text:
Ilić is a surname derived from the South Slavic masculine given name Ilija (itself derived from biblical Elijah) and found across the former SFRJ. It is seventh most frequent surname in Serbia. Notable people with the surname include:

Marija D. Ilić (born 1951), American electrical engineer
Dan Ilic (born 1981), Australian TV presenter, comedian, film maker
Milica Ilić (born 1981), Australian classical guitarist
Grgo Ilić (1736 – 1813), Bosnian Franciscan and a bishop
Danilo Ilić (1891–1915), Bosnian journalist and co-conspirator in the assassination of the Archduke Franz Ferdinand of Austria
Vladimir Ilić (born 1982), Montenegrin footballer
Branko Ilić (born 1983), Slovenian footballer
Brana Ilić (born 1985), Serbian footballer
Bogdan Ilić (born 1996), Serbian YouTuber, rapper, gamer and entertainer
Dejan Ilić (born 1976), Serbian footballer
Jovan Ilić (1824–1901), Serbian poet, father of Vojislav Ilić
Marija Ilić, Serbian footballer
Marko Ilić (footballer, born 1985), Serbian football midfielder
Marko Ilić (footballer, born 1998), Serbian football goalkeeper
Milovan Ilić Minimaks (1938–2005), Serbian radio and TV journalist
Mile Ilić (born 1984), Serbian basketball player
Miroslav Ilić (born 1950), Serbian singer-songwriter
Petar Ilić (born 1993), Serbian footballer
Radiša Ilić (born 1977), Serbian football goalkeeper
Stefan Ilić (born 1995), Serbian footballer
Tatjana Ilić (born 1966), Serbian artist
Teodor Ilić Češljar (1746–1793), Serbian painter
Velimir Ilić (born 1951), Serbian politician
Vojislav Ilić (1862–1894), Serbian poet, son of Jovan Ilić
Mirko Ilić (born 1956), Yugoslavian graphic designer based in New York
Vanja Ilić (swimmer) (born 1927), Yugoslavian Olympic swimmer
Aleksandar Ilić (disambiguation), several people
Ivan Ilić (disambiguation), several people
Saša Ilić (disambiguation), several people

See also
Illich

References

Croatian surnames
Serbian surnames
Patronymic surnames
Montenegrin surnames
Bosnian surnames

de:Ilić
fr:Ilić
ja:イリッチ

redpajama_set_name: RedPajamaWikipedia


Leave your catfights and insults at the door please, MasterChef Australia returns to TEN on Monday May 7.
It suggests TEN is confident that MKR will have a grand final on Sunday May 6 (that's unconfirmed but looks to be on the money). This would see it compete with House Rules expected return….and maybe even Olivia?
After searching the far corners of the country for Australia's best amateur cooks, the brave, confident and fearless will stand together, facing a massive judges' audition process, which will leave only the very best 24 home cooks standing.
MasterChef Australia promises a season full of surprises and boasts some of Australia's and the world's best chefs including Maggie Beer, Curtis Stone, Adriano Zumbo and domestic goddess Nigella Lawson. And for the first time, internationally renowned Michelin-starred chef Gordon Ramsay will enter the kitchen, keen to keep the Top 24 contestants on their toes.
Monday, 7 May at 7.30pm and continues Tuesday, Wednesday and Thursday.
Cant wait and Im looking forward to Gordon and what he does and also see what ridiculous things the contestants have to make in the elimination challenges.
Love the show, a viewer since day dot. But am worried it's run its race and may head back into 2013 (600-700k) territory?
House Rules was surprisingly dominant over The Voice / MasterChef last year.
Unless MKR does an elimination every night, I can't see it finishing by then? Which means Ten will have to do some amendments.
With MKR, ridiculous a show that starts in January finishes in May!
The flamboyant judge on House Rules does it so much better than Preston.
Sorry, Jamie is the other Supermarket ! I just wish the judges would somehow make the contestants more accountable for wastage. In the real world, making each dish three times before you get it right would send any restaurant broke. Then they are awarded high praise as if they are great. Look in the bin !
& They should definitely ban 'deconstructed' dishes. It is a big part of being a chef, to know and display balanced quantities of each element. Allowing messy looking piles of food , lets the contestant get away without balancing the whole dish, especially if near the finals.
I imagine that any food not used would be demolished by the crew, provided it hasn't hit the bin first. But I agree, an awful lot of food seems to be wasted. And what happens to that pile of fresh ingredients in the pantry that's not chosen to use?
They have used Foodbank and Second Bite to recycle.
I like Maggie Beer, she is always sweet to the contestants. But her products are a total rip off & exhorbitantly expensive. Can't imagine who can afford to buy them.
If you mean Nigella Lawson she is on this year.


Yeah, we're thinking he's got a Starz subscription. The universe of John Wick is about to blow up, as Starz confirms that a Continental TV series based on the infamous assassins' hotel is officially in the works with Keanu Reeves producing.
'The Continental' series will be set in the John Wick universe, focusing on the inner workings of the exclusive Continental Hotel which serves as a refuge for assassins. Collins expands the universe in the series by focusing on the Continental Hotel and those who find refuge under its roof. Set in a hyper-real version of Los Angeles, the series maintains the urgency of the action along with the dry humor from the John Wick movies.
Look at 'Battle of the Bastards.' As an action designer, I think that's the best battle I've ever seen on TV. They did a great job, and they weren't careless with their money. They planned it, they boarded it — you watch the behind-the-scenes, [it's clear] the guys did everything right.
Granted, they're the biggest budgeted show on TV right now, but could we do something interesting with 'John Wick' with what we have? Yeah. I'd like to give it a go and prove to the TV world that you can have feature action on a TV show. It would be a nice little feather in my cap, sure.
No explicit premiere window was given for The Continental, but stay tuned for the latest on our John Wick TV series.


