Will real pubs empty as people head for virtual watering holes?
Their draw is such that they could have a profound effect on some parts of society, Edward Castronova, Associate Professor in the Department of Telecommunications at Indiana University, told BBC World Service's Digital Planet programme.
"My guess is that the impact on the real world really is going to involve folks disappearing from reality in a lot of places where we see them," he said.
He said while some people will be colonists – "the virtual frontier opens up and off they go and disappear" – others will just use virtual worlds to get together with distant family and friends.
But he stressed there will be a group of people that spends all their lives there, and that the big question is the size of this group.
"We forget how many people there are, and we have to ask ourselves, how exciting is the game of life for most people out there?" he said.
The appeal, he said, is not for those in a good job, but for those working low-paid, low-skill jobs. "Would you rather be a Starbucks worker or a starship captain?" he asked.
But he also stressed that since virtual worlds are social, he sees increased interaction in them as a step forward.
"If reality is a bad thing, and people are going into virtual worlds to reconnect, the word you would deploy is refuge," he said.
"A father of two spending 90 hours a week in a virtual world because he doesn't like his wife – I would say that's escapism, and it isn't anything you would say is good.
THE US embassy in Iraq is investigating another deadly shooting incident involving its Blackwater bodyguards — this time of the New York Times' dog.
Staff at the newspaper's Baghdad bureau said Blackwater bodyguards shot Hentish dead last week before a visit by a US diplomat to the Times compound.
Blackwater spokeswoman Anne Tyrrell said the dog had attacked one of Blackwater's bomb-sniffer dogs while a security team was sweeping the compound for explosives.
"The K-9 handler made several unsuccessful attempts to get the dog to retreat, including placing himself between the dogs.
When those efforts failed, the K-9 handler unfortunately was forced to use a pistol to protect the company's K-9 and himself," she said in an email to Reuters.
The US embassy employs about 1000 armed Blackwater staff to protect American diplomats in Baghdad.
The firm's role became a serious issue in Iraqi-US relations when its guards opened fire on a Baghdad street in September, killing 17 people. Blackwater says its employees acted lawfully in that incident, which is under investigation.
State Department investigators had made two follow-up visits to the Times compound to investigate the shooting of Hentish, correspondent Alissa Rubin said.
"They were very solicitous and I thought took the incident very seriously," Rubin said. "It's not a dog that everyone's close to in the compound.
Hoping to get into the peacekeeping business, the private Blackwater security firm is acquiring a fleet of aircraft, ships and ground vehicles. Here are a pair of bomb-proof Grizzlies, parked outside the company's headquarters.
Facing a growing backlash over its operations in Iraq, the private security firm Blackwater is formulating a new business pitch — to expand into U.N.-style peacekeeping and humanitarian aid.
The company is buying a fleet of aircraft and ground vehicles, including its own airship, hoping to win contracts to secure failed states before the U.N. arrives.
"We can give what we call one-stop shopping, turnkey solutions," says John Wrenn, who heads Global Stability Initiatives at the newly re-branded Blackwater Worldwide.
Linked to several violent incidents in Iraq, including the Sept. 16 shootings in Baghdad that sparked an international media furor and congressional hearings, the company over the past few months has attempted a public relations overhaul, modifying its name, revamping its logo, and engaging in a massive PR counter-assault to defend against its "cowboy" image.
Blackwater is one of dozens of private companies providing security services in Iraq and other war zones. It is part of a growing military outsourcing industry that exploded during the Iraq conflict and is only likely to get bigger. Proponents believe private security companies, or PSCs, are the future of military operations — and peacekeeping.
As Blackwater fights to keep its State Department security contracts in Iraq, the company is expanding into areas where its competitors have not. Blackwater recently purchased the McArthur, a naval vessel intended for disaster response and training, but that can also be used as a "mothership" for launching peacekeeping operations.
Blackwater now produces the Grizzly, a bomb-resistant vehicle that sports a unique diamond-shaped hull. In addition to a fleet of fixed and rotary-wing aircraft, Blackwater has also moved into unmanned airships, building the Polar 400, a dirigible that would fly between 5,000 and 15,000 feet, and is designed to monitor border areas or track terrorists. The airship could provide surveillance, or eventually, transport into war-ravaged areas.
All this new technology is part of a broader company expansion. Blackwater argues that it can provide a "transition force" to take over security for failed states after military operations are finished.
Blackwater believes it could, in addition to providing security, also deliver aid and oversee disaster relief. This is work now done primarily by non-governmental organizations, or NGOs, and humanitarian groups. Blackwater executives have suggested sending a private peacekeeping force into Darfur, for instance.
"They would be the guys that go in and provide security, taking the handover from the military, and create the safe zones and start to provide the services, until the U.N. takes over," Wrenn says.
That's where the technology comes in. The Grizzly vehicle can ferry peacekeepers, or in an ambulance version, could be used to transport NGO workers and patients. And the airship could provide surveillance, or be used to ferry supplies for disaster relief.
The industry, in Brooks' view, is in part a natural consequence of the West's unwillingness to commit its military forces to troubled regions, leading to what he calls "Westernless peacekeeping." Globally, such contracting is a $20 billion industry, and growing, he contends.
Critics, however, note that the Blackwater name is a huge obstacle to its plans for expanded peacekeeping. Erik Prince, a billionaire and former Navy SEAL, founded Blackwater as a training company a decade ago, but its rapid growth, particularly into private security detail work in Iraq, has landed the company in the middle of a debate over "mercenaries," a term that Blackwater and similar companies detest. The Blackwater controversy now includes an alleged conflict of interest between the State Department's recently resigned inspector general and his brother, a one-time Blackwater board member; questions about the tax status of its contractors; and an ongoing fight over a West Coast training facility.
While Blackwater's push to diversify is understandable — given the potential liability of its personal security work — its move into manufacturing is unusual for a services company.
Robert Young Pelton, the author of Licensed to Kill, a book on PSCs, calls many of Blackwater's technologies "wacky," comparable to something cooked up in the Batcave.
If Pelton thinks Prince is Batman, Wrenn has his own version of how Blackwater should be viewed.
The measure includes $70 billion in war funding but no timeline for leaving Iraq after Democratic leaders relent to the administration.
WASHINGTON — Congressional Democrats' yearlong campaign to bring the war in Iraq to an end concluded with a whimper Tuesday as the Senate failed again to pass a timeline for withdrawing U.S. troops from the conflict.
As they have all year, Senate Republicans prevented the move to set dates by which the president would have to begin and complete bringing American forces home.
And Democratic leaders gave in to demands from the Bush administration for more money for the war without any congressionally imposed restrictions. The latest $70 billion in war funding was incorporated into a $555-billion omnibus spending bill that will fund most of the federal government next year.
"In the end, we had very little leverage to do anything," Sen. Bill Nelson (D-Fla.) said as the once-heated war debate closed with little suspense and no drama.
Senators spent as much time Tuesday delivering tributes to retiring Mississippi Sen. Trent Lott — the chamber's No. 2 Republican, who is leaving in the middle of his term — as they did debating the war.
The four senators seeking the Democratic presidential nomination — Joseph R. Biden Jr. of Delaware, Hillary Rodham Clinton of New York, Christopher J. Dodd of Connecticut and Barack Obama of Illinois — missed the debate.
And even the most fervent antiwar groups seemed resigned to defeat. Tuesday afternoon, a pair of Code Pink protesters, members of a group that all year has disrupted congressional hearings and committee meetings on the war, stood quietly in a corridor connecting the Capitol with a Senate office building.
House and Senate Democratic leaders, who have been laboring for months on the long-overdue spending measure, had pledged this fall to resist White House pressure to approve unrestricted funding for the war in Iraq, as they did earlier this year.
Democrats dismissed Pentagon warnings that the lack of funding would create massive disruptions for the military.
And on Monday, the House passed a $516-billion version of the omnibus spending bill that did not include Iraq funding; House leaders limited war-related money to use in Afghanistan.
But that approach didn't stand a chance in the closely divided Senate, where the 49-member Republican caucus has been able to block Democratic restrictions on the war all year.
Sen. Russell D. Feingold (D-Wis.), backed by Senate Majority Leader Harry Reid (D-Nev.) pushed a proposal to require the withdrawal of most U.S. troops within nine months.
It won just 24 votes, far shy of the 60-vote supermajority required for amending the spending bill. Not a single Republican voted for it.
In a separate bid to get more GOP support, Senate Armed Services Committee Chairman Carl Levin (D-Mich.), who has helped lead the Senate Democratic legislative campaign on the war, backed away from his yearlong effort to push for a withdrawal timeline.
Instead, he offered a nonbinding measure that simply urged the president to begin limiting the mission of U.S. troops in Iraq to protecting American personnel, training Iraqis and conducting counterterrorism operations.
The proposal, which closely resembled a compromise proposal that had been pushed all year by Sens. Susan Collins (R-Maine) and Ben Nelson (D-Neb.), set a goal of completing the transition by the end of 2008.
Sen. George Voinovich (R-Ohio), who has not previously voted for legislation challenging the president's war strategy, agreed to cosponsor the amendment. But Levin's proposal still attracted just six Republican votes and fell 10 short of the 60-vote threshold.
By contrast, the move by Senate Minority Leader Mitch McConnell (R-Ky.) to attach additional Iraq war funding to the spending bill got 70 votes, as 21 Democrats and an independent joined 48 Republicans in backing the proposal.
Sen. John McCain of Arizona, the only GOP presidential contender in the Senate, spoke passionately in favor of additional funding for the war and voted against the Levin and Feingold measures.
The omnibus bill, including the war funding, passed the Senate 76-17. It will now go back to the House, where a coalition of Republicans and centrist Democrats are expected to provide enough votes to send it to President Bush. The White House has indicated he will sign a measure that provides unrestricted money for the war.
Feingold, who has pushed his Democratic colleagues all year to take on the president more aggressively, struck a defiant tone in the face of the latest defeat on Capitol Hill for war opponents.
"We have a lot of important priorities here, but nothing is more important to me or my constituents than ending this disastrous war," Feingold said on the Senate floor.
But the tumult that gripped the Capitol earlier this year when congressional Democrats began their push against the president's troop escalation was notably missing Tuesday.
And the vote tallies underscored how little progress Democrats have made in the face of Republican opposition this year. With only 50 votes, the Levin measure fared no better than earlier proposals that failed in July and November. Feingold's proposal — though it had a record 17 cosponsors, including California Democrat Barbara Boxer — attracted five fewer votes than it did in May.
There are now rumors in Iraq of a devilish American weapon that makes people believe they are hearing voices in their heads. It appears that some of the troops in Iraq are using "spoken" (as opposed to "screeching") LRAD to mess with enemy fighters. LRAD can put the "word of God" into their heads. If God, in the form of a voice that only you can hear, tells you to surrender, or run away, what are you gonna do?
While U.S. efforts to deploy it's microwave Active Denial System (which transmits a searchlight sized beam of energy which makes people downrange feel like their skin is on fire) continue to be delayed, another non-lethal system, LRAD (Long Range Acoustic Device) has been quietly deployed to Iraq. And there the story gets a little strange.
LRAD is basically a focused beam of sound. Originally, it was designed to emit a very loud sound. Anyone whose head was touched by this beam, heard a painfully loud sound. Anyone standing next to them heard nothing. But those hit by the beam promptly fled, or fell to the ground in pain. Permanent hearing loss is possible if the beam is kept on a person for several seconds, but given the effect the sound usually has on people (they move, quickly), it is unlikely to happen. LRAD works. It was recently used off Somalia, by a cruise ship, to repel pirates. Some U.S. Navy ships also carry it, but not just to repel attacking suicide bombers, or whatever. No, the system was sold to the navy for a much gentler application. LRAD can also broadcast speech for up to 300 meters.
The navy planned to use LRAD to warn ships to get out of the way. This was needed in places like the crowded coastal waters of the northern Persian Gulf, where the navy patrols. Many small fishing and cargo boats ply these waters, and it's often hard to get the attention of the crews. With LRAD, you just aim it at a member of the crew, and have an interpreter "speak" to the sailor. It was noted that the guy on the receiving end was sometimes terrified, even after he realized it was that large American destroyer that was talking to him. This apparently gave the army guys some ideas, for there are now rumors in Iraq of a devilish American weapon that makes people believe they are hearing voices in their heads.
This made more sense when an American advertising firm recently used an LRAD unit to support a media campaign for a new TV show. LRAD was pointed at a sidewalk in Manhattan, below the billboard featuring the new show. LRAD broadcast a female voice providing teaser lines from the show. The effect was startling, and a bit scary for many who passed through the LRAD beam. It appears that some of the troops in Iraq are using "spoken" (as opposed to "screeching") LRAD to mess with enemy fighters. Islamic terrorists tend to be superstitious and, of course, very religious. LRAD can put the "word of God" into their heads. If God, in the form of a voice that only you can hear, tells you to surrender, or run away, what are you gonna do?
Meanwhile, the microwave powered ADS, a non-lethal weapon that looks like a radar dish, languishes in politically correct limbo. The ADS "radar dish" projects a "burn ray" that is about four feet in diameter. It is effective in fog, smoke and rain. When pointed at people and turned on, it creates a burning sensation on the skin of its victims, causing them to want to leave the area, or at least greatly distracts them. The microwave weapon has a range of about 500 meters. ADS is carried on a hummer or Stryker, along with a machine-gun and other non-lethal weapons (like LRAD). The proposed ROE (Rules of Engagement) for ADS were that anyone who kept coming after getting hit with microwave was assumed to have evil intent, and could be killed. The microwave is believed to be particularly useful for terrorists who hide in crowds of women and children, using the human shields to get close enough to make an attack. This has been encountered in Somalia and Iraq.
Deployment of ADS has been delayed for years because of concerns about how non-lethal it really is. ADS has been fired, in tests, over 2,500 times. Many of these firings were against human volunteers, and the device performed as predicted, without any permanent damage. But generations of exposure to lurid science fiction descriptions of "death rays" has made the defense bureaucrats anxious over the negative public relations potential if something like ADS was actually used. From a publicity perspective, using more lethal "non-lethal-weapons" is preferable to deploying something safer, but that could be described, however incorrectly, as a "death ray." In any event, it appears that the cheaper, smaller (about 45 pounds), gentler and more flexible LRAD has taken ADS's place in the American arsenal. At least for now.


