orb, the KLF, the Beastie Boys, Jamiroquai, Rancid, Depeche Mode, and Perry Farrell, among others. His best-known project, however — and the one that truly established his credentials — was No Protection, a completely reimagined version of trip-hop collective Massive Attack 's second album, Protection.
A disciple of Lee "Scratch" Perry, Mad Professor was one of the leading producers in dub reggae's second generation. His Dub Me Crazy albums helped dub make the transition into the digital age, when electronic productions started to take over mainstream reggae in the '80s. His space-age tracks not only made use of new digital technology, but often expanded dub's sonic blueprint, adding more elements and layers of sound than his forebears typically did. In the mid-'90s, he returned to the basics, debuting a more retro-sounding style on the Black Liberation Dub series. Additionally, he ran his own studio and label, Ariwa, which was home to a stable of vocalists (with an emphasis on lovers rock and conscious roots reggae) and some of the finest British reggae productions of the era.
As his reputation grew, he became a remixer of choice for adventurous rock and techno acts, most notably revamping Massive Attack's entire second album under the new title No Protection.Mad Professor was born Neal Fraser (or Neil Fraser) circa 1955 in Guyana, a small country in the northern part of South America. He earned his nickname as a preteen, thanks to his intense interest in electronics; he even built his own radio.
At age 13, his family moved to London, and around age 20, he started collecting recording equipment: reel-to-reel tape decks, echo and reverb effects, and the like. In 1979, he built his own mixing board and opened a four-track studio in his living room in the south London area of Thornton Heath. Calling it Ariwa, after a Nigerian word for sound or communication. He began recording bands and vocalists for his own label of the same name, mostly in the lovers rock vein: Deborahe Glasgow, Aquizim, Sergeant Pepper, Tony Benjamin, Davina Stone, and Ranking Ann, among others. Amid complaints from his neighbors, he moved the studio to a proper facility in Peckham, South London.
In 1982 he recorded his first album, Dub Me Crazy, Pt. 1, and quickly followed it with a second volume, the successful Beyond the Realms of Dub. 1983 brought two more volumes, The African Connection (often acclaimed as one of his best) and the fairly popular Escape to the Asylum of Dub.The Ariwa studio was moved to a better neighborhood in West Norwood during the mid-'80s, and upgraded for 24-track capability, making it the largest black-owned studio in the U.K.
From there, Mad Professor really started to make an impact on the British reggae scene. He produced major hit singles for Ariwa mainstay Pato Banton and Sandra Cross, and also helmed the breakthrough album for conscious reggae toaster Macka B, 1986's Sign of the Times.
The Dub Me Crazy albums reached the height of their experimentalism during the latter part of the '80s, although by the early '90s they were showing signs of creativeburnout. The 12th and final volume in the series, Dub Maniacs on the Rampage, was released in 1993.Meanwhile, Ariwa continued to prosper as a label, with further hits by the likes of Macka B, Pato Banton, Sandra Cross, female singer Kofi, Intense, Jah Shaka, John McLean, the Robotics, Sister Audrey, Peter Culture, Johnny Clark, and others.
Additionally, he began to collaborate with some of reggae's better-known figures; most crucially, he teamed up with main influence Lee "Scratch" Perry for the first time on the 1989 set Mystic Warrior. In 1991, he produced the first of several albums for the groundbreaking veteran DJ U-Roy, the acclaimed True Born African; he also went on to work with the likes of Yabby You and Bob Andy. He switched his focus to touring in 1992 and released the 100th album on Ariwa not long after.With his high-profile collaborators, Mad Professor started to make a name for himself outside of the reggae community, and soon found himself in demand as a remixer for rock, R&B, and electronica acts.
Over the course of the '90s and into the new millennium, he would remix tracks by Sade, the Orb, the KLF, the Beastie Boys, Jamiroquai, Rancid, Depeche Mode, and Perry Farrell, among others. His best-known project, however — and the one that truly established his credentials — was 1995's No Protection, a completely reimagined version of trip-hop collective Massive Attack's second album, Protection.
Perhaps creatively refreshed, Mad Professor's own albums started to mix electronics with rootsier, more organic sounds indebted to the earliest days of dub, he left behind the Dub Me Crazy moniker to launch a new series, the subtly Afrocentric Black Liberation Dub. The first volume was released in 1994, and others followed steadily into the new millennium, albeit at a less prolific pace than the Dub Me Crazy installments. More collaborations with Perry and U-Roy followed as well.
Cost: W60,000 for the afternoon.
Spend an afternoon in the Nana lounge soaking up information from one of the most respected Dub producers working today. An in depth, behind the scenes look into the processes that the Mad Professor follows to produce multi-platinum selling albums and dub plates.
The Mad Professor has produced remixes for Lee "Scratch" Perry, Jamiroquai, Sade, The Beastie Boys, Perry Farrell, and Massive Attack. As well as running his own label Ariwa Sounds and cutting legendary "Dub Me Crazy" series he has toured extensively throughout the world playing solo and dubbing the beats for Lee "Scratch" Perry, original producer of Bob Marley and his music.
On the day you will receive a booklet outlining the afternoon's schedule as well documentation of the Mad Professor's topics for discussion. The Mad professor will be using 2 x Alesis HD24, mackie 24 channel mixing desk, 2 x digital delay's — further production specifications will be supplied with the literature. There will be question time (and interpreter) allocated at the end of the afternoon session.
The afternoon will be held at Bar Nana, the original ambient dub zone in Seoul. To ensure excellent visiblity of the man, as well as size restrictions, this is a strictly limited event.