A very toxic anthracycline aminoglycoside antineoplastic isolated from Streptomyces peucetius and others, used in treatment of leukemia and other neoplasms.
Daunorubicin has antimitotic and cytotoxic activity through a number of proposed mechanisms of action: Daunorubicin forms complexes with DNA by intercalation between base pairs, and it inhibits topoisomerase II activity by stabilizing the DNA-topoisomerase II complex, preventing the religation portion of the ligation-religation reaction that topoisomerase II catalyzes.
Twenty-five percent of an administered dose of daunorubicin hydrochloride is eliminated in an active form by urinary excretion and an estimated 40% by biliary excretion.
(R)-warfarin The metabolism of (R)-warfarin can be decreased when combined with Daunorubicin.
(S)-Warfarin The metabolism of (S)-Warfarin can be decreased when combined with Daunorubicin.
2-Methoxyethanol The risk or severity of adverse effects can be increased when Daunorubicin is combined with 2-Methoxyethanol.
3,5-diiodothyropropionic acid The metabolism of 3,5-diiodothyropropionic acid can be decreased when combined with Daunorubicin.
4-hydroxycoumarin The metabolism of 4-hydroxycoumarin can be decreased when combined with Daunorubicin.
5-androstenedione The metabolism of 5-androstenedione can be decreased when combined with Daunorubicin.
6-Deoxyerythronolide B The metabolism of Daunorubicin can be decreased when combined with 6-Deoxyerythronolide B.
6-O-benzylguanine The metabolism of 6-O-benzylguanine can be decreased when combined with Daunorubicin.
7-ethyl-10-hydroxycamptothecin The metabolism of 7-ethyl-10-hydroxycamptothecin can be decreased when combined with Daunorubicin.
9-(N-methyl-L-isoleucine)-cyclosporin A The risk or severity of adverse effects can be increased when Daunorubicin is combined with 9-(N-methyl-L-isoleucine)-cyclosporin A.
Sylvie Pinnert, Leon Ninet, Jean Preud'Homme, "Antibiotic daunorubicin and its preparation." U.S. Patent US3989598, issued March, 1965.
This compound belongs to the class of organic compounds known as anthracyclines. These are polyketides containing a tetracenequinone ring structure with a sugar attached by glycosidic linkage.
This enzyme is required for electron transfer from NADP to cytochrome P450 in microsomes. It can also provide electron transfer to heme oxygenase and cytochrome B5.


text:
Adelaide Alsop Robineau (* 1865 in Middletown, Connecticut; † Februar 1929 in Syracuse, New York) war eine US-amerikanische Porzellanmalerin und Keramikerin. Sie wird als eine der zu ihrer Zeit bedeutendsten Keramikerinnen in den USA angesehen.

Leben

Ausbildung
Adelaide Alsop interessierte sich schon früh für Zeichenkunst sowie insbesondere für Porzellanmalerei. Als junge Frau unterstützte sie ihre Familie, indem sie in dem Internat, in dem sie selbst einst Schülerin war, Zeichnen und Aquarellmalerei unterrichtete. Während der Sommerferien besuchte sie selbst einen Kurs des Künstlers William Merritt Chase. Dies stellte zunächst ihre einzige Erfahrung künstlerisch professioneller Ausbildung für Malerei und Zeichnen dar. Später studierte sie bei Charles Binns an der Alfred University und bei Taxile Doat Keramik.

1899 heiratete sie Samuel E. Robineau, einen französischen Keramikexperten, der zugleich der Herausgeber des Magazins Old China war. Das Paar hatte drei Kinder.

Keramik
Adelaide Robineau und ihr Ehemann gaben ab 1899 die Zeitschrift Keramic Studio heraus, die sich an Keramikkünstler wendete und bis 1919 erschien. Nach wenigen Jahren wurde Robineau die alleinige Herausgeberin der Zeitschrift. Zur selben Zeit zog das Paar nach Syracuse, New York, um; sie bezog dort ein von der Architektin Katharine Budd gestaltetes Haus. Später wurde daneben ein Keramikatelier gebaut. Robineau unterrichtete Porzellanmalerei und Keramik in der Schule Four Winds Pottery School. Zudem verkaufte sie Aquarelle und Keramik.

Um 1901 wendete sie sich ganz der Keramik zu, obwohl sie sich zu der Zeit bereits einen Ruf als Künstlerin der Porzellanmalerei erworben hatte. Sie war überzeugt davon, das Aufglasurmalerei, eine damals verbreitete Technik, ein falscher Ansatz war, weshalb sie mit alternativen Techniken experimentierte. Sie arbeitete in erster Linie mit Porzellan, experimentierte aber auch mit amerikanischen Tonen, um echtes hochgebranntes Porzellan zu entwickeln. Zudem variierte sie viele verschiedene Formen, Dekore und Glasuren, wobei sie häufig mehrfarbige, opalisierende und irisierende Glasuren verwendete. Ihre späten Werke zeigen Einflüsse des Jugendstils und des Japonismus', indem sie stilisierte botanische und Tiermotive verwendete. Zu einer Zeit, als ins Bewusstsein drang, dass viele anerkannte Porzellanmaler mit Vorlagen anderer Urheber arbeiteten, bewältige sie alle Phasen des keramischen Prozesses vom Töpfern und Modellieren der Gefäße bis hin zur Bemalung selbständig. Einige Details ihrer Stücke hat sie sehr fein gearbeitet, indem sie Häkelnadeln und Zahnarztwerkzeug dafür einsetzte.

Viele der Werke von Robinau sind Behältnisse. Darunter ist auch ihre bekannteste Arbeit, die Skarabäus-Vase. Dies ist eine hohe, mit Graffito verzierte Porzellanvase, deren Herstellung 1910/1011 über 1000 Stunden in Anspruch nahm. Im Jahr 2000 wurde diese vom Magazin Art & Antiquities als das wichtigste keramische Werk der letzten 100 Jahre bezeichnet.

Robineau unterrichtete sowohl an der Syracuse University (1920–1929) als auch an der Art Academy of People's University, einer von Edward Gardner Lewis in Missouri gegründeten Institution.

Vor ihrem Tod entwarf und fertigte sie eine Urne, die ihre und die Asche ihres Ehemanns enthält.

Ihre Werke befinden sich u. a. in den Sammlungen folgender Museen: Metropolitan Museum of Art, Everson Museum of Art, Detroit Institute of Arts, Cranbrook Art Museum.

Literatur
 Peg Weiss (Hg.): Adelaide Alsop Robineau: Glory in Porcelain. Syracuse University Press, 1981.
 "Only an Artist." Adelaide Alsop Robineau, American Studio Potter. 2006.

Weblinks

 Komplett digitalisierte Ausgabe der Zeitschrift Keramic Studio in: The Smithsonian Institution