ADDIE MARIE GARCIA was born on August 23, 1984 and passed away on January 3, 2019.
We, the Pridgett family would like to thank our God for sharing the life of Addie with us. Addie was a welcomed addition to our family, a fragrance of sweetness , as it was a delight to know her. Addie gave us four beautiful members to our family and we are so grateful as we will do our best to assure they have what is needed in this life. We will look out for Jeramine as well.
We acknowledge the fact God needed a prefect flower from his Garden, he made a special choice in selecting Addie. Sleep on Addie take your rest, you will truly be missed. We will meet you in the morning.
We love you but God loved you best!
Sister, I'm going to miss you so much. Your smile, laughter, jokes and saying I will NEVER forget. You were my bestfriend. From talking on the phone everyday or sending messages (memes) through messenger we were inseperable. It's going to be very hard living without you but you will always be in my heart! I love you sister!
Addie you were my bestie we had so many memories growing up. My prayers are with you and your babies. I will miss you and may you now Rest In Peace! I can't believe you are now an angel 👼 in heaven. Til we meet again lil sis. I love you!
I am so sorry to hear of this loss. I have known Addie since she was born. She was such a kind,sweet and happy person. Always willing to help whoever need help. And she always did it with a smile on her face. I just to babysit her and her brother. I still remember like if it was yesterday. may she Rest In Peace and know she was loved and taken too soon. Thoughts and prayers with everyone and her children. She will be throughly misse. Until we meet again Addie.
I am so sorry to hear of this loss. I have known Addie since elementary. She was such a kind,sweet and happy soul. We would joke that we were sisters. May she Rest In Peace and know she was loved and taken too soon. Thoughts and prayers with everyone and her children. She will be missed.


Began by collaborating with director as to who these characters are (for example: where they would shop, their emotional journey in the play, and movement of their character (and therefore costume). For instance, we agreed that the old, weathered, tree farmer, Donald, lived in a black and white, right and wrong world that falling apart, his color palette would be primary colours, and everything he wore would be out of practicality, but has broken down significantly. Then worked with my costume assistant, Brenda Coke, to fit, alter and source remaining costume pieces not provided in Fire Exit's costume stock, or actor's personal wardrobe.


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Home ONLINE: The Trumpet in the Orchestra of Evolution: The Story of the Sandhill Crane in North America
ONLINE: The Trumpet in the Orchestra of Evolution: The Story of the Sandhill Crane in North America
Apr 9, 2020 11:00 AM
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join us for our first webinar with Crane Research Coordinator Anne Lacy on Thursday, April 9, at 11 a.m. Central time. Sandhill Cranes are the most numerous of the world's fifteen crane species. They inhabit many varied places in North America – and Asia! – in both migratory and non-migratory populations. Join us for a talk that will follow this species from tropical forests to arctic tundra and the places they go in between. Register via Zoom.
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Sultan, Donald
Acanthus *
(From the Fruits and Flowers Suite)
Signed, dated, and numbered  in pencil
23 x 22 in. (58.4 x 56 cm.)
Big Poppies
Original screenprint in colors with enamel inks and tar-like texture on 4-ply museum board
Signed in pencil, dated and numbered in pencil
60 1/4 x 60 1/4 in. (153 x 153 cm), unframed
Black and Blue *
Original screenprint in colors on wove paper
Signed by the artist in pencil, dated and numbered
24 x 21 1/2 in. (61 x 54.6 cm), unframed
Blue Poppies *
Painted aluminium on polished aluminum base
Signed, titled, dated and numbered
24 1/2 x 24 1/4 x 3 in. (62 x 61 x 7.6 cm)
Original screenprint in colors, with flocking on two-ply museum board
Signed, titled, dated and numbered in pencil
39 x 39 in. (99 x 99 cm), unframed
Blue Poppy *
Screenprint in colors with enamel inks and textured surface on museum board
Signed, titled, dated and numbered by the artist in pencil
60 x 60 inches (152.5 x 152.5 cm)
Screenprint with enamel inks and flocking on museum board
46 x 46 in (117 x 117 cm), unframed
Blues, Sept. 20th
Screenprint with flocking
Signed, dated and numbered by the artist in pencil
24 x 24 inches (61 x 61 cm)
Dried Roses *
(from the Visual Poetics portfolio)
Screenprint in colors on velin Coventry paper
Signed, dated and numbered in pencil by the artist
16 x 16 in.(40.5 x 40.5 cm),unframed
Eight Poppies
Screenprint with flocking on Museum Board
Signed, dated and numbered (along the left vertical border)
Lilies *
Signed in pencil, dated and numbered (along the left margin, vertically)
26 x 21 1/4 in. (66 x 54 cm), unframed
Mimosas *
Original screenprint in colors
27 1/2 x 39 1/4 in (70 x 99.7 cm), unframed
(Published by Lincoln Center for the Performing Arts, NYC)
Poppies, June 3, 2011 (White) *
Color silkscreen with flocking and tar-like texture on Rising, white 2-ply museum board
Signed in pencil, dated and numbered
39 x 39 inches (99 x 99 cm), unframed
One of three numbered printers proofs outside of the edition of 30
Red Poppies July 24, 2012 *
Screenprint with tar and flocking
Hand signed, dated and numbered
22 x 38.75 in. (55.9 x 98.4 cm.)
Reds and Blacks *
52 x 76 inches (132 x 193 cm)
Smoke Rings (August 13, 2001)
Digital Inkjet Print
Yellow Peppers *
Yellow Poppy *
Smoke Rings (Oct 16, 2005)
Archival pigment print
Signed, dated, titled and numbered by the artist in pencil
Smoke Rings (Nov 12, 2001)
Yellow Mimosas *
15-color screenprint with white flocking on museum board
32 x 45 inches (81.3 x 114.3 cm)
Orange Flowers *
Screenprint in colors
18 x 13 inches (45.7 x 33 cm)
Lantern Flowers, May 10, 2012 (Coral)
Silkscreen with enamel inks and flocking on 2-ply museum board
Lantern Flowers, May 10, 2012 (White)
Four Reds, September 30, 2002 *
Color screenprint with collage on white Somerset
22 x 28.2 inches (55.9 x 71.6 cm)
Black and Red *
Signed, dated and numbered
Black Poppies *
Blues and Blacks *
20-color screenprint with flocking
38 x 38 inches (96.5 x 96.5 cm)
Eight Whites *
Signed and numbered |
Five Lemons, a Pear and an Egg *
(from the Fruits and Flowers  suite)
Five Reds *
Five Whites *
Morning Glories I *
Morning Glories II *
Pomegranates I *
Pomegranates II *
Pomegranates III *
Poppies, June 4, 2011 (Coral) *
Poppies, June 5, 2011 (Aqua) *
Red and Black *
Red Poppies *
Smoke Rings (June 6, 2001) *
Smoke Rings (Dec 2, 2001) *
Three Reds *
Six Yellows *
Two Pears, a Lemon and an Egg *
Donald Sultan (born 1951) is one of the leading American contemporary still life artists. He currently lives and works in New York.
Born in 1951 in Asheville, North Carolina, Donald Sultan received his BFA from the University of North Carolina, Chapel Hill and his MFA from the School of the Art Institute in Chicago. He moved to New York in 1975. The work of Donald Sultan is voluminous and varied. Since his first one-man show in 1977, he has enjoyed a distinguished career as painter, printmaker, and sculptor. His extensive body of work has placed him at the forefront of contemporary art, where he has become best known for his ability to successfully merge the best of yesterday's artistic tradition with a fresh, modern approach that is unique.
Although his paintings fit into the criteria of a still life, Sultan describes these works as first and foremost abstract. The largeness of Sultan's compositions, huge pieces of fruit, flowers, dominoes and other objects, set against the stark, unsettling tar-black, eight-foot square background, dominate the viewer. He is best known for his lemons, flowers and fruit, and states that his subjects develop from previous work. For example: the oval of his lemons has led to a series of oval-blossomed tulips, dots from dice have become oranges. What does not change with Sultan's work is the powerful statement his forms make. Sultan's work incorporates basic geometric and organic forms with a formal purity that is both subtle and monumental. His images are weighty, with equal emphasis on both negative and positive areas. Sultan describes his work as "heavy structure, holding fragile meaning" with the ability to "turn you off and turn you on at the same time." Sultan's still lifes have been described as studies in contrast. His powerfully sensual, fleshy object representations are rendered through a labor-intensive and unique method.
Sultan has been given numerous exhibitions dedicated to his work, as well as having been included in a number of group shows. Sultan has received two honorary doctorate degrees from The Corcoran School of Art in Washington D.C. and the New York Academy of Art. His work is included in the permanent collection of many prestigious institutions including: The Museum of Modern Art in New York, Solomon R. Guggenheim Museum in New York, Tate Gallery in London, Hirshorn Museum and Sculpture Garden in Washington, D.C., Whitney Museum of American Art in New York, and the Metropolitan Museum of Art in New York.
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Wayne Thiebaud (b. 1920–) is a Californian painter who is best known for his iconic still lifes of all-American foods and products, such as cakes, …
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Frank Stella was born in 1936 in Malden, Massachusetts. After attending high school at Phillips Academy in Andover, Massachusetts, he went on to Princeton University, …