The comedy of errors that is US involvement in Egypt is reaching new heights. The Obama administration continues to be torn by conflicting preferences and concerns. This week its blunders reached new heights after it blessed the trip of Republican Senators John McCain and Lindsey Graham to Egypt. The ensuing farce was inevitable.
By hypocritically (even if accurately) labelling the military's ouster of President Mohammed Morsi a coup, McCain and Graham further aggravated the box of Obama's indecision. If anyone believes the good Senators are sincere in their call for the interim government to engage with the Muslim Brotherhood, they need only recall McCain's description of them in 2011: "I think they are a radical group that first of all supports Sharia law; that in itself is anti-democratic — at least as far as women are concerned. They have been involved with other terrorist organizations and I believe that they should be specifically excluded from any transition government." Does anyone seriously believe his views have changed so much in two years?
Moreover, while Graham and McCain made it clear they consider Morsi's ouster a coup, they also support continuing aid to Egypt, which would be forbidden under US law if there was indeed a military coup.
But McCain and Graham are only one side of the coin. On the other is US Secretary of State John Kerry and his ill-advised statement that the military acted to "restore Egyptian democracy" when they ejected a duly elected president. In other words, we had the administration's lead diplomat angering the Muslim Brotherhood with his statement, and GOP senators infuriating the military and its current government with their own. A nice double whammy.
As I pointed out last week, this sort of snafu is the result of indecisiveness on Obama's part regarding how to respond to the events in Egypt. The Supreme Council of the Armed Forces (SCAF) represents the old Egypt, the one the US had a very cozy relationship with, and their announced agenda in the wake of deposing Morsi was for a new transition to a civilian government. But despite that, SCAF still ousted a democratically elected president in a military coup. The Muslim Brotherhood was one of a number of so-called moderate Islamist governments coming to power in the region in recent years, and might have represented a worrying trend for the Western interests of a potential region-wide alliance of states including Tunisia, Turkey and possibly others as change continues in the Arab world. The Brotherhood shot themselves in the foot by trying to impose their will on Egypt and attempting to re-establish a nearly dictatorial presidency and failing to take significant action on the economy. It seems, from current polls, that the Brotherhood has a lot less support in Egypt than they once did. But they were ousted in a coup, and while their protests are not winning over hearts and minds, neither is the harsh crackdown by the government.
What the US is seeing now is the potential for the Brotherhood to rebound from this major setback by taking up their familiar position of a besieged minority. Indeed, one of the greatest obstacles to reconciliation in Egypt is the Brotherhood's willingness to embrace that familiar role again, and the government's apparent willingness to use excessive force, which will enable the Brotherhood to regain some of the sympathy it has lost, if not now, at least in the long-term.
The military and Brotherhood seem both to be pursuing their agendas while remaining completely deaf to the interests and legitimacy of the other side. Indeed, while the Brotherhood is casting the military as just the latest in a long line of military usurpers in Egypt, the SCAF is portraying its adversary's actions as a part of a "war on terror", with the Brotherhood in the role of al-Qaeda. That will resonate in the West, which has a tendency to view all Islamists with the same lens. But such abject demonization is likely to have lasting and divisive effects, not only in Egypt, but throughout an Arab world already seething with conflict.
The words of McCain and Graham have perhaps chilled some of the US' cozy relationship with the SCAF, but the SCAF leadership is well aware of the fact that the Senators do not speak for the Obama administration. In the end, their work will make Obama's job a bit harder, mostly because they made the entire United States look foolish and poorly organized.
Kerry's words, however, will prove to be a much greater impediment to US diplomacy in Egypt. By legitimizing the coup, Kerry may well have eliminated any chance for US mediation toward the goal of a truly inclusive government — the only alternative to anti-democratic rule by iron-fist or more spiralling chaos in Egypt. With the Brotherhood's supporters continuing their protests, while apparently engendering only minority support among the Egyptian populace for such actions, and the military government continuing — and perhaps soon escalating — its crackdown on the Islamist forces it has recently characterized as terrorist elements, true mediation is needed now more than ever. But the waters are now so poisoned that the US and EU may be unable to help even with pure motives.
Considered together, the words of Kerry, Graham and McCain reflect the confusion of US policy in Egypt. It is an absence of policy, caused by a conflict between a desire to see the Middle East move toward moderate Islamist politics on the one hand and the understanding that a return to dictatorship, and the accompanying crackdowns on Islamists, is not going to bring the stability that, above all else, the West most desires. Those conflicting impulses have paralyzed US policymaking and brought about the comedy of errors we are now witnessing.
Ironically, the Brotherhood and related parties throughout the region were already marginalizing themselves and screwing up their chances at power. All the US and the Egyptian military had to do was let them hoist themselves on their own petard. Even now, freeing Morsi and other Brotherhood leaders in Egypt and allowing the people to vote again can well be expected to produce a very different result than it did in 2011. The deafness of all sides to the other — and the refusal to allow political processes to take their own course — has narrowed the options on all sides, leaving few good ones for anyone, especially the United States.
Meh. Let me just say that few of our politicians speak for the American people on just about any topic. But, I will say that people in a democracy have a right to differing views. That differing politicians didn't all align behind our King Obama does not mean our policy responses are a comedy of errors. That is called an open and public debate. You may have heard of it. It's fundamental to vetting policy initiatives. And that means we air our dirty laundry in public unlike the Kremlin.
The real reason our politicians are an endless comedy of errors is because they are corrupt not because they didn't align behind some fuhrer as you seem to intimate we should.