Einzelnachweise

Porzellanmaler
Keramiker
US-Amerikaner
Geboren 1865
Gestorben 1929
Frau


text:
Strengthening Interdisciplinary Exchange
Sto Foundation sponsors doctoral position at TU Berlin in the field of architectural psychology
What effect does architecture have on people? That is one of the pivotal questions in the field of architectural psychology. Certified psychologist Gudrun Rauwolf has some answers. As a doctoral candidate at the Technical University (TU) of Berlin, Institute for Architecture, Faculty VI Planning, Building and Environment, she has been researching the subject since September 2019. She previously worked as a research assistant at the Institute for Psychology & Ergonomics at TU Berlin.
Rauwolf's doctoral studies are supported by the non-profit Sto Foundation. Together with TU Berlin, it is sponsoring this doctoral position, which is unique in Europe, and will provide a total of €150,000 over the next three years.
Prof. Dr.-Ing. Jörg H. Gleiter, head of TU Berlin's Architectural Theory department, is working with the doctoral candidate. "Architectural psychology remains a black hole of architecture", he explains, adding: "There are no theoretical principles regarding the way material, surfaces, shapes and spaces interact with each other on different levels and what effect they have on people". To make sure that this changes, TU Berlin plans to expand this field of study with additional research projects and to permanently teach and research it.
In this interview, certified psychologist Gudrun Rauwolf discusses the subject of her research.
Ms. Rauwolf, architectural psychology deals with the awareness of the complex effect of architecture, cities and environment on the psychological and physical well-being of human beings. What exactly does that mean?
We are spending our entire lives in a constructed environment. Even the "natural" environment is shaped by the design efforts of humans. That is an crucial influence on the way we experience things and how we behave – and we play an active and a passive role in this process. That is exactly what architectural psychology studies. Our constructed environment does not just impact our physical and psychological well-being, it also influences how well we learn and work and how we interact socially with each other. For example, spatial structures can foster interaction or provide privacy.
Do you have a specific example that allows laypersons to understand your research?
A study by Roger Ulrich from 1984 is very illustrative. It proved that patients recover differently from surgery depending on the view from their room. Those in hospital rooms with views of green trees needed fewer painkillers, felt better and recovered more quickly than the control group which had a window facing a wall. This study triggered further architectural psychological research and fostered evidence-based design research in the health care sector.
Why is the effect of architecture on humans so important? What does it do to the user?
When we are talking about the impact of architecture on people, then we first describe a reactive role, i.e. that we are at its mercy. But it is also important to think about the active role, meaning the appropriation of a room and adapting it to one's needs. Gibson's psycho-ecological theory of perception is helpful in this regard: Humans are shaped by their environment but, by actively extracting information, they intentionally also interact with their environment and impact it.
The users of public facilities in particular cannot adapt these rooms to their needs at will. In that case, anybody who participates in the decision-making, design, planning and construction of these facilities shares a major responsibility. It is especially useful to apply the available architectural psychological methods in these cases in order to anticipate the effects and uses. Changes that have to be made later cost much more than interventions during the planning phase.
Many people are still unfamiliar with this field. Why is it only being researched now?
The impulse to establish modern architectural psychology as a field of research and a branch of environmental psychology originated in the 1960s when society became aware of social and ethical issues in the cities.
There are now additional challenges – caused by the necessity of life cycle-oriented planning, greater flexibility in the world of work, digitalisation and connectedness. "Adaptive architecture" – meaning buildings that adapt to their surroundings, objects and users and can be optimised by them, or that can be controlled based on internal data – is developing into a multidisciplinary field. This provides an opportunity for a productive dialogue between the different disciplines of architecture, urban planning, IT, psychology, sociology, medicine, ecology and economics.
Why did you apply for this doctoral position? What makes architectural psychology so interesting to you?
As a certified set designer, I designed rooms that were intensely focused on a play – but it was part of an "artificial" production. When studying psychology, I got to know the empiric side of space and not the poetic side. Connecting empiric research, architectural theory and design practice is very important to me. How do spaces, objects and visual displays control processes and create meaning and interpretation in our behaviour and the way we experience things through their specific presence? These are central questions that have to be researched. I'm working on making design expertise usable across many disciplines. My doctoral position is rooted in the field of architectural theory. Using a transdisciplinary approach, it applies my scientific and artistic interests to the interplay between spatial and environmental effects and design very well.
Architecture is a broad field. On what types of building does your research focus?
At the start of my work, I am researching educational facilities and healthcare buildings. I believe that education, health and spatial orientation are of great social importance. In the field of empiric educational research, psychology has played an important role when examining the quality of educational processes and it has advanced the debate on new didactic concepts. In light of the school construction wave in Berlin, it seems like a good time to try out hypotheses and initiate empirical studies.
In healthcare buildings, on the other hand, complex organisational patterns that combine something very private with a workplace meet a very high degree of technologisation. The goal is to not only optimally support the staff in its efforts to provide flawless medical care but also the therapeutic processes of the patients. The length of a patient's stay and their well-being, use of medication and the time required for care can all be influenced by architecture. Architectural psychology can play its part by using scientific methods to take advantage of spatial and process variables.
What exactly is your approach?
I follow the approach of evidence-based design research. That means the practical execution is based on the latest empirical findings resulting from methodical research. Evidence-based design research follows a formal process. Hypotheses are established based on available research and project requirements. Using a matrix that has to be developed, the effect of influencing variables on the observed target variables can be evaluated. And then we'll analyse the data: Maybe some aspects of an intervention were successful while others were not. Design recommendations, which can be used and adapted to current demands, will then be derived from findings that were systematically compiled.
On my end, that first means extensively researching the existing literature, analysing research results and then classifying them. Then I come up with hypotheses and initiate cooperative projects with architects.
What do you hope to achieve? And what do you want to do once you have earned your doctorate?
My central concern is the productive exchange between various disciplines. I want to mediate between different (scientific) languages, with the goal of coming up with a shared language and, ideally, translating that into practical, specific architecture.
And I very much would like to establish the subject of architectural psychology and evidence-based design research in an academic context – both in terms of research and being taught. And the Technical University of Berlin is a great place to do that.
Ms. Rauwolf, thank you for this interview.
Interview with Prof. Peter Cheret, Foundation Council Member for Architecture of the Sto Foundation, Prof. Dr.-Ing. Jörg H. Gleiter, head of the architectural psychology department at TU Berlin and certified psychologist Gudrun Rauwolf on her doctoral studies in the field of architectural psychology at TU Berlin.
Watch the video on our YouTube channel
Please send any questions to