About the Video: Danielle Bassett speaks on current neuroscience research, especially its promise for enhancing cognition and treating mental health disorders, its relation to artificial intelligence development, and relevant ethical considerations.
About the Speaker: Danielle S. Bassett is the Eduardo D. Glandt Faculty Fellow and Associate Professor in the Department of Bioengineering at the University of Pennsylvania. She is most well-known for her work blending neural and systems engineering to identify fundamental mechanisms of cognition and disease in human brain networks.


In the morning of 26 January 1841 Sir James Bremer of the British Royal Navy, accompanied by army officers and Royal Marines, landed on the north-west part of Hong Kong, a spot that came to be known as Possession Point (which is now the site of the Hong Kong-Macau Ferry Terminal). He toasted Queen Victoria and took formal possession of the small island in her name. Hong Kong had been ceded to the British by the Qing Empire during the First Opium War. London secured the naval base through the Convention of Chuanbi and later through the Treaty of Nanjing (29 August 1842).
Hong Kong had a population of just 7,500 Chinese, mostly fishermen and farmers (Steve Tsang: Modern History of Hong Kong, A: 1841-1997, 2011, p. 16). Foreign Secretary Lord Palmerston dismissed the newly acquired colony as "a barren island with hardly a house upon it" (ibid., p. 14). Hardly anyone at that time could have imagined that Hong Kong would become one of the world's greatest metropolises.
Once the British had occupied Hong Kong island they set about the task of developing it and building a replica of a European city on Asian soil. They first founded the city of Victoria, which was deemed the capital of Hong Kong until the 1997 handover. Victoria largely corresponds to present-day Central District.
Over the next decades thousands of mainland Chinese flocked to the British colony, which offered refuge from the Qing Empire's deteriorating economic and social conditions. As the Taiping Rebellion ravaged China, scores of mainlanders moved to Hong Kong, which by the early 1860s had already reached a population of about 120,000 (R.S. Chaurasia: History of Modern China, 2004, p. 326).
Plans to develop new areas outside of Victoria began already in the 1840s. At that time, Wan Chai, which was adjacent to Victoria, was sparsely populated and its inhabitants were chiefly Chinese fishermen (Michael Ingham: Hong Kong: A Cultural History, 2007, p. 59). In the 19th century, present-day Queen's Road East was Wan Chai's coastline.
The colonial government originally planned to turn Wan Chai into a high-class European settlement and commercial district. Western-style buildings began to be constructed around Stone Nullah Lane and the surrounding hills (Jason Wordie: Streets: Exploring Hong Kong Island, p. 102). But the plan never really took off because Wan Chai was cut off from Victoria by the naval barracks and docks which were located in present-day Admiralty.
Instead, Wan Chai became an area of Chinese settlement and an 'entertainment district' for off-duty sailors and officers, who at the turn of the 20th century had been banned from the more respectable Victoria city (Po Hung Cheng: A Century of Hong Kong Island Roads and Streets , 2001, p. 70; Ingham 2007, p. 59).
In order to solve the issue of land scarcity, the British colonial government undertook a series of land reclamations. If there hadn't been these land reclamations, Wan Chai would look completely different today. Land reclamation projects in Wan Chai were carried out in the 1880s, 1920s, 1960s and 1970s. Up until the 1920s, present-day Johnston Road was still the waterfront.
In the 1920s, a major land reclamation project was commenced, and Morrison Hill was flattened to provide earth for it. Hennessy Road and Gloucester Road were built on reclaimed land. After World War II, more land was reclaimed, and new, controversial reclamation projects are underway.
Wan Chai remains 'split' between the area south of Gloucester Road, with its more or less disreputable 'girl bars' and pubs frequented by tourists and expats, with its old buildings and traditional Chinese markets; and the section north of Gloucester Road, with its futuristic government buildings (Wordie, p. 103; Ingham 2007, pp. 65-66).
Hung Shing Temple (洪聖古廟), also called Tai Wong Temple, is the first temple to have been built in British Hong Kong. Its construction, initiated by the local Chinese fishermen community, began in 1847 and was completed in the 1860s. The temple was built on the site of a preexisting small shrine set up by the local residents inside a rock to worship the 'Ruler of the Sea' (Ingham 2007, p. 66).
Stone Nullah Lane (石水渠街, literally: 'Stone canal street') is one of Wan Chai's oldest streets. The unusual word 'nullah' is "an Anglo-Indian word that means a stone- or concrete-revetted drainage channel". The old drainage channel has long disappeared, and only its name reminds of its past existence.
On the left side of Stone Nullah Lane one can see the so-called 'Blue House', a characteristic tenement house constructed in the 1920s in Tong Lau style; this was a typical residential and commercial architecture of the late 19th and early 20th century which blended Western and Chinese features and was widespread in Hong Kong, Macau, and in areas of mainland China with strong foreign presence. The Blue House is one of the last tenements of its kind in Hong Kong. The majority of these Tong Lau edifices have been torn down and replaced by modern high-rise complexes that can accommodate more people and have more facilities. The Blue House, for instance, doesn't have a lift or built-in toilets, so that the residents have to resort to public restrooms.
Climbing up Stone Nullah Lane you will find a fairly large temple, called Pak Tai Temple (北帝廟, literally: 'Temple of the Emperor of the North'). As most Chinese temples, this one, too, hosts a number of different gods and deities. The most important of them is Pak Tai (or Beidi, in Mandarin), the Daoist god of water and wealth. The statue displayed inside the temple dates back to the Ming dynasty, though it isn't clear how it got there (Ingham 2007, p. 68).
There was a pig butcher who realised the evil nature of his profession. He repented and became a hermit. He meditated and did his utmost to atone his misdeeds, but nothing was enough for him to make up for the crime of killing so many animals.
Desperate, he disembowelled himself and threw his entrails into the sea. By doing so, his good and evil parts were separated. His spirit ('shen') was admitted to Heaven, while his ghost ('gui') turned into two demons: a tortoise and a snake, who began to ravage the earth. When the 'shen' saw that the ghosts he had generated were harming the people, he returned to the earth and subdued them. He then transformed them into two stars which he controlled from his own place in the North Star.
Pak Tai's title is 'Dark Heavens, Superior Ruler', and he is thus associated with the 'Superior Ruler' (Shangdi), the invisible principle of the universe (see Jonathan Chamberlain: Chinese Gods: An Introduction to Chinese Folk Religion, 2010, pp. 90-91).
This nice cat kept following me and sat down next to my feet whenever I stopped to take pictures.
Among the tall and modern buildings of Queen's Road East, one small, white structure stands out, one of the last old edifices that have survived the mass demolitions of the post-war decades. It is the Old Wan Chai Post Office, built in 1915, which was Wan Chai's post office until 1991 and now houses the district's Environmental Resource Centre.
The post office is in many respects a modest building. Its uniqueness lies in the mix of Western and Chinese styles; for instance, the rooftop is built in the traditional local fashion, with the characteristically curved tiles which could be found in any Chinese country house (Wordie, pp. 129-130). The old post office conveys a feeling and atmosphere of the prewar Hong Kong which is now lost.


text:
Q: Why all these ShareSheet errors? Related to this.

When I open a file using QLPreviewController, and press the "Share" button, the console prints the following logs:

[cloudthumbnails.generation] Unable to determine whether
file:///Users/xxxxxx/Library/Developer/CoreSimulator/Devices/XXXXXX/data/Containers/Data/Application/XXXXXX/Documents/xxxxxx.pdf
is a directory: Error Domain=NSCocoaErrorDomain Code=260
[ShareSheet] Failed to request default share mode for
fileURL:file:///Users/xxxxxx/Library/Developer/CoreSimulator/Devices/XXXXXX/data/Containers/Data/Application/XXXXXX/Documents/xxxxxx.pdf
[ShareSheet] Only support loading options for CKShare and SWY types.
[ShareSheet] error fetching item for
URL:file:///Users/xxxxxx/Library/Developer/CoreSimulator/Devices/XXXXXX/data/Containers/Data/Application/XXXXXX/Documents/xxxxxx.pdf
[ShareSheet] error loading metadata for
documentURL:file:///Users/xxxxxx/Library/Developer/CoreSimulator/Devices/XXXXXX/data/Containers/Data/Application/XXXXXX/Documents/xxxxxx.pdf

But, the path is correct (in the app's Documents folder), and the file can be opened and shared successfully by any means: save on my Documents, Gmail, AirDrop, Slack, etc.
Then, why all these errors? I believe the following crash I am receiving on Firebase Crashlytics may be related:

-[UIDocumentPickerViewController initForExportingURLs:asCopy:] must be called with a URL pointing to an existing file: Error Domain=NSCocoaErrorDomain Code=260 UserInfo (NSURL=file:///var/mobile/Containers/Data/Application/APP_ID/Documents/FILE.pdf, NSFilePath=/var/mobile/Containers/Data/Application/APP/ Documents/FILE.pdf, (Error Domain=NSPOSIXErrorDomain Code=2 "No such file or directory"))

Because I am not calling [UIDocumentPickerViewController initForExportingURLs:asCopy:] elsewhere in the app. The only way that method gets called is by sharing a file from the app and storing it in the iPhone file system.