text:
Previous — Chronological Index — Table-of-Contents
Gibson, Ward (fl. 1930s-1940s) (stories)
Two-Gun Brand for a Texas Maverick, (n.) Gunsmoke Western September 1939
The Gun-Ghost from Nowhere, (ss) Western Short Stories April 1940
Gibson, Warren (stories)
The Girl at Thorp's, (ss) Esquire November 1934
Gibson, Wilfrid Wilson (1878-1962) (about) (stories)
A Lyric of Japan, (pm) The English Illustrated Magazine August 1896
A Child's Song, (pm) The English Illustrated Magazine September 1896
A Fairy Song, (pm) The English Illustrated Magazine December 1896
A Love Song, (pm) The English Illustrated Magazine May 1897
No Fairies?, (pm) The Windsor Magazine May 1897
A Midsummer Eve, (pm) The Ludgate June 1897
A Christmas Carol, (pm) The Ludgate December 1897
Celandines, (pm) The Ludgate February 1898
The King's Death, (pl) The Cornhill Magazine June 1900
Song of the Lough Maiden, (pm) McClure's Magazine May 1901
In the Orchard, (pm) The Cornhill Magazine December 1901
Queen Averlaine and the Knight Arkeld, (pm) The Cornhill Magazine August 1902
"Love as a Wandering Minstrel Came", (pm) The Pall Mall Magazine September 1902
The Lords of Song, (pm) McClure's Magazine January 1903
Songs of the Wandering Isle, (pm) The Cornhill Magazine April 1903
The Three Kings, (pm) The Cornhill Magazine September 1903
In the Byre, (pm) The Cornhill Magazine May 1904
The Fool, (pm) The Cornhill Magazine June 1904
A Lament for Helen, (pm) Harper's Monthly Magazine October 1907
Epilogue ("I, who thought to master words…"), (pm) The Neolith #2, February 1908
Sarah Wilson, (pm) The Cornhill Magazine June 1909
The Shirt, (pl) The Outlook June 22 1912
The Vixen, (pm) The Blue Review May 1913
The News, (ss) Poetry January 1917
High Cup Nick, (pm) To-Day October 1917
Sundaysight, (pm) To-Day December 1917
"O What Saw You", (pm) Overland Monthly May 1918
Almonds, (pm) To-Day February 1919
Casualities, (pm) To-Day February 1919
The Ring, (pm) To-Day February 1919
Tombstones, (pm) To-Day February 1919
The Ridge, (pm) To-Day June 1919
Quiet, (pm) To-Day August 1919
The Stair, (pm) To-Day October 1919
Words, (pm) To-Day January 1920
The Kittiwake, (pm) To-Day February 1920
Neighbours, (pm) Coterie #4, 1920
The Dancer, (pm) To-Day April 1920
Smyrna, (pm) To-Day April 1920
Two Songs, (pm) To-Day April 1920
The Candle, (pm) To-Day May 1920
Jaunty Jack, (pm) To-Day September 1920
Rugby: 1917, (pm) To-Day September 1920
An Epilogue ("Ghosts of my fathers, while you keep…"), (pm) Harper's Magazine August 1922
A Group of Poems, (gp) Harper's Magazine August 1922
Jocelyn, (pm) Harper's Magazine August 1922
A Northern Homestead, (pm) Harper's Magazine August 1922
Ned Nixon and His Maggie, (pm) Collected Poems 1905-1925 by Wilfrid Gibson, Macmillan, 1926
The Fowler, (pm) Grit Story Section #1824, January 5 1930
The Ponies, (pm) The Cornhill Magazine September 1934
Three Little Stories, (ss) Story #86, November/December 1940
Don't Touch It, (pm) Harper's Magazine April 1943
Five Poems, (gp) Harper's Magazine April 1943
Gotham, (pm) Harper's Magazine April 1943
Marching Song, (pm) Harper's Magazine April 1943
Plato's Cave, (pm) Harper's Magazine April 1943
The Soldier Poet, (pm) Harper's Magazine April 1943
Angles, (pm) Harper's Magazine October 1944
Two Poems, (gp) Harper's Magazine October 1944
Why We Fight, (pm) Harper's Magazine October 1944
The Killer Too, (pm) Harper's Magazine November 1945
Return, (pm) Harper's Magazine June 1946
The Woodpeckers, (pm) Everybody's June 21 1952
The Darting Dolphin, (pm) The Hawk November 1955
Bloom, (pm)
Labour-in-Vain, (pm)
Lament, (pm)
Luck, (pm)
Mirage, (pm)
Pilgrimage, (pm)
Reveille, (pm)
Singer's Nest, (pm)
Somewhere, Somewhen—, (pm)
Gibson, Will; pseudonym of William G. Bogart (1903-1977) (stories)
Death on Location, (ss) Saucy Movie Tales December 1935
Terror Voyage, (ss) Saucy Movie Tales March 1936
The Black Butterfly, (ss) Saucy Movie Tales April 1936
High-Flyer, (ss) Saucy Movie Tales February 1937
Girl Trouble, (ss) Saucy Detective March 1937
Death Walks Close, (ss) Saucy Detective June 1937
A Wife's Tale, (ss) Esquire July 1937
Wedding Night, (ts) Saucy Detective Stories August 1937
Murder Bait [Ken "Rackets" Daly], (ss) Private Detective Stories October 1937
Murder in Manhattan [Ken "Rackets" Daly], (ss) Private Detective Stories November 1937
Poem for Three, (pm) Circle #9, 1946
Gibson, William (1914-2008) (stories)
The Animal Trainers, (ss) The New Yorker October 6 1951
The Man Upstairs, (ss) Argosy August 1953
The Cobweb, (n.) Woman's Home Companion July 1955
To My Survivors, (pm) Harper's Magazine January 1961
Gibson, William (Ford) (1948- ) (about) (stories)
Fragments of a Hologram Rose, (ss) Unearth Summer 1977
Gloriana, (br) Science Fiction Review #30, March/April 1979 [Ref. Michael Moorcock]
Dracula in Love, (br) Science Fiction Review #33, November 1979 [Ref. John Shirley]
Mockingbird, (br) Science Fiction Review #35, May 1980 [Ref. Walter Tevis]
City Come A-Walkin', (br) Science Fiction Review #36, August 1980 [Ref. John Shirley]
The Flute-Player, (br) Science Fiction Review #38, Spring 1981 [Ref. D. M. Thomas]
Port of Saints, (br) Science Fiction Review #38, Spring 1981 [Ref. William S. Burroughs]
Ratner's Star, (br) Science Fiction Review #38, Spring 1981 [Ref. Don DeLillo]
Johnny Mnemonic [Molly Millions], (nv) Omni May 1981
Hinterlands, (ss) Omni October 1981
…With a Strange Device: Some Blues for Horselover Fat, (ar) Wingwindow 1982 [Ref. Philip K. Dick]