redpajama_set_name: RedPajamaCommonCrawl


text:
Nancy Sinatra: 'I'll never forgive Trump voters. I hope the anger doesn't kill me'
Eve Barlow
'Musicians did not treat me as an equal' ... Nancy Sinatra. Photograph: Ron Joy, © Boots Enterprises, Inc
She may be 80 and cut off by Covid, but she's still ready to walk all over Donald Trump. As her greatest songs are reissued, she reflects on the sexual politics of the 60s, her friendship with Elvis and her hopes for peace in the US
Fri 29 Jan 2021 00.53 EST Last modified on Mon 1 Feb 2021 07.03 EST
Nancy Sinatra has one of the most famous surnames in America, but she has struggled to feel proudly American of late. It's a couple of weeks away from the inauguration of Joe Biden, and the singer and film star is recalling Donald Trump's preparations for his own inauguration in 2017: his first dance with his wife Melania would be to her father's signature hit, My Way.
Sinatra was disgusted. Her father was no fan of Trump: according to Frank's former manager, he told Trump to "go fuck himself" after the billionaire refused to meet Frank's fee for a 1990 performance at an Atlantic City casino. Nancy, in a since deleted tweet to Trump, wrote: "Just remember the first line of the song." My Way begins: "And now the end is near."
"Yeah, I was probably too outspoken for my own good," she says, on reflection, a huge American flag waving behind her in her Palm Springs garden. "But my passion was running so high." She never utters Trump's name in conversation. "I've always tried desperately never to mention it, and if I did it would have been with a lowercase 't'."
'I hope we can get back to the freedoms we enjoy' … at home in Palm Springs, Jan 2021. Photograph: Amanda Erlinger/Courtesy of Boots Enterprises Inc
Trump blasted out My Way again this month as he boarded Air Force One for the last time. Throughout his presidential term, Sinatra has advocated for progress on climate change, women's rights and healthcare, and believes that Biden will change the US for the better. "We squeaked by [in the election]. I don't know what I would have done if Biden had lost. It crossed my mind to move to another country." The last four years, though, have taken a toll on her mental health. "I couldn't believe that this great nation had sunk so low," she says. "I'll never forgive the people that voted for him, ever. I have an angry place inside of me now. I hope it doesn't kill me."
Sinatra is widowed, lives by herself and admits to feeling depressed "about everything". Due to Covid-19, she has been isolated since March 2020. Her family celebrated her 80th birthday in June, but outside, adhering to social distancing. "It's a long time to be alone," she says. "No hugging, you know?"
She lost her second husband, Hugh Lambert, to cancer when he was 55, and their daughters, Amanda and AJ, now gently compel their mother to work – her new archival release Nancy Sinatra: Start Walkin' 1965-1976 is their project alongside the US independent label Light in the Attic. The collection spans her solo releases, rarities and classics from her first two albums with her former collaborator Lee Hazlewood, the songwriter who changed her future. "I guess they think it represents a good time of my life," she says.
With her father Frank, 1967. Photograph: Michael Ochs Archives/Getty Images
Looking back seems heavy going at times for Sinatra; she sighs more than she does talking about the present. Most of the players are no longer alive, and the public perception of Sinatra's artistry doesn't necessarily tally with her memories: "People tend to put their own meaning to things." Recently, her biggest smash These Boots Are Made For Walkin' was an anthem for the Women's March, and when it was released in 1966, it seemed to reject the prevailing pop trend of pining for male attention. Sinatra doesn't recall having that on her mind. "I didn't look at songs in that way," she says. "The 60s were disruptive to say the least. There were protests. My songs were not deliberately chosen to reflect that, but they did anyway."
Nancy Sinatra's 1966 hit, These Boots Were Made For Walkin', taken up as an anthem for the Women's March in the US.
Ironically, those who would politicise her songs now would have been the first to decry her music for its lack of political edge at the height of the Vietnam war and the civil rights movement. Sinatra recalls that the fun spirit and feeling of joy that accompanied the beginning of the 60s suddenly descended into fighting talk. "War songs took over," she says. "There wasn't much I could do about that. I wasn't about to get into protest art. It wasn't my thing. Entertainment was my thing."
I was old-fashioned. I married as a virgin. In those days you got married to have sex, sadly
In 1966 and 1967, Sinatra travelled to Vietnam to perform for the US military. These Boots Are Made For Walkin' was a No 1 hit and had become an anthem for the troops. "It was more about fun than what Joan Baez was doing," she says of her performances, with a hint of resentment. Sinatra says she could have made music like Baez's socially conscious folk, but chose to stick to pop. "It was important to be supportive of the people who were stuck in that war, and not go against what they were doing," she says. "That would have been disheartening for them." She was ostracised for it by her contemporaries. "I felt like an interloper," she says. "When there were get-togethers with current hot musicians they did not treat me as an equal. It hurt. But I stuck to my guns. It might have hurt me in the long run. At least I was true to my beliefs and to the people I was concerned about."
Sinatra performs for US troops in Vietnam. Photograph: Bettmann/Bettmann Archive
Sinatra was the first child born to Frank and his wife Nancy (nee Barbato) in Jersey City in 1940. As Frank's solo career catapulted forward, the family moved to California. From there, Nancy's sights were set on performance. "It was all I knew anyway," she says, laughing. "I wasn't about to go and do medicine!" Sinatra describes herself as a force in high school. She belonged to a YWCA (Young Women's Christian Association) that put on annual song banquets – whether it was a Broadway number or Grieg's Concerto in A Minor, Sinatra led the 50 or so women in her club. "I studied classical piano so I was able to write harmony parts for everybody," she says. "We won every year." When she was 17, she made her television debut on The Frank Sinatra Show. "His producers thought it would be a cute idea."
In a 1960 episode of the show, Nancy was charged with welcoming Elvis Presley back from his military service in Germany. She had met Elvis before at Fort Dix, courtesy of her father, and wasn't intimidated: "Elvis was lovely. What a great guy. What a sweet, polite, wonderful man." When Nancy starred alongside him in the 1968 action flick Speedway, they became close – "He treated me as a good friend" – and on the night Lisa Marie Presley was born in February 1968, Elvis called Nancy with the news. "He said he felt so grateful that she was born into a loving, secure life. He mentioned how he felt pain for the babies born that same night in poverty. I knew what he meant."
Sinatra with Elvis Presley on his last day of military service for her father's TV show, 1960. Photograph: Historical/Corbis/Getty Images
Sinatra agrees that Elvis probably felt a kinship with her because she understood the difference between the superstar and the human being. For Nancy, living amid her father's stratospheric success never dissuaded her from following that path. The only event that derailed her was her first marriage, to the pop star Tommy Sands in 1960. "I was old-fashioned. I married as a virgin. We were both way too young. You find that out, don't you?" For five years of marriage she put her career on hold. She blames herself. "I made the stumbling block," she says. "Had I had a sexual life prior, I would not have married. In those days you got married to have sex, sadly."
She was then signed to Frank's label, Reprise. "He always gave me a chance. He said: 'I'll put you on the label and you can stay there as long as you pay your own way.' Meaning that if I released a record, it had to sell enough to pay for itself. He wasn't stupid!" She hadn't yet found her authentic voice, though. "I was singing in keys that were too high. I termed it Nancy Nice Lady. It just wasn't me." Her early Reprise records weren't successful outside Japan and Europe, and she worried she wouldn't fulfil her ambitions in America: "Especially in my position: the 'daughter of'," she says. "You have to work harder so that you're not going to shame your family. Even as a teenager I felt I had to be more careful about my behaviour. If a group of us got into trouble, the newspapers would single me out for obvious reasons. I had to keep the name out of the newspapers." What was she getting into trouble for? She laughs. "We didn't, thank God."
'People thought that I was doing things because of women's lib. I wasn't. It was freedom of expression' – Sinatra in the 60s. Photograph: Ron Joy/Boots Enterprises Inc
The divorce was her bridge to a new voice. Sinatra didn't work that out herself – it was Hazlewood, who had made his name co-writing instrumental hits with the guitarist Duane Eddy. Folklore goes that Frank invited Hazlewood over to meet Nancy, but it was actually her producer Jimmy Bowen who made the connection. Hazlewood auditioned some songs, and there was an immediate spark. "It was Lee's funkiness, I think," says Sinatra. "That was impressive to me."
The songwriter has been portrayed as a svengali: the man who told her to sing more like a 14-year-old who screwed truck drivers. Sinatra says that well-oiled line was never uttered around her. "He never said that," she says. "What he said was: 'You've been married and divorced – you should sing like that.'"
In the beginning, Hazlewood did most of the songwriting, a unique meld of seductive folk, lush orchestras and R&B-inflected pop on the likes of Summer Wine, Some Velvet Morning and Jackson. In time, "He gained respect for me and my abilities." They graduated to more complicated arrangements for their second album, Nancy & Lee Again, released in 1972; Sinatra was liberated post-divorce, able to explore sex in sound without compromising her privacy. "It was very sexy," she says of the sessions. "There was chemistry going constantly. The fact that we didn't consummate the feelings added to the incredible sensuality of the recordings. They wouldn't have survived all these decades if that tension hadn't been there. People still talk about them, wondering, questioning."
'The fact we didn't consummate our feelings added to the incredible sensuality of the recordings' … Sinatra with Lee Hazlewood. Photograph: Paul Ferrara/Boots Enterprises Inc
The maturity of the sound was matched by Sinatra's head-to-toe makeover. She went blonde, and embraced the British fashion of mini-skirts and Mary Quant silhouettes. In such tumultuous socio-political climes, was that presentation Sinatra's own act of protest? "It was a coincidence that I came of age at the same time as feminism," she shrugs. "We complemented each other. People thought that I was doing things because of women's lib. I wasn't. It was freedom of expression – it was where I felt comfortable at the time being a woman. Up until that point I had been a girl, and there's a big difference." Back then, the word feminism meant autonomy and power to Sinatra, and it didn't mean denying her share of the credit for her 20 chart hits between 1965 and 1972: "There were a lot of men involved!"
"Feminism is about a certain glory," she says. "There is glory in being a woman. Women do all the work. The men support but their mothers birth them, raise them, hug them when they cry. Men needed to be put in their place. They mostly are now. They understand this is a shared universe."
Men needed to be put in their place. They mostly are now. They understand this is a shared universe
The men in Sinatra's life didn't always shine. Hazlewood abandoned her, moving to Europe without warning in the middle of their success. It wasn't until 2004 that they reconvened on their third album. "I found it difficult to forgive him," she says. "He didn't just walk away. He walked away. He walked to Sweden!" It took time to patch things up. "I didn't understand it. When he came back, he never explained it. He really hurt me." On their final tour, Hazlewood turned to her in the dressing room and told her he was sick. "I said: 'Do you know what's wrong with you?' And he said, 'I have cancer.' It was so flippant." He died in 2007.
The resurgence of Sinatra's career was also helped by Quentin Tarantino's use in 2003 of her 1966 cover of Cher's Bang Bang (My Baby Shot Me Down) in Kill Bill. The song was an accident. At the end of every record, Sinatra and her arranger, Billy Strange, used to do duets; just his guitar and her voice. She started singing the riff. "It became such a classic, but it was a throwaway. I was stunned that Quentin Tarantino was interested. I'd never met him." Artists ranging from Sonic Youth to Courtney Love, Jarvis Cocker and Lana Del Rey cite her as an influence, too. "I find that to be very humbling," she says. "I admire Lana Del Rey. She's great."
Sinatra has some sage advice for this younger generation. "If young people have an opportunity, they have to examine it carefully. Don't pooh-pooh it because it's not the ideal situation." She is looking forward to peace in the US again, but with cautious optimism. "I need to get over fighting back if I'm going to survive. Carrying that angst is not healthy. I hope we can get back to the freedoms we enjoy. I worry. I don't want my granddaughters to grow up in a nation full of hate." The flag flutters on behind her.
Nancy Sinatra: Start Walkin' 1965-1976 is released on Light in the Attic, 5 February, with a physical release 26 March. Further reissues are planned throughout 2021