A: The problem turned out to be the following.
All the files were being removed for security when the app moved to the background, and applicationDidEnterBackground(application:) was called on the AppDelegate.
I was confused because the file I was viewing using QLPreviewController was still there when I came from the background, and I didn't realize it was being deleted.
How to reproduce the error?

*

*Visualize a file using QLPreviewController.

*Save that file into iPhone's local files (this will call [UIDocumentPickerViewController initForExportingURLs:asCopy:]).

*Send the app to the background (or any other action that deletes the file).

*Come back to the foreground, the file is still open, and you can visualize it, but it doesn't exist on the expected path because it has been deleted.

*Try again to save that file into iPhone's local files (this will call [UIDocumentPickerViewController initForExportingURLs:asCopy:]) again.

Following these steps will cause the app to crash because the second time we try to export the file, it doesn't exist in the expected path even though it is still open and visible on QLPreviewController.
Solution
Download the file again from its URL when we come from the background (as it's no anymore available locally). To do that, subscribe to the didBecomeActive notification on the QLPreviewController.
notificationCenter.addObserver(self, selector: #selector(self.downloadFile), name: UIApplication.didBecomeActiveNotification, object: nil)

redpajama_set_name: RedPajamaStackExchange


1169 Altadena Ave, Anderson Twp.
Charming one story home in a great neighborhood on a culdesac street. Hardwood floors are in both bedrooms, dining and living rooms, and hall. Enjoy newer windows throughout the home. A wood burning fireplace centralizes the living room. Full basement has Everdry lifetime guarantee. A new sump pump, hot water heater, and washer & dryer are a bonus. A new shed is great for storage of outdoor equipment. You will be happy with a two car garage as well. Great counter space in kitchen and an open feel. Kitchen walks out to back patio. Put your loving touches into this home and you will not be disappointed!


text:
Proud to be an American? SC residents united by love of US, differ on what it means
South Carolina residents are patriotic for a variety of reasons, but as they talk about what makes them love America, a political divide is evident.
Proud to be an American? SC residents united by love of US, differ on what it means South Carolina residents are patriotic for a variety of reasons, but as they talk about what makes them love America, a political divide is evident. Check out this story on greenvilleonline.com: https://www.greenvilleonline.com/story/news/2019/07/03/proud-american-patriotic-sc-residents-talk-why-they-love-usa-on-fourth-of-july-independence-day/1606172001/
Eric Connor and Mollie R. Simon, The Greenville News Published 5:28 a.m. ET July 3, 2019 | Updated 12:02 p.m. ET July 3, 2019
Tri-County and Clemson students talk about patriotism Matt Burkhartt, The Greenville News
When night falls, the bombs will blast in air this Independence Day, and any American looking toward the sky will have an opportunity to be mindful of what it means to be a citizen of their country.
Or perhaps more specifically, what it means to be a patriot.
A Gallup poll from last year found the percentage of Americans who were "extremely proud to be Americans" at an 19-year low. Forty-five percent of Americans identified that way in 2018, down from a high of 70% in 2003, and down 2 points from last year's 47%. Among Republicans, 74% were in that group, and among Democrats, 32%.
There are collective movements marching from one another — with divergent views on exactly what foundation America stands on, past, present and future.
In the center is perhaps the most-polarizing president in modern history, a dynamite blast to the system that by mere appearance of approval or disdain begs the question: Not only whether I'm considered a patriot, but what does patriotism even mean in 2019?
For this day — as tensions at the Mexico border and in the Middle East are hot, the meaning of power is questioned and at this moment, a U.S. Women's World Cup soccer team says it will refuse to visit the White House, even before anything has been won — The Greenville News sought to take a small measurement of the pulse of Americans in downtown Greenville and at Clemson University and Tri-County Technical College
We found, not surprisingly, disparate views — but even more so a complexity.
Black in America. A veteran and homeless. Reclaimed glory. Political neophyte. State of distress. Waiting it out. A search for a deeper meaning.
One of the central tasks in finding an answer is isolating the definition of patriotism.
Red, white and blue: Stars and (different) stripes: SC residents on being 'patriotic Americans'
Andrew Whitehead, a sociology professor at Clemson who will soon release a book on Christian nationalism, says patriotism and nationalism are seen as related but in fact are distinct concepts.
Patriotism is "this idea of love for one's country, for the people of that country," Whitehead says. "Nationalism, though, is slightly different in that it's focused on, 'My country is better than yours.'"
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Events like the World Cup can heighten feelings of national identity, as do collective tragedies like 9/11. This is where patriotism emerges, but so can nationalism where "we're trying to define ourselves as against other countries or supreme," he says.
Some are clear in their definition.
Don Wygand, who owns downtown Greenville's Jerky & Vine, says he feels a greater sense of America reclaiming its identity, defined through sacrifice and projection of military strength.
At 61, Wygand said he has never experienced the threat of sacrificing his life in war, like his two older brothers and father. Patriotism takes on a different meaning from generation to generation.
"I'm just on the cusp of that group that never had to worry about going to war, never have to worry about being drafted or volunteering or anything like that," he says. "It's a little harder for our entire generation to even really fathom what it's like to give up that much, to sign up for that much."
Trump 'brought a breath of fresh air'
President Donald Trump has "brought a breath of fresh air" by rebuilding the military and projecting a sense of "us first," Wygand says.
"That might sound cliché, but what's wrong with that?" he says.
On the other side of that spectrum is Mary Duckett, a community activist in Greenville who grew up during the time of segregation. She is more explicit about the challenges the president in particular poses to the country.
Duckett says she feels like the country is threatened, particularly with race relations, more so than at any point in her lifetime, regardless of the party in power.
"I'm from a segregated era," she says. "In all my life, I have never seen the hatred I see in America today. I feel sad as an American now. I used to look forward to the Fourth of July, because it's independence. Now I feel like we're in a state of captivity. It seems as if the government is against the people, especially the least of those."
Photos: Faces of patriotism around Greenville
Don Wygand, co-owner of Greenville Jerky and Vine on Main Street. MATT BURKHARTT/Staff
David Millbrooks, a Gulf War veteran, now homeless, devoted 18 years of his life to military service. Nobody asked me to go there," he says of the Persian Gulf. "Everybody's got to do something in the world. That was my job," said Millbrooks. MATT BURKHARTT/Staff
Justin Roberson, of Greenville, on Main Street. "You can root for all the good parts, but if you are blind to the areas where we it needs drastic improvement, I don't think you can call that patriotism," said Roberson. MATT BURKHARTT/Staff
Caitlyn Bryant, a theater teacher at Liberty High School. "Our veterans have done wonderful things and our armies do great things," she says, "but I also am a strong believer in change needs to happen. If anything stays the same for too long, it gets stagnant, and that's never really a good thing." MATT BURKHARTT/Staff
Andrew Whitehead, associate professor of sociology at Clemson University. Whitehead defines patriotism as "this idea of love for one's country, for the people of that country." MATT BURKHARTT/Staff
Erin McGhee, 18, a freshman Nutrition student at Clemson University. "The first thing I think of is just like supporting your country through thick and thin, having pride in how far we've come," McGhee says. "For me, just doing my best to be a good citizen. Participating and just trying to make a difference as much as I can." MATT BURKHARTT/Staff
Mary Montgomery, a staff member at Clemson University. "For some people, they almost don't want to use that to define how they feel about America," she says. "If I say I'm patriotic, does that mean I have to wear the red hat? If I don't say I'm patriotic, does that mean I don't like the police? I think it is your own set of definitions." MATT BURKHARTT/Staff
Cole Bryant, 19, a Clemson bridge student. "You can't be blindly loyal to your country. You have to stand up and point out the flaws. If you want real change to happen you have to stand up and be willing to say, 'I'm not going to stand for this.' I can be as patriotic as I want but that doesn't mean I agree with you or agree with this administration," said Bryant. MATT BURKHARTT/Staff
Evan Branyon, 19, a junior math major at Clemson University and a tutor at Tri-County Technical College. "I feel empowered. I feel like we live in a moment right now where we are able to take charge of what we need to and show democracy is not only real but strong and powerful and can have effects," said Branyon. MATT BURKHARTT/Staff
'People don't care about veterans'
David Millbrooks served in the first Gulf War and spent 18 years of his life in military service.
Today, he's staying in a Greenville homeless shelter for veterans and battles post traumatic stress disorder. He says he believes "people don't care about veterans like they should."
But, Millbrooks says, he believes every American owes something to their country, whether military service or not.
"Nobody asked me to go there," he says of the Persian Gulf. "Everybody's got to do something in the world. That was my job."
Caitlyn Bryant, 24, feels like there is a middle ground to fall on — between patriotism defined as military appreciation and respect for those who march and protest for change.
The definition of patriotism has evolved over the years from the more-prominent military focus, she says.
"In the past, everybody was kind of in that first ideal, not necessarily the second one," Bryant says. "But then again, there's always been those movers and shakers who want to change things. That's how we ended segregation. That's how we got the ability to vote."
"Our veterans have done wonderful things and our armies do great things," she says, "but I also am a strong believer in change needs to happen. If anything stays the same for too long, it gets stagnant, and that's never really a good thing."
Butch Kirven, chairman of the Greenville County Council, retired as a brigadier general in the U.S. Army.
Falling short of identifying anyone or any particular subject by name, Kirven focuses on what he says are current challenges to the U.S. Constitution, which he says should be celebrated on the day of its signing, September 17, as equally as Independence Day, when the Declaration of Independence was signed in 1776.
"Our Constitution is designed to avoid the perils of extremes, but it is being sorely tested now," Kirven says. " When I see people demonstrating against the national anthem and against the United States flag, I am thankful that they have the right to do that, but at the same time, I know that this nation, like no other, gives all of us the opportunity to make right what is wrong — and that is what we should celebrate."
Mary Montgomery works for Clemson and says that, speaking as a black U.S. citizen, she feels like she and other minorities find themselves having to prove they are patriotic.
"For some people, they almost don't want to use that to define how they feel about America," she says. "If I say I'm patriotic, does that mean I have to wear the red hat? If I don't say I'm patriotic, does that mean I don't like the police? I think it is your own set of definitions."
"When I think of the word patriotism," she says, "what comes to mind to me is really freedom and the struggle to remind everyone that we are all the same. Specifically, as an African American woman, that rings really true because of the battles and the just constant push to remind everyone that we're the same and just as patriotic as anyone else."
Read or Share this story: https://www.greenvilleonline.com/story/news/2019/07/03/proud-american-patriotic-sc-residents-talk-why-they-love-usa-on-fourth-of-july-independence-day/1606172001/
Greenville deputy demoted after being caught destroying evidence
Clemson considers College Ave development but not crowd's questions
Family celebrates life of Thomas Few, Clemson student who died in a fall
Blind man, service dog turned down by SC church
1 dead in Lake Keowee drowning, 17 others have died since 1993
One dead after crashing into bridge pillar near Liberty