Burning Chrome, (nv) Omni July 1982
Cellars, (br) Science Fiction Review #44, Fall 1982 [Ref. John Shirley]
Hippie Hat Brain Parasite, (ss) Modern Stories #1, April 1983
Red Star, Winter Orbit (with Bruce Sterling), (nv) Omni July 1983
New Rose Hotel, (ss) Omni July 1984
[autobiographical sketch], (bg) Interzone #9, Autumn 1984
Dogfight (with Michael Swanwick), (nv) Omni July 1985
The Winter Market, (nv) Vancouver November 1985, etc.
Count Zero [Neuromancer], (n.) Isaac Asimov's Science Fiction Magazine January 1986, etc.
The Silver Walks, (ss) High Times November 1987
The Smoke, (ex) Bantam, 1988
Tokyo Collage, (ar) Science Fiction Eye #4, August 1988
The Angel of Goliad (with Bruce Sterling), (ex) Gollancz, 1990
Doing Television, (vi) The Face March 1990
Darwin, (ss) Spin April 1990
Skinner's Room, (ss) San Francisco Image June 10 1990
Cyber-Claus, (vi) The Washington Post Book World December 1 1991
About The Difference Engine (with Bruce Sterling), (ms) The Science Fiction and Fantasy Writers of America Bulletin #115, Spring 1992
[letter], (lt) Science Fiction Eye #12, Summer 1993
Disneyland with the Death Penalty, (ar) Wired September/October 1993
Notes on a Process [Johnny Mnemonic], (ar) Wired June 1995
Lo Rez Skyline, (ex) Rolling Stone May 30 1996
Thirteen Views of a Cardboard City, (ss) New Worlds ed. David Garnett, White Wolf, 1997
Jack Womak and the Horned Heart of Neuropa, (ar) Science Fiction Eye #15, Fall 1997
Olds Rocket 88, 1950, (ar) The New Yorker June 4/June 11 2012
The Not Here and Now:, (sy) Polar Borealis January/February 2016
"I Read Naked Lunch When It Was Still Quasi-Illicit", (ar) The Guardian January 1 2021
The Whole Dick Catalog, (ms) [Ref. Philip K. Dick]
Gibson, [Commander] William, U.S.N. (?-1887) (stories)
Persephone, (pm) Harper's New Monthly Magazine July 1874
Pisa, (pm) The Atlantic Monthly August 1874
Sibylla Cumana, (pm) Harper's New Monthly Magazine November 1874
The Linnet's Echo Song, (pm) Harper's New Monthly Magazine December 1881
The Anchor, (pm) Harper's New Monthly Magazine January 1883
The Old Man of the Mountain, (pm) Harper's New Monthly Magazine May 1884
Indian Summer, (pm) Harper's New Monthly Magazine October 1886
Gibson, William G., Jr. (stories)
Artist Profile—The Art of David Mattingly, (ar) Questar June 1980 [Ref. David Mattingly]
Spectrum, (ar) Questar June 1980, etc. [Ref. David Mattingly]
A Profile of Harrison Ellenshaw, (ar) Questar August 1980 [Ref. Harrison Ellenshaw]
Gibson, William Hamilton (1850-1896) (about) (stories) (art)
Hymn to Freya, (pm) Harper's New Monthly Magazine August 1876, uncredited.
Empedocles, (pm) Harper's New Monthly Magazine February 1877, uncredited.
La Festa Dello Statuto, (pm) Harper's New Monthly Magazine June 1877, uncredited.
The Valley of the Yomouri, (pm) Harper's New Monthly Magazine November 1878, uncredited.
The Voyage of St. Brandan, (pm) Harper's New Monthly Magazine April 1879, uncredited.
"The Last Rose of Summer", (pm) Harper's New Monthly Magazine September 1879, uncredited.
A Winter Idyl, (mm) Harper's New Monthly Magazine March 1880
Spring-Time, (ar) Harper's New Monthly Magazine June 1880
An Autumn Pastoral, (mm) Harper's New Monthly Magazine November 1880
The Gate of the Orient, (pm) Harper's New Monthly Magazine April 1881
A Berkshire Road, (ar) Harper's New Monthly Magazine October 1881
Among Our Footprints, (mm) Harper's New Monthly Magazine December 1881
The Squirrel's Highway, (ar) Harper's New Monthly Magazine May 1882
Across Lots, (??) Harper's New Monthly Magazine November 1882
A Witch-Hazel Copse, (??) Harper's New Monthly Magazine May 1885
Back-Yard Studies, (ar) Harper's New Monthly Magazine October 1885
A Winter Walk, (ar) Harper's New Monthly Magazine December 1885
Sap Bewitched, (ar) Harper's New Monthly Magazine May 1886
Singing Wings, (ar) Harper's New Monthly Magazine July 1886
A Plea for the Grassy Road, (ar) Harper's New Monthly Magazine November 1886
Wood Notes, (ar) Harper's New Monthly Magazine December 1886
A Midnight Ramble, (ar) Harper's New Monthly Magazine December 1888
A Honey-Dew Picnic., (ar) Harper's New Monthly Magazine June 1892
A Queer Little Family on the Bittersweet, (??) Harper's New Monthly Magazine August 1893
A Masquerade of Stamens, (ar) The Cosmopolitan September 1894
A Familiar Guest, (??) Harper's New Monthly Magazine June 1895
The Cuckoos and the Outwitted Cow-Bird, (??) Harper's New Monthly Magazine November 1896
A Few Native Orchids and Their Insect Sponsors, (ar) Harper's New Monthly Magazine May 1897
The Milkweed, (ar) Harper's New Monthly Magazine September 1897
Gibson, William J. (fl. 1930s) (stories)
Murder on the Cuff, (ss) Detective Yarns October 1939
Gibson, Willis (stories)
The Memphis Packet, (ss) Scribner's Magazine August 1901
Disciplining the R. & O, (ss) The Century Magazine April 1902
The Agent at Missouri Station, (ss) The Saturday Evening Post May 31 1902
When Parlow Went a-Steamboating, (ss) The Saturday Evening Post November 29 1902
The New Lawyer at Seminole, (ss) The Saturday Evening Post March 21 1903
Murnane and the "Illinois", (ss) McClure's Magazine August 1903
Way of the Engineers, (ss) The Century Magazine October 1903
Arkansas Fashion, (ss) The Century Magazine June 1905
Gibsons, The (stories)
Justice, (vi) The New Statesman
Gibstein, Roberta Sue (stories)
Night Sweats, (pm) Midnight Zoo v3 #8, 1993
Gichner, Carlyn (stories)
Interlude Orientale, (ms) The Smart Set February 1922