text:
Paul McCartney live at the Hollywood Bowl, Los Angeles
Tuesday 30 March 2010 Live No Comments
Sir Paul McCartney performed the first of two shows at the Hollywood Bowl, Los Angeles, as part of his Up And Coming Tour.
The concert lasted nearly three hours. McCartney opened with Venus And Mars/Rock Show, which contains the lines: "You've got rock and roll at the Hollywood Bowl/We'll be there, oh yeah".
The Beatles performed three triumphant shows at the venue in 1964 and 1965, which were recorded by Capitol Records. Highlights from the recordings were released in 1977 as The Beatles At The Hollywood Bowl.
The first time we came here, we were little kids. It looks like that now. Then, we thought we were great big men… You couldn't hear anything we were singing because of the girls screaming.
Unlike his previous concert in Glendale, Arizona, McCartney didn't perform Every Night, and Letting Go was brought forward towards the start of the show.
The setlist:
Venus And Mars/Rock Show
Let Me Roll It
Nineteen Hundred And Eighty Five
(I Want To) Come Home
I'm Looking Through You
Here Today
Dance Tonight
Mrs Vandebilt
Sing The Changes
Band On The Run
I've Got A Feeling
A Day In The Life/Give Peace A Chance
Sgt Pepper's Lonely Hearts Club Band (Reprise)/The End
Paul McCartney live at Jobing.com Arena, Glendale, Arizona
1970: Mixing: For You Blue
1967: Recording: With A Little Help From My Friends
1967: Cover shoot for Sgt Pepper
1965: Recording: That Means A Lot, You're Going To Lose That Girl
1965: Filming: Help!
1963: Live: Guildhall, Portsmouth
1962: Live: Cavern Club, Liverpool (evening)
The birthday topic! in All together now
By WeepingAtlasCedars, 9 seconds ago
By Richard, 1 minute ago
By sigh butterfly, 26 minutes ago
In My Life - what's happening in your life currently? in All together now
By WeepingAtlasCedars, 31 minutes ago