text:
Portsmouth, Virginia
Downtown Portsmouth
Location in the Commonwealth of Virginia
Location in the United States
Coordinates: Lua error in Module:Coordinates at line 668: callParserFunction: function "#coordinates" was not found.
None (Independent city)
Kenneth I. Wright
47 sq mi (120 km2)
34 sq mi (90 km2)
20 ft (6 m)
2,000/sq mi (780/km2)
EST (UTC-5)
EDT (UTC-4)
51-64000[1]
1497102[2]
http://www.portsmouthva.gov/
Portsmouth is an independent city located in the U.S. commonwealth of Virginia. As of the 2010 census, the population was 95,535.[3] It is part of the Hampton Roads metropolitan area.
The Norfolk Naval Shipyard, often called the Norfolk Navy Yard, is a historic and active U.S. Navy facility that is actually located in Portsmouth rather than Norfolk; the original name "Gosport" was changed to "Norfolk" to reflect its location in Norfolk County, VA. The shipyard upgrades, remodels, and repairs ships of the US Navy and is one of the few facilities in the world with the capability to dry dock an aircraft carrier.
Directly opposite Norfolk, the city of Portsmouth also has miles of waterfront land on the Elizabeth River as part of the harbor of Hampton Roads. There is a ferry boat that takes riders back and forth across the water between Downtown Norfolk and Olde Towne Portsmouth.
2 Historic sites
2.1 Olde Towne
2.2 The Hill House
2.3 Cedar Grove Cemetery
3.1 Cityscape
4 Government
5.1 Secondary schools
5.2 Higher education
6 Climate
10 Sports Teams
11 Sister cities
12 Notable people
Portsmouth is located on the western side of the Elizabeth River directly across from the City of Norfolk. In 1620, the future site of Portsmouth was recognized as suitable shipbuilding location by John Wood, a shipbuilder, who petitioned King James I of England for a land grant. The surrounding area was soon settled as a plantation community.[4]
Harbor at Portsmouth in 1843; the Naval Hospital is visible in the background
Portsmouth was founded by Colonel William Crawford, a member of the Virginia House of Burgesses.[5] It was established as a town in 1752 by an act of the Virginia General Assembly and was named for Portsmouth, England.[4]
In 1855, the Portsmouth and Norfolk area suffered an epidemic of yellow fever which killed 1 of every three citizens. It became an independent city from Norfolk County in 1858.
In 1767, Andrew Sprowle, a shipbuilder, founded the Gosport Shipyard adjacent to Portsmouth. The Gosport Shipyard at Portsmouth was owned by the Commonwealth of Virginia after the American Revolutionary War and was sold to the new United States federal government. During the American Civil War, in 1861, Virginia joined the Confederate States of America.
Fearing that the Confederacy would take control of the shipyard at Portsmouth, the shipyard commander ordered the burning of the shipyard. The Confederate forces did in fact take over the shipyard, and did so without armed conflict through an elaborate ruse orchestrated by civilian railroad builder William Mahone (soon to become a famous Confederate officer). The Union forces withdrew to Fort Monroe across Hampton Roads, which was the only land in the area which remained under Union control.
In early 1862, the Confederate ironclad warship CSS Virginia was rebuilt using the burned-out hulk of USS Merrimack. Virginia engaged the Union ironclad USS Monitor in the famous Battle of Hampton Roads during the Union blockade of Hampton Roads. The Confederates burned the shipyard again when they left in May 1862.
Following the recapture of Norfolk and Portsmouth by the Union forces, the name of the shipyard was changed to Norfolk Naval Shipyard. The name of the shipyard was derived from its location in Norfolk County. The Norfolk Naval Shipyard today is located entirely within the city limits of Portsmouth, Virginia. The Norfolk Naval Shipyard name has been retained to minimize any confusion with the Portsmouth Naval Shipyard, which itself is actually located in Kittery, Maine, across the Piscataqua River from Portsmouth, New Hampshire.
The Lightship Portsmouth is part of the Naval Shipyard Museum
Portsmouth was the county seat of Norfolk County until 1963 when the new city of Chesapeake was formed in a political consolidation with the city of South Norfolk. Portsmouth's other county neighbor, the former Nansemond County, also consolidated with a smaller city, forming the new city of Suffolk in 1974.
One of the older cities of Hampton Roads, in the early 21st century, Portsmouth was undergoing moderate urban renewal in the downtown.
The APM "MAERSK" marine terminal for container ships opened in 2007 in the West Norfolk section.
Olde Towne
The Olde Towne section features one of the largest collections of historically significant homes between Alexandria, Virginia and Charleston, South Carolina.[6] For example, located in Olde Towne is Emanuel African Methodist Episcopal Church (AME), which was built by slaves and free men and is the second-oldest building in Portsmouth and the city's oldest black church.
The city contains a number of other historic buildings, as well, including the Pass House, which was built in 1841 by Judge James Murdaugh and occupied by Union troops from 1862 to 1865. Federal forces required Portsmouth residents to obtain a written pass to travel across the Elizabeth River and beyond. These passes were issued from the English basement and thus the name "Pass House" was derived.
The Hill House
Four-story 1825 English basement home furnished entirely with original family belongings. It is evident from the furnishings that the Hill family were avid collectors and lived graciously over a period of 150 years. The house remains in its original condition, with limited renovation through the years.
Cedar Grove Cemetery
Established in 1832, Cedar Grove Cemetery is the oldest city-owned cemetery in Portsmouth. Listed on the Virginia and national registers of historic sites, the cemetery is noted for its funerary art and the civic, business, maritime, religious and military leaders who are buried there. Historical markers placed throughout the cemetery allow for self-guided tours. The cemetery is located between Effingham Street and Fort Lane in Olde Towne Portsmouth. Entrance is through the south gate to the cemetery, located on London Boulevard.
Newport News, Hampton, Portsmouth and Norfolk, Virginia from space in July 1996. (Portsmouth is in the center right portion of the photo)
Portsmouth is located at Lua error in Module:Coordinates at line 668: callParserFunction: function "#coordinates" was not found. (36.831298, -76.345641).
According to the United States Census Bureau, the city has a total area of 47 square miles (120 km2), of which 34 square miles (88 km2) is land and 13 square miles (34 km2) (28.0%) is water.[7]
Portsmouth has a long history as a port town and city. The Olde Towne Business and Historical District is located in the downtown area, where a combination of preservation and redevelopment has been underway. An example is Hawthorn Hotel & Suites at The Governor Dinwiddie Hotel, which was renovated and reopened in 2005 after being closed for more than 10 years. It has been recognized by Historic Hotels of America, a program of the National Trust for Historical Preservation that identifies hotels that have maintained their historical integrity, architecture and ambiance and provides resources for their preservation.[8] The historic hotel was named for Governor Robert Dinwiddie, who was the administrative head of the Colony of Virginia during the time Portsmouth was founded in 1752. It was largely through his efforts that Virginia survived the French and Indian War relatively well.[9] (Dinwiddie County near Petersburg was also named for him).
Other points of interest include the Portsmouth City Park, featuring the 2 ft (610 mm) narrow gauge[10] Portsmouth City Railroad with an operating Chance Rides C.P. Huntington locomotive named Pokey Smokey II. The original Pokey Smokey locomotive was built by Crown Metal Products and ran at the park for many years before being sold at auction. It now runs on the Mideast Railroad in Ederville in Carthage, North Carolina.[11][12]
Portsmouth is governed under the Council-Manager form of government. The current Mayor of Portsmouth, Virginia is Kenneth I. Wright,[13] who was elected November 2, 2010 for the remainder of the unexpired term to end December 31, 2012,[14] and re-elected on November 6, 2012.[15] The City Hall Building, located at 801 Crawford Street, is the regular meeting place of the City Council of The City of Portsmouth, Virginia. The City Council is a legislative body served by six members, elected for four-year terms.
There are three public high schools in Portsmouth, Virginia, located at three corners of the city. In the northwest section of the city, off Cedar Lane, is Churchland High School. In the downtown section of the city, off London Blvd/High Street, is I.C. Norcom High School. In the southwest section of Portsmouth, on Elmhurst Lane, is Woodrow Wilson High School.
There are a number of institutions of higher education in and within close proximity to Portsmouth. The city is home to the Tri-Cities Higher Education Center of Old Dominion University (ODU), a public research university founded in 1930 whose main campus is located in Norfolk, Virginia.[16] Portsmouth is also home to the Fred W. Beazley Portsmouth Campus of Tidewater Community College, a two-year higher education institution founded in 1968 in South Hampton Roads with additional campuses located in Chesapeake, Norfolk, and Virginia Beach.[17]
Portsmouth's mild humid subtropical climate means outdoor activities can be enjoyed year round. The weather in Portsmouth is temperate and seasonal. Summers are hot and humid with warm evenings. The mean annual temperature is 65 °F (18 °C), with an average annual snowfall of 3 inches and an average annual rainfall of 47 inches. No measurable snow fell in 1999. The wettest seasons are the spring and summer, although rainfall is fairly constant all year round. The highest recorded temperature was 105.0 °F in 1980. The lowest recorded temperature was -3.0 °F on January 21, 1985.[18][19]
Additionally, the geographic location of the city, with respect to the principal storm tracks, is especially favorable, as it is south of the average path of storms originating in the higher latitudes, and north of the usual tracks of hurricanes and other major tropical storms.[20] Snow falls rarely, averaging 3 inches (76 mm) per season.[21]
Climate data for Norfolk, Virginia (Norfolk International Airport), 1981–2010 normals, extremes 1874–present[lower-alpha 1]
(−19) 2
(86.4) 3.12
(108.2) 5.14
(82.8) 46.53
(1,181.9)
(0.5) trace 0
(0) trace 1.2
Average precipitation days (≥ 0.01 in)
10.4 9.5 10.6 10.1 10.6 9.9 11.1 10.1 8.8 7.6 8.5 9.8 117.0
Average snowy days (≥ 0.1 in)
1.6 1.3 0.4 0.1 0 0 0 0 0 0 0 0.6 4.0
Average relative humidity (%)
66.3 65.6 64.6 62.8 68.8 70.6 73.3 75.2 74.4 72.1 68.5 67.0 69.1
Mean monthly sunshine hours
171.5 175.2 229.3 252.8 271.7 280.1 278.3 260.4 231.4 208.3 175.7 160.4 2,695.1
Percent possible sunshine
Source: NOAA (relative humidity and sun 1961–1990)[22][23][24]
From the earliest development, Portsmouth has been oriented to the water. In the 1830s, it was the first community in Hampton Roads to receive a new land transportation innovation, railroad service. The Portsmouth and Roanoke Railroad, a predecessor of the Seaboard Air Line Railroad, extended to the rapids of the Roanoke River on its fall line near Weldon, North Carolina. It was to be 20 more years before its bigger neighbor, the city of Norfolk, also received a rail line, in 1858, when the Norfolk and Petersburg Railroad was completed.
Portsmouth is primarily served by the Norfolk International Airport (IATA: ORF, ICAO: KORF, FAA LID: ORF), now the region's major commercial airport. The airport is located near Chesapeake Bay, along the city limits of neighboring Norfolk and Virginia Beach.[25] Seven airlines provide nonstop services to twenty-five destinations. ORF had 3,703,664 passengers take off or land at its facility and 68,778,934 pounds of cargo were processed through its facilities.[26] Newport News/Williamsburg International Airport (IATA: PHF, ICAO: KPHF, FAA LID: PHF) also provides commercial air service for the Hampton Roads area.[27] The Chesapeake Regional Airport provides general aviation services and is located five miles (8 km) outside the city limits.[28]
In the 21st century, the city has access to lines of CSX Transportation, Norfolk Southern and three short line railroads. Portsmouth is served by Interstate 264 and Interstate 664, which is part of the Hampton Roads Beltway. U.S. Route 17 and U.S. Route 58 pass through. The Elizabeth River is crossed via the Midtown Tunnel, the Downtown Tunnel and Berkley Bridge combination.
Transportation within the city, as well as the other cities of Hampton Roads, is served by a regional bus service, Hampton Roads Transit.[29]
1930 45,704 −16.0%
1970 110,963 −3.3%
Est. 2014 96,004 [30] 0.5%
1790-1960[32] 1900-1990[33]