Gidal, Tim (fl. 1950s) (stories)
Shady Business (with Richard Usborne), (pi) Lilliput August 1950
Gidden-Lancaster, Joseph (stories)
The Man with a Limp, (ss) The Butterfly May 1893
Giddings, Arch E. (fl. 1920s) (stories)
The Boomer (with Romaine H. Lowdermilk), (ss) Short Stories March 10 1923
Codes (with Romaine H. Lowdermilk), (ss) Short Stories February 25 1924
Giddings, Archie (fl. 1930s-1940s) (stories)
Pit of Vanishing Cowmen, (ss) 10 Story Western Magazine September 1938
Doc Spoon's Murder Cure, (ss) New Western Magazine January 1941
Jailbird's Jamboree, (ss) .44 Western Magazine February 1941
Brother, Come Home and Die!, (ss) .44 Western Magazine April 1941
Fetlock Sam Lifts the Gun-Mortgage, (ss) New Western Magazine May 1941
Doc Rainbow—Tombstone Specialist, (ss) Big-Book Western Magazine June 1941
Doc Sargon's Sixgun Operation, (ss) Big-Book Western Magazine August 1941
Bushwhack Bounty, (ss) Two-Gun Western Novels Magazine January 1942
Death Stalks the Jerk-Line Trail, (ss) Western Short Stories December 1942
Doc Ballou's Powdersmoke Prescription, (ss) Western Short Stories March 1948
My Heritage Is a Killer Gun, (ss) Western Short Stories June 1948
Giddings, Arthur F. (1902?-1967?) (stories)
Misunderstanding, (pm) Minnesota Quarterly Spring 1926
Sandburg: A Partial Appreciation, (ar) Minnesota Quarterly Fall 1926
Giddings, Franklin H. (stories)
The Greatest Reformative Period in the History of the World, (ar) Munsey's Magazine November 1907
Giddings, Joseph (1973-2018) (stories)
The Clockwork Pen, (br) Bull Spec #8/9, Spring 2013
Giddings, Judith (stories)
Grandmas, (pm) Harper's Monthly Magazine May 1906
Giddings, Laura (stories)
College Education for Women, (ar) Jenness-Miller Magazine January 1890
Giddings, Luther V. (fl. 1970s) (stories)
[letter], (lt) Science Fiction Review #22, August 1977
Giddings, Megan (fl. 2020s) (stories)
Displacement, (ss) Story #7, Spring 2020
Giddings, Natalie (stories)
WLW-WSAI Improve Efficiency, (ar) Radio Digest October 1928
WLW, at Cincinnati, (ar) Radio Digest October 1929
The Flying Announcer, (ar) Radio Digest November 1930
Giddings, Stanley Albert (fl. 1890s-1910s) (stories)
In the Night, (pm) Clack Book June 1896
The Obliteration of Blinky, (ss) The Argosy January 1902
Where the Game Is Sharp, (ss) The Argosy March 1902
A Chance of the Road, (ss) The Blue Book Magazine May 1911
Giddog, Shad (stories)
Banal Tale, (vi) Zenith #6, June 1953
Giddy, Eric Cawood Gwyddyn (1895-1957); used pseudonyms Kobold Knight & W. Kobold Knight (about) (stories); Kobold Knight later became his legal name.
Lager Charlie [Lager Charlie], (ss) The New Magazine (UK) February 1927, as by W. Kobold Knight
Charlie Dines [Lager Charlie], (ss) The New Magazine (UK) March 1927, as by W. Kobold Knight
The Doctor of Souls [Dr. Sun], (ss) The New Magazine (UK) April 1927, etc., as by W. Kobold Knight
Charlie and the General [Lager Charlie], (ss) The Danger Trail May 1927, as by W. Kobold Knight
Marooned [Dr. Sun], (nv) The New Magazine (UK) May 1927, as by W. Kobold Knight
The Cave of Ordeal [Dr. Sun], (nv) The New Magazine (UK) June 1927, as by W. Kobold Knight
The Coward, (ss) Cassell's Magazine June 1927, as by W. Kobold Knight
The Test, (ss) The Blue Magazine #96, June 1927, as by W. Kobold Knight
The Walking Stick, (ss) The Danger Trail June 1927, as by W. Kobold Knight
The Death Proof [Dr. Sun], (nv) The New Magazine (UK) July 1927, as by W. Kobold Knight
The Passing, (ss) Cassell's Magazine July 1927, as by W. Kobold Knight
The Battle, (ss) The Corner Magazine August 1927, as by Kobold Knight
The Test of the Drug [Dr. Sun], (nv) The New Magazine (UK) August 1927, as by W. Kobold Knight
The Haunted Island, (ss) The Red Magazine August 12 1927, as by Kobold Knight
The Hand of Destiny, (ss) The Corner Magazine September 1927, as by W. Kobold Knight
My Lady of the Clouds [Dr. Sun], (nv) The New Magazine (UK) September 1927, as by W. Kobold Knight
Beyond the Law [Dr. Sun], (nv) The New Magazine (UK) October 1927, as by W. Kobold Knight
Sahara Moon, (ss) The Story-teller October 1927, as by Kobold Knight
Charlie and the Medicine Man [Lager Charlie], (ss) The New Magazine (UK) November 1927, as by W. Kobold Knight
The Pride o' M'Hafferty, (ss) The Story-teller November 1927, as by Kobold Knight
Wool Next the Skin, (ss) Cassell's Magazine November 1927, as by W. Kobold Knight
Lager Charlie's Christmas [Lager Charlie], (ss) The New Magazine (UK) December 1927, as by W. Kobold Knight
Charlie and the Horsey Cove [Lager Charlie], (ss) The New Magazine (UK) January 1928, as by W. Kobold Knight
Charlie Visits His Bank [Lager Charlie], (ss) The New Magazine (UK) February 1928, as by W. Kobold Knight
The Villa Giudicci Mystery, (ss) The Corner Magazine March 1928, as by W. Kobold Knight
The McTavish, (ss) The New Magazine (UK) April 1928, as by W. Kobold Knight
Hannam of the Never-Never, (ss) Cassell's Magazine May 1928, as by W. Kobold Knight
Jackaroo!, (ss) The Story-teller May 1928, as by Kobold Knight
The Magical Number, (ss) The New Magazine (UK) August 1928, as by W. Kobold Knight
Daminite, (ss) The New Magazine (UK) October 1928, as by W. Kobold Knight
A Beautiful Thing, (ss) The New Magazine (UK) November 1928, as by W. Kobold Knight
The Peacemaker, (ss) The Story-teller November 1928, as by Kobold Knight
Charlie and the Prize Fight [Lager Charlie], (ss) The New Magazine (UK) December 1928, as by W. Kobold Knight
Lager Charlie's Farewell [Lager Charlie], (ss) The New Magazine (UK) February 1929, as by W. Kobold Knight