text:
Churrigueresque
Churrigueresque (/ˌtʃʊərɪɡəˈrɛsk/; Spanish: Churrigueresco), also but less commonly "Ultra Baroque", refers to a Spanish Baroque style of elaborate sculptural architectural ornament which emerged as a manner of stucco decoration in Spain in the late 17th century and was used up to about 1750, marked by extreme, expressive and florid decorative detailing, normally found above the entrance on the main facade of a building.
Cathedral of Santiago de Compostela in Spain. Churrigueresque Obradoiro façade
Basilica and Convent of Nuestra Señora de la Merced, Lima
5 The Philippines
6 California Churrigueresque
OriginsEdit
Named after the architect and sculptor, José Benito de Churriguera (1665–1725), who was born in Madrid and who worked primarily in Madrid and Salamanca, the origins of the style are said to go back to an architect and sculptor named Alonso Cano, who designed the facade of the cathedral at Granada, in 1667.
A distant, early 15th century precursor of the highly elaborate Churrigueresque style can be found in the Lombard Charterhouse of Pavia, yet the sculpture-encrusted facade still has the Italianate appeal to rational narrative. Churrigueresque appeals to the proliferative geometry and it is an intense evolution of Baroque, influenced by the same Baroque.
The development of the style passed through three phases. Between 1680 and 1720, the Churriguera popularized Guarino Guarini's blend of Solomonic columns and composite order, known as "supreme order". Between 1720 and 1760, the Churrigueresque column, or estipite, in the shape of an inverted cone or obelisk, was established as a central element of ornamental decoration. The years from 1760 to 1780 saw a gradual shift of interest away from twisted movement and excessive ornamentation towards neoclassical balance and sobriety.
Among the highlights of the style, interiors of the Granada Charterhouse offer some of the most impressive combinations of space and light in 18th-century Europe. Integrating sculpture and architecture even more radically, Narciso Tomé achieved striking chiaroscuro effects in his Transparente for the Toledo Cathedral. Perhaps the most visually intoxicating form of the style was Mexican Churrigueresque, practised in the mid-18th century by Lorenzo Rodriguez, whose masterpiece is the Sagrario Metropolitano (1749–69) in Mexico City, New Spain.
SpainEdit
The first of the Churriguera was José Benito de Churriguera (1665–1725), who trained as a joiner of altarpieces, drawing some very important for various churches of Salamanca, Madrid, Valladolid and other cities in Spain. Some in Spain have gone and some remain only a sites:
Nuevo Baztán, Community of Madrid
Church of St Francisco Javier and Goyeneche Palace
Salamanca, Castile and León
Altarpiece of Convent of San Esteban
Choir of the New Cathedral.
Plaza Mayor.
Capilla de la Vera Cruz
College of Calatrava
Palace of San Telmo
MexicoEdit
The Santa Prisca temple, in Taxco, Mexico.
In Mexico, the Cathedral Basilica of Zacatecas, Zacatecas, capital of Zacatecas state, and the Templo de Santa Prisca, located in Taxco, Guerrero state are considered as masterpieces of Churrigueresque style. The building of Parroquia Antigua in Salamanca, Guanajuato, founded on August 24, 1603, was completed in the year 1690, and the Churrigueresque facade in 1740. The altarpiece of the church of San Francisco Javier (National Museum of Viceroyalty) in Tepotzotlán, State of Mexico is also considered, along with its facade, one of the most important baroque churrigueresque works created by the Jesuits in New Spain. The Altar de los Reyes of the Mexico City Metropolitan Cathedral and the facades of the Sagrario Metropolitano, by the Spanish architect Lorenzo Rodriguez, which is attached to the same Cathedral, are also representatives of the style.
The PhilippinesEdit
It was late introduced in the Philippines. The best examples were the San Juan de dios Hospital in Intramuros, Daraga Church in Albay, and Tigbauan Church in Iloilo.
California ChurrigueresqueEdit
The Casa del Prado Theater, at Balboa Park, San Diego, California. Churrigueresque Revival.
California Churrigueresque[1][2] is a revival style native to California, developed in the early 20th century by architects Bertram Goodhue and Carleton Winslow Sr. for the 1915 Panama-California Exposition, which helped popularize its use in Spanish Colonial Revival architecture in California, and to a lesser extent the rest of the United States. Goodhue and Winslow developed the style after studying Churrigueresque and Plateresque ornamentation in Spanish Colonial buildings in Mexico.
Many of the best examples of California Churrigeresque are located in Balboa Park in San Diego, the site of the Panama-California Exposition. Other notable buildings in this style include San Francisco's Mission Dolores Basilica, the First Congregational Church of Riverside, Los Angeles's St. Vincent de Paul Church, and Beverly Hills City Hall.[3]
Architecture of the Spanish Renaissance
Spanish Colonial architecture
Spanish architecture
Mexican architecture
^ "Cultural Resources of the City of San José". City of San José. Archived from the original (PDF) on 9 December 2012. Retrieved 25 September 2019.
^ Dinkelspiel Cerny, Susan (2007). An Architectural Guidebook to San Francisco and the Bay Area. Gibbs Smith. p. 209. ISBN 978-1586854324.
^ LA Curbed - Beverly Hills Landmarking 1932 Churrigueresque City Hall
Pevsner, Fleming and Honour, The Penguin Dictionary of Architecture, Penguin Books, Middlesex, England, 1983
Kelemen, Pal, Baroque and Rococo in Latin America, Dover Publications Inc., New York, volumes I and II, 1967
Wikimedia Commons has media related to Churrigueresque architecture.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Churrigueresque&oldid=1053722216"
This page was last edited on 5 November 2021, at 16:42 (UTC).


text:
Q: InAppBilling v3 IabResult response code BILLING_RESPONSE_RESULT_ITEM_ALREADY_OWNED Following the docs on developer site , i have implemented InAppBilling v3 in my app recently . I have used the classes in the utils package provided in the TRIVIAL DRIVE sample.
The problem i am facing is if a user has purchased an in app product already on launching purchse flow again on another device the play store dialog shows ITEM ALREADY OWNED but the response code returned by IabResult does not match to the constant IabHelper.BILLING_RESPONSE_RESULT_ITEM_ALREADY_OWNED . The response code returned is actually one of the error codes in IabHelper class (-1005 User cancelled).
I would really like to know how can i get the actual response code instead of error code. Any help would be appreciated.
Below is the code for callback
// Callback for when a purchase is finished
IabHelper.OnIabPurchaseFinishedListener mPurchaseFinishedListener =
        new IabHelper.OnIabPurchaseFinishedListener() {
            public void onIabPurchaseFinished(IabResult result, Purchase purchase) {

                if (result.isFailure()) {
                    if (result.getResponse() ==
                            IabHelper.BILLING_RESPONSE_RESULT_ITEM_ALREADY_OWNED) {
                        //already owned
                        boolean isPremium = true;
                        SharedPrefsUtils.setPremium(BaseActivity.this, isPremium);
                        EventBus.getDefault().post(new InAppBillingUiUpdateEvent(isPremium));
                        //setWaitScreen(false);
                        return;
                    }
                    //handle error
                    complain(result.getResponse() + " " + "Error purchasing: " + result);
                    //setWaitScreen(false);
                    return;
                }
                if (!verifyDeveloperPayload(purchase)) {
                    //corrupted
                    complain("Error purchasing. Authenticity verification failed.");
                    //setWaitScreen(false);
                    return;
                }

                //successful
                if (purchase.getSku().equals(NO_ADS_PRODUCT_ID)) {
                    // bought the premium upgrade!
                    alert("Thank you for upgrading to premium!");
                    boolean isPremium = true;
                    SharedPrefsUtils.setPremium(BaseActivity.this, isPremium);
                    EventBus.getDefault().post(new InAppBillingUiUpdateEvent(isPremium));
                    //setWaitScreen(false);
                }
            }
        };