1990-2000[34] 2010-2013[3]
Age distribution in Portsmouth
As of the census[35] of 2010, there were 95,535 people, 38,170 households, and 25,497 families residing in the city. The population density was 3,032.7 people per square mile (1,170.9/km²). There were 41,605 housing units at an average density of 1,254.7 per square mile (484.4/km²). The racial makeup of the city was 53.3% African American, 41.6% White, 0.4% Native American, 1.1% Asian, 0.1% Pacific Islander, 1.0% from other races, and 2.6% from two or more races. Hispanic or Latino of any race were 3.1% of the population.
There were 38,170 households out of which 30.6% had children under the age of 18 living with them, 41.1% were married couples living together, 10.9% have a female household with no husband present and 33.2% were non-families. 27.5% of all households were made up of individuals and 10.8% had someone living alone who was 65 years of age or older. The average household size was 2.51 and the average family size was 3.05.
In the city the population was spread out with 25.7% under the age of 18, 11.1% from 18 to 24, 29.1% from 25 to 44, 20.3% from 45 to 64, and 13.8% who were 65 years of age or older. The median age was 34 years. For every 100 females there were 93.5 males. For every 100 females age 18 and over, there were 90.6 males.
The median income for a household in the city was $46,340, and the median income for a family was $53,769. Males had a median income of $39,871 versus $33,140 for females. The per capita income for the city was $23,108. About 13.5% of families and 16.7% of the population were below the poverty line, including 27.1% of those under age 18 and 10.8% of those age 65 or over.[36]
Portsmouth's daily newspaper is the Virginian-Pilot with The Currents being the Portsmouth edition of the Sunday paper. Other papers include the New Journal and Guide, and the Hampton Roads Business Journal.[37] Hampton Roads Magazine serves as a bi-monthly regional magazine for Portsmouth and the Hampton Roads area.[38] The Hampton Roads Times serves as an online magazine for all the Hampton Roads cities and counties. Portsmouth is served by a variety of radio stations on the AM and FM dials, with towers located around the Hampton Roads area.[39]
Portsmouth is also served by several television stations. The Hampton Roads designated market area (DMA) is the 42nd largest in the U.S. with 712,790 homes (0.64% of the total U.S.).[40] The major network television affiliates are WTKR-TV 3 (CBS), WAVY 10 (NBC), WVEC-TV 13 (ABC), WGNT 27 (CW), WTVZ 33 (MyNetworkTV), WVBT 43 (Fox), and WPXV 49 (ION Television). The Public Broadcasting Service stations are WHRO-TV 15, Hampton/Norfolk and WUND-TV 2, Edenton, NC. Portsmouth residents also can receive independent stations, such as WSKY broadcasting on channel 4 from the Outer Banks of North Carolina and WGBS-LD broadcasting on channel 11 from Hampton. Portsmouth is served by Cox Cable and Verizon FIOS. DirecTV and Dish Network are also popular as an alternative to cable television in Portsmouth. WAVY-TV and WVBT-TV are both sister stations owned by Media General and have their office and studio located in the city.
The Portsmouth Cavaliers are a basketball team founded in 2010 and scheduled to begin play in the American Basketball Association for the 2011-12 season. Based in Portsmouth, Virginia, the Cavaliers play their home games at the Chick-fil-A Fieldhouse on the campus of Portsmouth Catholic Regional School. Portsmouth is also the home of the Portsmouth Mustangs Semi-Pro Football.
Portsmouth, United Kingdom
Orizaba, Mexico
Eldoret, Kenya
Goree Island, Senegal
This section contains embedded lists that may be poorly defined, unverified or indiscriminate. Please help to clean it up to meet Wikipedia's quality standards. Where appropriate, incorporate items into the main body of the article. (September 2015)
V. C. Andrews (1923-1986), bestselling novelist[citation needed]
Ruth Brown (1928–2006), R&B singer and actress.[41]
Bebe Buell (1953-), Playboy Playmate, fashion model, singer, mother of Liv Tyler[citation needed]
John T. Casteen III (1943-), President of the University of Virginia, born in Portsmouth[citation needed]
Jamin Elliott (1979-), Former NFL Wide Receiver with the Chicago Bears, New England Patriots, and Atlanta Falcons. Member of the Super Bowl XXXVIII Champion New England Patriots team[citation needed]
Missy Elliott (1971-), recording artist, award winning producer, singer-songwriter, dancer, actress and clothing line designer[citation needed]
Perry Ellis (1940–1986), fashion designer who founded a sportswear house in the mid-1970s[citation needed]
Mordechai Gifter (1915-2001), among the foremost American religious leaders of Orthodox Jewry in the late 20th century[citation needed]
Chandler Harper, (1914–2004), winner of the 1950 PGA golf championship[citation needed]
James W. Holley, III (1926-2012), politician, first African American Mayor of any Hampton Roads City[citation needed]
Ben Jones, actor "Cooter" on The Dukes of Hazzard; United States Congressman. Moved to Portsmouth as a child.[42]
Jillian Kesner-Graver (1949-2007), actress[citation needed]
Jack T. Kirby (1938–2009), historian of the Southern United States, who was awarded the Bancroft Prize for his 2006 book Mockingbird Song: Ecological Landscapes of the South[43]
Nathan McCall (1955-), is an African-American author who grew up in the Cavalier Manor section of Portsmouth, Virginia[citation needed]
Pete Mikolajewski (1943-), American football player[44]
James Murphy (1967-), metal guitarist, who has been a member of the bands Death, Testament, Obituary and Disincarnate[citation needed]
Tommy Newsom (1929–2007), assistant bandleader for the Johnny Carson Band[citation needed]
Patton Oswalt (1965-), writer, stand-up comedian, and actor[citation needed]
Wanda Sykes (1964-), writer, stand-up comedian, and actress[citation needed]
Ted Thomas, Sr. (1935-), Pentecostal African-American preacher, pastor of New Community Temple Church of God in Christ[citation needed]
Mike Watt (1957-), American bassist, singer and songwriter[citation needed]
Dave Smith (1942-), American poet, novelist, critic, and editor[citation needed]
Nautical portal
Trains portal
Virginia portal
National Register of Historic Places listings in Portsmouth, Virginia
↑ Official records for Norfolk kept January 1874 to December 1945 at the Weather Bureau Office in downtown, and at Norfolk Int'l since January 1946. For more information, see Threadex
↑ "American FactFinder". United States Census Bureau. Retrieved 2008-01-31. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "US Board on Geographic Names". United States Geological Survey. 2007-10-25. Retrieved 2008-01-31. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ 3.0 3.1 "State & County QuickFacts". United States Census Bureau. Retrieved January 6, 2014. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ 4.0 4.1 City of Portsmouth, Virginia - History
↑ Baker, Barnabas W.; Burgess, Dean. "William Craford (d. by April 15, 1762)". Encyclopedia Virginia. Retrieved 22 June 2015. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Portsmouth, Virginia, Department of Economic Development
↑ "US Gazetteer files: 2010, 2000, and 1990". United States Census Bureau. 2011-02-12. Retrieved 2011-04-23. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Topic Galleries - dailypress.com[dead link]
↑ Robert Dinwiddie - Ohio History Central - A product of the Ohio Historical Society
↑ Pokey Smokey locomotive
↑ PilotOnline.com - Portsmouth's Pokey Smokey is sold to N.C. railroad contractor
↑ Ederville - official website
↑ "The Honorable Kenneth I. Wright - City of Portsmouth, Virginia - City Council". Retrieved July 28, 2012. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "City of Portsmouth, Virginia - Unofficial Election Results". Retrieved July 28, 2012. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "City of Portsmouth, Virginia - Voter Registration & Elections". Retrieved December 13, 2012. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "About ODU - Old Dominion University". ODU. Retrieved 2012-11-13. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "About Tidewater Community College". TCC. Retrieved 2012-11-13. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Climate information from NOAA.
↑ Maximum and minimum temperatures from Yahoo! Weather Archived November 5, 2014 at the Wayback Machine
↑ Information from NOAA.
↑ "Quick Data View Norfolk." National Oceanic and Atmospheric Administration. 1971–2000.
↑ "NowData - NOAA Online Weather Data". National Oceanic and Atmospheric Administration. Retrieved 2013-02-19. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "Station Name: VA NORFOLK INTL AP". National Oceanic and Atmospheric Administration. Retrieved 2014-03-13. Unknown parameter |deadurl= ignored (help)<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "WMO Climate Normals for NORFOLK/INTL, VA 1961–1990". National Oceanic and Atmospheric Administration. Retrieved 2014-03-10. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "Norfolk International Airport Mission and History". Norfolk International Airport. Retrieved 2007-10-02. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>[dead link]
↑ "Norfolk International Airport Statistics" (PDF). Norfolk International Airport. Retrieved 2007-10-02. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>[dead link]
↑ "Newport News/Williamsburg International Airport". Newport News/Williamsburg International Airport. Retrieved 2008-02-25. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "Chesapeake Regional Airport". Retrieved 2008-01-12. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Hampton Roads Transit
↑ "Annual Estimates of the Resident Population for Incorporated Places: April 1, 2010 to July 1, 2014". Retrieved June 4, 2015. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "U.S. Decennial Census". United States Census Bureau. Retrieved January 6, 2014. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "Historical Census Browser". University of Virginia Library. Retrieved January 6, 2014. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "Population of Counties by Decennial Census: 1900 to 1990". United States Census Bureau. Retrieved January 6, 2014. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "Census 2000 PHC-T-4. Ranking Tables for Counties: 1990 and 2000" (PDF). United States Census Bureau. Retrieved January 6, 2014. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ http://factfinder2.census.gov/bkmk/table/1.0/en/ACS/11_5YR/DP03/0500000US51740
↑ "Hampton Roads News Links". abyznewslinks.com. Retrieved 2007-08-06. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "Hampton Roads Magazine". Hampton Roads Magazine. Retrieved 2007-08-06. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "Hampton Roads Radio Links". ontheradio.net. Retrieved 2007-08-06. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Holmes, Gary. "Nielsen Reports 1.1% increase in U.S. Television Households for the 2006-2007 Season." Nielsen Media Research. September 23, 2006. Retrieved on September 28, 2007.
↑ Gulla, Bob (2008). Icons of R&B and Soul, p. 72. Greenwood Publishing Group.
↑ "Ben Jones: A Conversation". Georgia Public Broadcasting. Retrieved April 2014. Check date values in: |accessdate= (help)<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Hevesi, Dennis. "Jack T. Kirby, Southern Historian, Dies at 70", The New York Times, August 13, 2009. Accessed August 14, 2009.
↑ "PETE MIKOLAJEWSKI". profootballarchives.com. Retrieved October 30, 2015. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
Wikimedia Commons has media related to Portsmouth, Virginia.
Wikisource has the text of a 1911 Encyclopædia Britannica article about Portsmouth, Virginia.
City of Portsmouth municipal website
Children's Museum of Virginia website
Portsmouth Art & Cultural Center website
The Virginia Sports Hall of Fame & Museum website
Portsmouth City Park - official website
Olde Towne Portsmouth | Shop, Dine, Stay, Experience
Hampton Roads Economic Development Alliance - serving Portsmouth
City of Suffolk City of Norfolk
City of Chesapeake City of Chesapeake City of Chesapeake
Virginia Beach-Norfolk-Newport News Metropolitan Area
James City
South Hampton Roads
Virginia Peninsula
Battle of Hampton Roads
Note: Italic indicates independent city not part of any county
Commonwealth of Virginia
Richmond (capital)
Middle Peninsula
Southwest Virginia
Tennessee Valley
Blacksburg-Christiansburg-Radford
Staunton-Waynesboro
Norfolk-Virginia Beach
Washington-Arlington-Alexandria
Accomack
Botetourt
Dickenson
Greensville
Pittsylvania
Rappahannock
Rockbridge
Retrieved from "https://infogalactic.com/w/index.php?title=Portsmouth,_Virginia&oldid=60903"
Pages with citations using unsupported parameters
Articles that mention track gauge 610 mm
Articles needing cleanup from September 2015
Wikipedia list cleanup from September 2015
Cities in Virginia
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All pages needing cleanup