Little Major Obeys Orders, (ss) Pearson's Magazine March 1929, as by Kobold Knight
Hundred-Mile Swamp, (ss) Pall Mall Magazine April 1929, as by Kobold Knight
Lightning, (ss) The New Magazine (UK) April 1929, as by Kobold Knight
Reclamation, (ss) The New Magazine (UK) May 1929, as by Kobold Knight
With Malice Aforethought, (ss) Pearson's Magazine July 1929, as by Kobold Knight
The Big Thing, (ss) Pearson's Magazine August 1929, as by Kobold Knight
The Hostess, (ss) The Royal Magazine August 1929, as by Kobold Knight
Skin Deep, (ss) The New Magazine (UK) November 1929, as by Kobold Knight
Once a Gentleman, (ss) The New Magazine (UK) February 1930, as by Kobold Knight
The Bad Man, (ss) The New Magazine (UK) April 1930, as by Kobold Knight
Le Yachting [Polly-Too], (ss) Cassell's Magazine August 1930, as by Kobold Knight
Le Cruising [Polly-Too], (ss) Cassell's Magazine September 1930, as by Kobold Knight
A Man and a Dog, (ss) The Royal Magazine September 1930, as by Kobold Knight
Faint Heart, (ss) Cassell's Magazine November 1930, as by Kobold Knight
The Fanatic, (ss) Oriental Stories April/May/June 1931, as by Kobold Knight
A Game of Chess, (nv) The Windsor Magazine August 1932, as by Kobold Knight
Just Dog, (ss) The Windsor Magazine October 1932, as by Kobold Knight
Knave and Queen, (ss) The 20-Story Magazine #125, November 1932, as by Kobold Knight
A Feather in the Wind, (ss) The Windsor Magazine April 1933, as by Kobold Knight
"Cocktails for Two!", (ss) The Windsor Magazine May 1933, as by Kobold Knight
"A Marriage Has Been Arranged…", (ss) The Windsor Magazine July 1933, as by Kobold Knight
A Comedy of the Corniche Road, (ss) The Windsor Magazine August 1933, as by Kobold Knight
And That's Why I Trashed Otto, (ss) The Royal Pictorial February 1934, as by Kobold Knight
"A Tale Well Told", (ss) The Story-teller March 1934, as by Kobold Knight
Jungle Dark, (ss) The Royal Pictorial June 1934, as by Kobold Knight
Nightmare Express, (ss) The Windsor Magazine November 1934, as by Kobold Knight
Captain Gold, (ss) The Windsor Magazine September 1938, as by Kobold Knight
Big Pots and Little Shots, (ss) Stag: Man's Own Magazine #4, Spring 1947, as by Kobold Knight
Giddy, Horton (fl. 1930s) (stories)
All at Sea, (ss) The Windsor Magazine October 1933
Roast Duck, (ss) Nash's—Pall Mall Magazine July 1937
Conquistador, (ss) Nash's—Pall Mall Magazine August 1937
A Question of Discpline, (ss) Lilliput August 1937
Death of a Dictator, (ss) Nash's Annual Summer 1938
Gide, André (Paul Guillaume) (1869-1951) (stories)
The School of Women, (n.) The Forum March 1929
Return of the Prodigal Son, (ss) The Yale Review July 1929
The Crime of Yves Cordier, (ar) Recollections of the Assize Court by Andre Gide, Hutchinson, 1941; translated by Phillip A. Wilkins
Le Dialogue Français, (ar) The Cornhill Magazine Winter 1946
Theseus, (na) Partisan Review November 1948; translated by John Russell
Acquasanta, (bg) American Aphrodite: A Quarterly for the Fancy Free v3 #12, 1953
Advice to a Young Writer, (ar) The London Magazine May 1958; translated by John Russell
New American Novelists, (es)
Gideon, Charles R. (fl. 1910s) (stories)
Can Crops Be…Grown by Electricity?, (ar) T.P.'s Magazine November 1911
Gideon, L. S. M. (fl. 1940s) (stories)
Rays of Wrath [Frisco Pete Clancy], (ss) Private Detective Stories November 1941
Gideonse, Harry D., LL.D. (stories)
The Reds Are After Your Child, (ar) The American Magazine July 1948
Gidley, E. C. (fl. 1900s-1920s) (stories)
The Romance of an Ottoman, (ss) The Royal Magazine March 1901
"A Man of Letters", (ss) The English Illustrated Magazine March 1903
A Cottage in the Air, (ss) The Idler March 1905
At the Sign of the Four Furze Bushes, (ss) The Idler January 1906
A Blunder and a Blessing, (ss) Sketchy Bits #572, April 30 1906
A Meeting, and a Parting, (pm) The Royal Magazine November 1908
"Your Most Loving Ann", (ss) The Novel Magazine July 1923
Gidley, Will(iam) S(elden) (1852-1924) (about) (stories)
The Man and the Woman, (vi) Woman's Home Companion
He Kept the Mutton, (hu) Harper's New Monthly Magazine August 1897
A Petersburg Christmas Present, (vi) Harper's New Monthly Magazine December 1897
He Forgot Something, (hu) Harper's New Monthly Magazine January 1898
The Tale of a Typewriter, (vi) Ainslee's Magazine February 1898
Perkins Objected, (ss) National Magazine September 1899
Wanted Equal Chances with the Bear, (ar) National Magazine April 1900
She Declined to Assist, (ss) Woman's Home Companion August 1900
The Mysterious Birthday Box, (ss) The Clever Magazine August 16 1902
A Corner in Cats, (ss) Frank Leslie's Popular Monthly September 1902
Room 13, (ss) A Dicker in Souls, and Other Stories by Will. S. Gidley, Hazen, 1905
Cupid at Bald Eagle, (ss) The Bohemian July 1905
How the Widow Assisted, (ss) Modern Women August 1905
The Boomopolis Bank Mystery, (ss) The Monthly Story Magazine February 1906
Contentment, (pm) Pearson's Magazine (US) April 1906
The Flight of the Yellow Demon, (ss) The Monthly Story Blue Book Magazine October 1906
Side-Tracked, (pm) Gunter's Magazine October 1908
Jud Hankins' Capering Kangaroo, (ss) 10 Story Book March 1911
The Adventures of a Night, (ss) The Black Cat November 1913
Night-Nurse, (ss) Life January 20 1916
Who Scored?, (ss) Top-Notch Magazine December 15 1917
In the Shadow of the Chair, (ss) Detective Story Magazine July 29 1919
Next — Chronological Index — Table-of-Contents