A: I finally managed to find the problem in the IabHelper code , So here it goes whenever an Activity.RESULT_CANCELED result code is returned in handleActivityResult method the IabResult for all such cases is fixed with user cancelled (-1005) no matter what the reason is. So in order to get the correct actual response code replace the following code in handleActivityResult
 else if (resultCode == Activity.RESULT_CANCELED) {
        logDebug("Purchase canceled - Response: " + getResponseDesc(responseCode));
        result = new IabResult(IABHELPER_USER_CANCELLED, "User canceled.");
        if (mPurchaseListener != null) mPurchaseListener.onIabPurchaseFinished(result, null);
    }

with this
 else if (resultCode == Activity.RESULT_CANCELED) {
        logDebug("Purchase canceled - Response: " + getResponseDesc(responseCode));
        result = new IabResult(responseCode, null);
        if (mPurchaseListener != null) mPurchaseListener.onIabPurchaseFinished(result, null);
    }

hope it will saves someones time

redpajama_set_name: RedPajamaStackExchange


The late, much missed Leonard Cohen, doing what only he could do.
This entry was posted in creativity, Leonard Cohen, love, music and tagged affordable counselling exeter, counselling exeter, counsellor Exeter, counsellors Exeter, Dance me to the end of love, Leonard Cohen, low cost counselling exeter, Palace Gate Counselling Service, Palace Gate Counselling Service Exeter, person centred counselling exeter, www.palacegatecounselling.org.uk. Bookmark the permalink.


text:
[![Build Status](https://travis-ci.org/mbasso/refraction.svg?branch=master)](https://travis-ci.org/mbasso/refraction)
[![npm version](https://img.shields.io/npm/v/refraction.svg)](https://www.npmjs.com/package/refraction)
[![npm downloads](https://img.shields.io/npm/dm/refraction.svg?maxAge=2592000)](https://www.npmjs.com/package/refraction)
[![Coverage Status](https://coveralls.io/repos/github/mbasso/refraction/badge.svg?branch=master)](https://coveralls.io/github/mbasso/refraction?branch=master)
[![Join the chat at https://gitter.im/mbasso/refraction](https://badges.gitter.im/Join%20Chat.svg)](https://gitter.im/mbasso/refraction?utm_source=badge&utm_medium=badge&utm_campaign=pr-badge&utm_content=badge)

> A guard that represents a central point of control in your application.

Modern javascript applications are often organized into modules, which are awesome but have some problems that we can't avoid.
When we are writing an application in this way, we must consider that all our modules must be independent, testable, instantly reusable and secure.
Refraction's purpose is to make these concerns take care of themselves by using some design patterns.
Since modules might be independent, with no inter-module dependencies, Refraction adds an intermediate layer that handles all messages that an application uses, allowing communication between modules. This way, modules don't need to know each other, only the layer that is responsible for managaging communication. If we want to change a module, we can do so without worrying about how other modules use it.
Modules have a very limited knowledge of what's going in the rest of the system. For this reason, we can define refraction as a guard, a central point of control.

## Installation

You can install Refraction using [npm](https://www.npmjs.com/package/refraction):

```bash
npm install --save refraction
```

If you aren't using npm in your project, you can include Refraction using UMD build in the dist folder with `<script>` tag.

## Usage

Refraction exposes only a small set of APIs. What is important to know is it's concept. A complete guide about usage can be found [here](https://mbasso.github.io/refraction/docs/basics/index.html).
However, here is the gist:

```js
import Refraction from 'refraction';

class CustomRefraction extends Refraction {

  routeChange(route) {
    this.publish('routeChange', {
      type: 'route',
      payload: route,
    });
  }
}

class RouteManager {

  routeChange({ payload }) {
    window.location.href = payload;
  }
}

class ConsoleManager {

  routeChange({ payload }) {
    console.log(`New location = ${payload}`);
  }
}

const routeMiddleware = (param) => {
  const result = Object.assign({}, param);
  if (result && result.type === 'route') {
    // build complete url
    result.payload = `${window.location.protocol}//${window.location.host}${result.payload}`;
  }
  return result;
}

const refractionInstance = new CustomRefraction([ routeMiddleware ]);
const routeManager = new RouteManager();
const consoleManager = new ConsoleManager();

refractionInstance.subscribe(routeManager);
refractionInstance.subscribe(consoleManager);

// change route and log
refractionInstance.routeChange('home');

```

## Documentation

* [Introduction](https://mbasso.github.io/refraction/docs/introduction/index.html)
* [Basics](https://mbasso.github.io/refraction/docs/basics/index.html)
* [Glossary](https://mbasso.github.io/refraction/docs/Glossary.html)
* [API Reference](https://mbasso.github.io/refraction/docs/api/index.html)

## Examples

You can find a series of examples in this repository under the `examples` folder. Alternatively, you can check [awesome-refraction](https://github.com/mbasso/awesome-refraction).

If you want to run examples, check out the instructions [here](https://mbasso.github.io/refraction/docs/introduction/Examples.html).

# Chat

This project has an official chat channel on [gitter](https://gitter.im/).
This is the right place to talk about Refraction with us and others developers.
Feel free to participate.

Join chat [here](https://gitter.im/mbasso/refraction).

## Change Log

This project adheres to [Semantic Versioning](http://semver.org/).
Every release, along with the migration instructions, is documented on the Github [Releases](https://github.com/mbasso/refraction/releases) page.

## Inspiration

Refraction is inspired by different articles and tools:
- Its architecture is inspired by [this](https://addyosmani.com/largescalejavascript/) article based on Addy Osmani's talk of the same name, presented at LondonJS.
- Its style is inspired by [Redux](https://github.com/reactjs/redux)

## Authors
**Matteo Basso**
- [github/mbasso](https://github.com/mbasso)
- [@Teo_Basso](https://twitter.com/Teo_Basso)

**Adriano Buscema**
- [github/adribusc](https://github.com/adribusc)

## Copyright and License
Copyright (c) 2016, Matteo Basso.

Refraction source code is licensed under the [MIT License](https://github.com/mbasso/refraction/blob/master/LICENSE.md).

redpajama_set_name: RedPajamaGithub


text:
[//]: # (title: Calling Kotlin from Java)

Kotlin code can be easily called from Java.
For example, instances of a Kotlin class can be seamlessly created and operated in Java methods.
However, there are certain differences between Java and Kotlin that require attention when
integrating Kotlin code into Java.
On this page, we'll describe the ways to tailor the interop of your Kotlin code with its Java clients.

## Properties

A Kotlin property is compiled to the following Java elements:

 * a getter method, with the name calculated by prepending the `get` prefix
 * a setter method, with the name calculated by prepending the `set` prefix (only for `var` properties)
 * a private field, with the same name as the property name (only for properties with backing fields)

For example, `var firstName: String` compiles to the following Java declarations:

```java
private String firstName;

public String getFirstName() {
    return firstName;
}

public void setFirstName(String firstName) {
    this.firstName = firstName;
}
```

If the name of the property starts with `is`, a different name mapping rule is used: the name of the getter will be
the same as the property name, and the name of the setter will be obtained by replacing `is` with `set`.
For example, for a property `isOpen`, the getter will be called `isOpen()` and the setter will be called `setOpen()`.
This rule applies for properties of any type, not just `Boolean`.