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text:
Artists at Rome's Opera House
By Andy Devane.
The artistic legacy of Teatro dell'Opera di Roma is brought to life in a sumptuous exhibition at Palazzo Braschi in Rome
When he became sovrintendente of Rome's opera house in 2013, Carlo Fuortes was "astounded" to discover a lavish but little-known story of opera intertwined with major Italian and international artists whose work had enriched the opera house since it opened in 1880. Fuortes vowed that one day the public would be given a look behind the velvet curtain to learn of this rich heritage and the crafts that sustain it.
The result, four years later, is Artisti all'Opera, a sumptuous exhibition at Palazzo Braschi. It features an impressive list of painters, fashion designers and film directors – including Pablo Picasso, Valentino, Sofia Coppella and William Kentridge – who have collaborated with the capital's opera house over the last 137 years.
The exhibition also tells a tale of modern Rome, a tapestry of prevailing artistic and political trends, a mixture of history and culture played out against some of the most beautiful music the world has ever known. The curators, led by Gian Luca Farinelli, had to choose from the Teatro dell'Opera di Roma archive, a treasure trove boasting 80,000 costumes and 11,000 sketches and maquettes.
Lured by the strains of opera music, which alternates room by room, visitors are confronted immediately with a plaster bust of Domenico Costanzi, the entrepreneur and founder of Rome's opera house, peeping out of a wicker basket of props. His self-financed Teatro Costanzi on the Viminal hill was inaugurated in 1880 with a performance of Rossini's Semiramide, in the presence of Italy's king and queen.
Artisti all'Opera begins with a bust of Domenico Costanzi.
A decade later Rome took the opera world by storm when it premiered Pietro Mascagni's Cavalleria Rusticana, whose runaway success established the theatre's reputation as a shrine to verismo opera. The exhibition features a highly-ornate painted cart donated by Sicily in 1940 on the 50th anniversary of Mascagni's masterpiece. Also on display is the costume worn by Daniela Dessì in a 1995 production of Mascagni's Iris, more than a century after its Rome premiere in 1890.
Next is a room dedicated to Mariano Fortuny and Caramba, the pioneering costume and set designers. Caramba's peacock-feather cloak for Amneris from Verdi's Aida is shown alongside the duo's jester outfit from Verdi's Un ballo in Maschera, both from 1931.
Another room is devoted to Giacomo Puccini, whose Tosca received its international premiere in Rome on 14 January 1900. Despite eventually becoming one of the world's most performed operas, Tosca was slated by critics of the day, who decried Puccini's radical departure in style. Visitors to Palazzo Braschi can admire Camillo Parravicini's masterful watercolour design for the Tosca set, dated 1928, as well as the red and emerald gown worn by Maria Callas in 1948.
There are reproductions of Picasso's original 29 mixed-media costume designs for Parade, staged by Sergei Diaghilev's Ballets Russes in Rome in 1920. They are shown alongside the finished pieces whose zigzag frills, stripes and circles contain strong cubist elements. Picasso created the designs three years earlier in Rome where he met his future wife, the ballet's first dancer Olga Khokhlova. Incidentally, Picasso's immense canvas back-drop for Parade was on display until late January at Rome's Palazzo Barberini, as part of a separate exhibition.
Costumes designed by Pablo Picasso were used in a 1954 production of Parade. Photo Yasuko Kageyama.
In 1926 the city assumed responsibility for Teatro Costanzi and, following enlargement and restructuring, the newly-rechristened Teatro Reale dell'Opera was inaugurated on 27 February 1928 with a production of Nerone by Arrigo Boito. The set and costumes for the production were designed by Dulio Cambellotti who was among a handful of artists that conformed to a classical approach as part of the fascist desire to broaden opera's mass appeal. Paintings on show at Palazzo Braschi include Cambellotti's small but powerful depiction of Lady Macbeth, from 1933, Felice Casorati's Ecuba with its sun-baked umber shades, from 1941, and the whimsical 1943 designs by Filippo De Pisis for La Rosa del Sogno.
Baths of Caracalla
After emigrating from the Soviet Union in 1923 following several years at the Mariinsky Theatre, Nicola Benois designed 26 productions for the Rome opera house before assuming the role of principal scenographer at La Scala in 1935. His costumes for Aida were used during Rome's summer opera programme in 1939 at the Baths of Caracalla. The open-air summer shows were part of the fascist Teatro del popolo campaign, which was so successful that seating was increased from 8,000 in 1937 to 20,000 the following year. The annual programme endures, with much success, to this day.
Italian Futurist Enrico Prampolini sought to modernise scenography; transforming the traditionally static background into a moving structure, infused with lighting and sound effects. His designs and paintings for the Rome opera house range from 1931 to 1953 and illustrate his innovative theatrical vision. A highlight is the Figurino per gnomo: a mighty, rotund gnome with flowing white beard, parrot on a stick and leaf-motif cloak.
Il castello nel bosco bozzetto by Enrico Prampolini.
One of the exhibition's more exotic sections is a small corridor occupied by Mirko Basaldella's painted papier-mâché masks, colourful and wondrous, created for Création du Monde in 1955. On the opposite wall his brother Afro's costume designs for Memorie dall'Ignoto (1958-59) surge out of a black background, stark and strong.
Next door a grand hall is dominated by a 15-m long canvas of Othello Act I by the metaphysical master Giorgio de Chirico, alongside more than a dozen of his painted designs for stage and costumes, all dating from 1964. A costume highlight is de Chirico's astrologer outfit for Vittorio Rieti's ballet Le Bal, evoking the Little Prince illustrations of Saint-Exupéry.
Giorgio de Chirico's designs for the Teatro dell'Opera di Roma production of Othello in 1964.
Rome's opera house, which dropped the "Reale" from its title in 1946 following the end of the monarchy, continued to collaborate with major Italian artists in the post-war era. Renato Guttuso's 1966 series of paintings for Stravinsky's The Rite of Spring includes a floral scene with a human skull partially obscured by lush blooms, and a joyous depiction of nudes swirling in a mid-summer dell. Guttuso's costume highlight is arguably the black felt and gold sequins matador-style outfit, worn by Roman baritone Giangiacomo Guelfi in 1970.
Exhibition organisers pay tribute to the celebrated director Luchino Visconti and his 1965 production of Don Carlo, whose ermine-trimmed cape is on display opposite the hulking antler-affixed outfit for Falstaff, directed by Visconti's prize pupil Franco Zeffirelli.
The work of Lila De Nobili, in fabric and on paper, resonates beauty. Blossom pink, fern green and primrose yellow, her costumes for Rossini's Le Roi des Gourmets (1964) include flamboyant headpieces, bonnets and feathered caps, while her 16 miniature paintings are the product of an assured and delicate hand.
Lila De Nobili's costumes for Rossini's Le Roi des Gourmets.
Giacomo Manzù's relatively spare designs for Stravinsky's Oedipus Rex in 1963 are offset by the red, white and black "props-mobile" by American artist Alexander Calder, part of his experimental 19-minute Work in Progress in 1967. Alberto Burri's unconventional backdrop for Tōru Takemitsu's November Steps in 1972 featured the projection of a cracking white surface, while in 1979 artist Mario Ceroli had fun with Puccini's western La Fanciulla del West, designing cowboy costumes for a stage furnished with branches and straw.
Since the 1990s the opera house has collaborated with top Italian fashion designers such as Giorgio Armani, reinforcing the Made in Italy brand. An exhibition highlight is the crimson dress designed by Valentino and worn by Francesca Dotto in her role as Violetta in Verdi's Traviata directed by Sofia Coppola in 2016. Not only was Coppola's debut as an opera director a major coup for Rome; it also generated the highest box office takings in the theatre's history.
Valentino designed the costume for La Traviata, directed by Sofia Coppella in 2016.
The current stable of artists include Gianluca Toccafondo, an animator and illustrator from San Marino, whose eye-catching Artisti all'Opera posters can be seen around the capital this winter. Toccafondo also has a background in television and advertising, and has created promotional images for Rome's opera house since its 2014 season.
Foreign directors
The exhibition concludes with footage from recent high-profile productions, many of them by foreign directors, including a contemporary reworking of Così fan tutte by Britain's Graham Vick, Benvenuto Cellini with the anarchic touch of American-born Terry Gilliam, and Lulu with more than 500 projected ink drawings by South Africa's William Kentridge.
Lulu by William Kentridge, May 2017.
This exhibition at Palazzo Braschi consolidates Italy's excellence in opera and art, allowing visitors to observe up close everything that is normally seen from far away. It also pays homage to generations of craftspeople who succeeded in interpreting artists' elaborate designs into costumes and stage sets. Today's carpenters and tailors work in a three-storey workshop – a former pasta factory at the Tiber end of Rome's Circus Maximus – where their predecessors have worked since the early 1930s.
Since becoming sovrintendente four years ago, Fuortes has not only managed to increase the audience and balance the budget; he has combined the classical traditions of the past with the innovations of today, raising the profile of the capital's opera house to a new international standing.
Artisti all'Opera runs until 18 March at Palazzo Braschi, Piazza S. Pantaleo 10 (Piazza Navona).
This article was published in the January 2018 edition of Wanted in Rome magazine.
Address Piazza di S. Pantaleo, 10, 00186 Roma RM, Italy
Website http://www.museodiroma.it/sede/palazzo_braschi
Piazza di S. Pantaleo, 10, 00186 Roma RM, Italy
Wanted in Rome is a monthly magazine in English for expatriates in Rome established in 1985. The magazine covers Rome news stories that may be of interest to English and Italian speaking residents, and tourists as well. The publication also offers classifieds, photos, information on events, museums, churches, galleries, exhibits, fashion, food, and local travel.
Previous article Rome's carnival celebrations at risk
Next article Major expansion for Rome's Campus Bio-Medico University
Raphael's Transfiguration in the Vatican Museums
Preci: Italy's mediaeval village of surgeons
Rome: Piazza Navona's underground stadium
Bacon and Freud in Rome exhibition
Greccio: home of the world's first Nativity scene
Christmas and New Year in Rome
Birdwatching in Rome gardens
Renting an apartment in Rome
Exploring the villages of Sabina north of Rome
The Myth of San Michele on the Isle of Capri
Where have ancient Rome's buildings gone?
Dealing with red tape in Italy
Villa of Livia: Rome's very first First Lady
United Nations holds exhibition by refugee artists at Venice Biennale
Golden Gala returns to Rome