text:
Q: Restore fragment after lock and unlock screen I have 3(A,B,C) fragment and one activity.fragment A added in activity and then fragment B,C replaced.now fragment A replaced with fragment B.in  fragment B i added some details .then i lock the screen after unlock the screen ..it is open activity with fragment A(added).how to restore fragment B after lock and unlock screen

A: You should save the state inside class that extends the Application class, cause activity will released after display changed (lock screen occured, or orientation changed).
Your new Application class:
public class myApp extends Application {
   public int state; //field that keeps saved state

Inside your activity class:
//add this method to save changed state
//then call it every time you change the fragment index
private void onChangeFragment(int stateid) {
    myApp sapp = (myApp) this.getApplication();
    sapp.state = stateid;
}

@Override
public void onCreate(Bundle savedInstanceState) {
    super.onCreate(savedInstanceState);

    myApp sapp = (myApp) this.getApplication();
    //restore fragment from sapp.state value
    switch (sapp.state) {
        case 0 : //fragment A
            {  setContentView(R.layout.fragmentA);
               //maybe Fragment newFragment = new MyFragmentA(); ... and so on
               break;
            }
        case 1 : //fragment B
            {  setContentView(R.layout.fragmentB);
               //maybe Fragment newFragment = new MyFragmentB(); ... and so on
               break;
            }
    }