text:
> Google Cloud Vision Client Library for Node.js

> **This is a Beta release of Google Cloud Vision.** This feature is not covered by any SLA or deprecation policy and may be subject to backward-incompatible changes.

*Looking for more Google APIs than just Vision? You might want to check out [`google-cloud`][google-cloud].*

- [API Documentation][gcloud-vision-docs]
- [Official Documentation][cloud-vision-docs]

```sh
$ npm install --save @google-cloud/vision
```
```js
var vision = require('@google-cloud/vision')({
  projectId: 'grape-spaceship-123',
  keyFilename: '/path/to/keyfile.json'
});

// Read the text from an image.
vision.detectText('./image.jpg', function(err, text) {
  // text = [
  //   'This was text found in the image',
  //   'This was more text found in the image'
  // ]
});

// Detect faces and the locations of their features in an image.
vision.detectFaces('./image.jpg', function(err, faces) {
  // faces = [
  //   {
  //     angles: {pan,tilt,roll},
  //     bounds: {
  //       head: [{x,y},{x,y},{x,y},{x,y}],
  //       face: [{x,y},{x,y},{x,y},{x,y}]
  //     },
  //     features: {
  //       confidence: 34.489909,
  //       chin: {
  //         center: {x,y,z},
  //         left: {x,y,z},
  //         right: {x,y,z}
  //       },
  //       ears: {
  //         left: {x,y,z},
  //         right: {x,y,z}
  //       },
  //       eyebrows: {
  //         left: {
  //           left: {x,y,z},
  //           right: {x,y,z},
  //           top: {x,y,z}
  //         },
  //         right: {
  //           left: {x,y,z},
  //           right: {x,y,z},
  //           top: {x,y,z}
  //         }
  //       },
  //       eyes: {
  //         left: {
  //           bottom: {x,y,z},
  //           center: {x,y,z},
  //           left: {x,y,z},
  //           pupil: {x,y,z},
  //           right: {x,y,z},
  //           top: {x,y,z}
  //         },
  //         right: {
  //           bottom: {x,y,z},
  //           center: {x,y,z},
  //           left: {x,y,z},
  //           pupil: {x,y,z},
  //           right: {x,y,z},
  //           top: {x,y,z}
  //         }
  //       },
  //       forehead: {x,y,z},
  //       lips: {
  //         bottom: {x,y,z},
  //         top: {x,y,z}
  //       },
  //       mouth: {
  //         center: {x,y,z},
  //         left: {x,y,z},
  //         right: {x,y,z}
  //       },
  //       nose: {
  //         bottom: {
  //           center: {x,y,z},
  //           left: {x,y,z},
  //           right: {x,y,z}
  //         },
  //         tip: {x,y,z},
  //         top: {x,y,z}
  //       }
  //     },
  //     confidence: 56.748849,
  //     blurry: false,
  //     dark: false,
  //     happy: false,
  //     hat: false,
  //     mad: false,
  //     sad: false,
  //     surprised: false
  //   }
  // ]
});

// Promises are also supported by omitting callbacks.
vision.detectFaces('./image.jpg').then(function(data) {
  var faces = data[0];
});

// It's also possible to integrate with third-party Promise libraries.
var vision = require('@google-cloud/vision')({
  promise: require('bluebird')
});
```

## Authentication

It's incredibly easy to get authenticated and start using Google's APIs. You can set your credentials on a global basis as well as on a per-API basis. See each individual API section below to see how you can auth on a per-API-basis. This is useful if you want to use different accounts for different Google Cloud services.

### On Google Compute Engine

If you are running this client on Google Compute Engine, we handle authentication for you with no configuration. You just need to make sure that when you [set up the GCE instance][gce-how-to], you add the correct scopes for the APIs you want to access.

``` js
// Authenticating on a global basis.
var projectId = process.env.GCLOUD_PROJECT; // E.g. 'grape-spaceship-123'

var vision = require('@google-cloud/vision')({
  projectId: projectId
});

// ...you're good to go!
```

### Elsewhere

If you are not running this client on Google Compute Engine, you need a Google Developers service account. To create a service account:

1. Visit the [Google Developers Console][dev-console].
2. Create a new project or click on an existing project.
3. Navigate to  **APIs & auth** > **APIs section** and turn on the following APIs (you may need to enable billing in order to use these services):
  * Google Cloud Vision API
4. Navigate to **APIs & auth** >  **Credentials** and then:
  * If you want to use a new service account, click on **Create new Client ID** and select **Service account**. After the account is created, you will be prompted to download the JSON key file that the library uses to authenticate your requests.
  * If you want to generate a new key for an existing service account, click on **Generate new JSON key** and download the JSON key file.

``` js
var projectId = process.env.GCLOUD_PROJECT; // E.g. 'grape-spaceship-123'

var vision = require('@google-cloud/vision')({
  projectId: projectId,

  // The path to your key file:
  keyFilename: '/path/to/keyfile.json'

  // Or the contents of the key file:
  credentials: require('./path/to/keyfile.json')
});

// ...you're good to go!
```

[google-cloud]: https://github.com/GoogleCloudPlatform/google-cloud-node/
[gce-how-to]: https://cloud.google.com/compute/docs/authentication#using
[dev-console]: https://console.developers.google.com/project
[gcloud-vision-docs]: https://googlecloudplatform.github.io/google-cloud-node/#/docs/vision
[cloud-vision-docs]: https://cloud.google.com/vision/docs

redpajama_set_name: RedPajamaGithub


What about the draby Old Testament, is it not full of myths and legends?
Well, are you presupposing the non-existence of miracles or are you taking all the evidence into account and then forming your conclusion? What does history say of the historicity of the old Testament?
Does the history of the ancient Israel match with the surrounding cultures, do they make sense in context? Is there contextual evidence that backs up names and dates of events enumerated within the Old Testament? What about the manuscripts? Does the archaeological findings support or delineate from the Old Testament narrative?
Starting with Noah, the flood narrative is in nearly every ancient tradition, the Bible having the least amount of legendary fluff and the most intricate details allowing for it to be the more accurate depiction (and there are geological evidence of a flood of that magnitude).
Abraham, archaeology has unveiled that at the time Abraham lived, the names of him, his sons, and others depicted were names specific to that time frame and no other surrounding it giving credence to the narrative as well as the existence of cities, rulers and other such collaborative evidences.
The exodus has many archaeological findings supporting it from Pharaoh's army in the bottom of the red sea to existence and then absence of Israel as slave labor in Egypt, to the travails into the Arabian desert and the entrance into Palestine. Indeed the Hittite nation, once thought to never have existed, now has so much supportive evidence through archaeology that you may now obtain a Master's degree in the history of the Hittite nation.
Saul, David, Solomon, Solomon's palace and great riches, the invasion of Assyria and the failed siege of Jerusalem, the captivity of Babylon and the rise of the Medes and Persians...these are but a few more examples of events in the Old Testament that have great archaeological support to back their 'tales'.
Although not as numerous as the New Testament manuscripts, we are talking about books written about a history of between four thousand and twenty-five thousand years ago. Much, much older than the New Testament. None-the-less, we have more than 700 ancient manuscripts, perhaps the most important being the Dead Sea Scroll manuscripts of which the earliest dating is 125 BC.
One of the most amazing things is, of some of the earliest manuscripts, one is of the text in Isaiah that prophecies about the coming messiah, Jesus, before Jesus' birth.
Then there are Old Testament prophecies, even those outside of those that testifies to Jesus' coming. For instance Daniel prophecied around 500 BC (A time where Rome just barely became a City-State) the fall of Babylon, the rise of the Medes and Persians, their demise and the rise of the Greeks followed by the Romans and then the rise of the Church and the fall of the last great empire. All of this before Rome even became an important city on the map.
Archaeology has just begun to unearth evidence supporting the Old Testament, and perhaps one of the greatest proofs so far is the utter absence of evidence contradicting the Old Testament narratives - as well as those that once were thought to contradict now have been found not to contradict but with further digging has come to support the Old Testament "myths".
Let us not follow the conclusion to color the evidence, but let us follow the evidence to find a conclusion.