And inside manifest
     <application android:icon="@drawable/icon" android:label="@string/app_name" ...android:name=".myApp"`>
Other way is to use the activity's previously saved state through Bundle savedInstanceState.
Inside your activity class:
private int state; //field that keeps saved state

@Override
public void onRestoreInstanceState(Bundle savedInstanceState) {
    state = savedInstanceState.getInteger(FRAGMENT_STATE_KEY);
    //restore the fragment from state value here
    //switch (state) {....
    //....
}

// invoked when the activity may be temporarily destroyed, save the instance state here
@Override
public void onSaveInstanceState(Bundle outState) {
    out.putInteger(FRAGMENT_STATE_KEY, state);

    // call superclass to save any view hierarchy
    super.onSaveInstanceState(out);


text:
Q: gmake [nbproject/Makefile-impl.mk:40: .build-impl] Error 2 I have an issue when building & running my application using NetBeans, this is a C++ project.
I'm using ubuntu :
Distributor ID: Ubuntu
Description:    Ubuntu 22.04 LTS
Release:    22.04
Codename:   jammy

Here is the error message :
> cd '/home/antoine/NetBeansProjects/CppApplication_1'
/usr/bin/gmake -f Makefile CONF=Debug
"/usr/bin/gmake" -f nbproject/Makefile-Debug.mk QMAKE= SUBPROJECTS= .build-conf
gmake[1]: Entering directory '/home/antoine/NetBeansProjects/CppApplication_1'
"/usr/bin/gmake"  -f nbproject/Makefile-Debug.mk dist/Debug/GNU-Linux/cppapplication_1
gmake[2]: Entering directory '/home/antoine/NetBeansProjects/CppApplication_1'
gmake[2]: *** No rule to make target 'html_files/about.html.c', needed by 'build/Debug/GNU-Linux/html_files/about.html.o'.  Stop.
gmake[2]: Leaving directory '/home/antoine/NetBeansProjects/CppApplication_1'
gmake[1]: *** [nbproject/Makefile-Debug.mk:63: .build-conf] Error 2
gmake[1]: Leaving directory '/home/antoine/NetBeansProjects/CppApplication_1'
gmake: *** [nbproject/Makefile-impl.mk:40: .build-impl] Error 2
BUILD FAILED (exit value 2, total time: 56ms)

I'm not really sure what I should include more so I'll add whatever you need.


Wilmington's 67-acre Airlie Gardens are enchanting. Not only do the gardens feature the flora and fauna native to this corner of North Carolina, they also contain a butterfly house and a tangle of footpaths ideal for a walk through the woods. Plus, a roster of special events further adds to Airlie's allure: For instance, in December, the gardens host a monthlong festival of lights; in the summer, there are concerts every other Friday.
A recent visitor to Airlie Gardens says that its oak trees are among the most beautiful she's ever seen. Many travelers also highly recommend visiting when the gardens are hung with twinkle lights at Christmastime. Another great time to visit is during the spring, when the garden's many flowers are in bloom.
From March to December, the Airlie Gardens are open daily from 9 a.m. to 5 p.m. In January and February, the gardens are open Tuesday through Sunday from 9 a.m. to 5 p.m. General admission to the gardens costs $9 for adults, $5 for military, and $3 for kids between the ages of 4 and 12. Kids 3 and younger get in for free. You'll find the gardens on the banks of Bradley Creek about 10 miles east of the historic district; on-site parking is available. For more information, visit the Airlie Gardens' website.


Jaypee is a leading cement manufacturing company with interest in real estate and hospitality industry. Jaypee is the third largest cement producing industry in India. In near future Jaypee group plans to expand their cement manufacturing and Greenfield additions.
Jaypee produces special blend of Portland Pozzolana cement under the brand name Jaypee cement (PPC). Jaypee group is committed towards safety and health of employees with motive "work for safe, healthy, clean and green environment". Jaypee Cement is well known for their product quality to their customers.
For more details or info customers can contact to the official staff of the company and they can also check the official website of Jaypee Cement.
Customers care and services are provided by the company to their customers. Customers can use the following details to contact to the office representatives of the Jaypee group.
This is the customer care help or support number for the customers. They can contact on the above number from Monday to Saturday in between 9.00am to 7.00pm. These numbers are not toll free. You will be charged with normal calling rates for calling on it.
Customers can contact to the office staff through mail also. They can mail their queries on the above email address; all queries are answered by the executives on next business day.
Head office details of Jaypee Cement are provided as below for any kind of questioning, visiting or info by the customers. This is also the registered and corporate office of Jaypee. Customers can visit the head office during the working hours of the Jaypee cement.
Jaypee Cement Official Website: jalindia.com/cement.
These are the social profiles of Jaypee cement for the help of the customers to like them on social sites for further details and information.
If you want to get the experience with Jaypee, then click on the given link to know about the job openings. You can also send your resume on this link to opt the opportunity at right time.
This is the official blog of the company, all the important details or information of the Jaypee is there in it. All the products or services offered by the company are also taken place on this blog. Customers can check the official blog for any kind of help or details.
There are different offices of Jaypee available in different part of India and customer can check out any of the location by visiting this page.