## Package-level functions

All the functions and properties declared in a file `app.kt` inside a package `org.example`, including extension functions,
are compiled into static methods of a Java class named `org.example.AppKt`.

```kotlin
// app.kt
package org.example

class Util

fun getTime() { /*...*/ }

```

```java
// Java
new org.example.Util();
org.example.AppKt.getTime();
```

To set a custom name to the generated Java class, use the `@JvmName` annotation:

```kotlin
@file:JvmName("DemoUtils")

package org.example

class Util

fun getTime() { /*...*/ }

```

```java
// Java
new org.example.Util();
org.example.DemoUtils.getTime();
```

Having multiple files with the same generated Java class name (the same package and the same name or the same
[`@JvmName`](https://kotlinlang.org/api/latest/jvm/stdlib/kotlin.jvm/-jvm-name/index.html) annotation) is normally an error.
However, the compiler can generate a single Java facade class which has the specified name and contains
all the declarations from all the files which have that name.
To enable the generation of such a facade, use the [`@JvmMultifileClass`](https://kotlinlang.org/api/latest/jvm/stdlib/kotlin.jvm/-jvm-multifile-class/index.html)
annotation in all such files.

```kotlin
// oldutils.kt
@file:JvmName("Utils")
@file:JvmMultifileClass

package org.example

fun getTime() { /*...*/ }
```

```kotlin
// newutils.kt
@file:JvmName("Utils")
@file:JvmMultifileClass

package org.example

fun getDate() { /*...*/ }
```

```java
// Java
org.example.Utils.getTime();
org.example.Utils.getDate();
```

## Instance fields

If you need to expose a Kotlin property as a field in Java, annotate it with the [`@JvmField`](https://kotlinlang.org/api/latest/jvm/stdlib/kotlin.jvm/-jvm-field/index.html) annotation.
The field will have the same visibility as the underlying property. You can annotate a property with `@JvmField` if it:
* has a backing field
* is not private
* does not have `open`, `override` or `const` modifiers
* is not a delegated property

```kotlin
class User(id: String) {
    @JvmField val ID = id
}
```

```java

// Java
class JavaClient {
    public String getID(User user) {
        return user.ID;
    }
}
```

[Late-Initialized](properties.md#late-initialized-properties-and-variables) properties are also exposed as fields.
The visibility of the field will be the same as the visibility of `lateinit` property setter.

## Static fields

Kotlin properties declared in a named object or a companion object will have static backing fields
either in that named object or in the class containing the companion object.

Usually these fields are private but they can be exposed in one of the following ways:

 - [`@JvmField`](https://kotlinlang.org/api/latest/jvm/stdlib/kotlin.jvm/-jvm-field/index.html) annotation
 - `lateinit` modifier
 - `const` modifier

Annotating such a property with `@JvmField` makes it a static field with the same visibility as the property itself.

```kotlin
class Key(val value: Int) {
    companion object {
        @JvmField
        val COMPARATOR: Comparator<Key> = compareBy<Key> { it.value }
    }
}
```

```java
// Java
Key.COMPARATOR.compare(key1, key2);
// public static final field in Key class
```

A [late-initialized](properties.md#late-initialized-properties-and-variables) property in an object or a companion object
has a static backing field with the same visibility as the property setter.

```kotlin
object Singleton {
    lateinit var provider: Provider
}
```

```java

// Java
Singleton.provider = new Provider();
// public static non-final field in Singleton class
```

Properties declared as `const` (in classes as well as at the top level) are turned into static fields in Java:

```kotlin
// file example.kt

object Obj {
    const val CONST = 1
}

class C {
    companion object {
        const val VERSION = 9
    }
}

const val MAX = 239
```

In Java:

```java

int constant = Obj.CONST;
int max = ExampleKt.MAX;
int version = C.VERSION;
```

## Static methods

As mentioned above, Kotlin represents package-level functions as static methods.
Kotlin can also generate static methods for functions defined in named objects or companion objects if you annotate those
functions as [`@JvmStatic`](https://kotlinlang.org/api/latest/jvm/stdlib/kotlin.jvm/-jvm-static/index.html).
If you use this annotation, the compiler will generate both a static method in the enclosing class of the object and
an instance method in the object itself. For example:

```kotlin
class C {
    companion object {
        @JvmStatic fun callStatic() {}
        fun callNonStatic() {}
    }
}
```

Now, `callStatic()` is static in Java while `callNonStatic()` is not:

```java

C.callStatic(); // works fine
C.callNonStatic(); // error: not a static method
C.Companion.callStatic(); // instance method remains
C.Companion.callNonStatic(); // the only way it works
```

Same for named objects:

```kotlin
object Obj {
    @JvmStatic fun callStatic() {}
    fun callNonStatic() {}
}
```

In Java:

```java

Obj.callStatic(); // works fine
Obj.callNonStatic(); // error
Obj.INSTANCE.callNonStatic(); // works, a call through the singleton instance
Obj.INSTANCE.callStatic(); // works too
```

Starting from Kotlin 1.3, `@JvmStatic` applies to functions defined in companion objects of interfaces as well.
Such functions compile to static methods in interfaces. Note that static method in interfaces were introduced in Java 1.8,
so be sure to use the corresponding targets.

```kotlin
interface ChatBot {
    companion object {
        @JvmStatic fun greet(username: String) {
            println("Hello, $username")
        }
    }
}
```

`@JvmStatic` annotation can also be applied on a property of an object or a companion object
making its getter and setter methods static members in that object or the class containing the companion object.

## Default methods in interfaces

>Default methods are available only for targets JVM 1.8 and above.
>
{type="note"}

Starting from JDK 1.8, interfaces in Java can contain [default methods](https://docs.oracle.com/javase/tutorial/java/IandI/defaultmethods.html).
To make all non-abstract members of Kotlin interfaces default for the Java classes implementing them, compile the Kotlin
code with the `-Xjvm-default=all` compiler option.

Here is an example of a Kotlin interface with a default method:

```kotlin
// compile with -Xjvm-default=all

interface Robot {
    fun move() { println("~walking~") }  // will be default in the Java interface
    fun speak(): Unit
}
```

The default implementation is available for Java classes implementing the interface.

```java
//Java implementation
public class C3PO implements Robot {
    // move() implementation from Robot is available implicitly
    @Override
    public void speak() {
        System.out.println("I beg your pardon, sir");
    }
}
```

```java
C3PO c3po = new C3PO();
c3po.move(); // default implementation from the Robot interface
c3po.speak();
```

Implementations of the interface can override default methods.

```java
//Java
public class BB8 implements Robot {
    //own implementation of the default method
    @Override
    public void move() {
        System.out.println("~rolling~");
    }

    @Override
    public void speak() {
        System.out.println("Beep-beep");
    }
}
```

> Prior to Kotlin 1.4, to generate default methods, you could use the `@JvmDefault` annotation on these methods.
> Compiling with `-Xjvm-default=all` in 1.4+ generally works as if you annotated all non-abstract methods of interfaces
> with `@JvmDefault`and compiled with `-Xjvm-default=enable`. However, there are cases when their behavior differs.
> Detailed information about the changes in default methods generation in Kotlin 1.4 is provided in [this post](https://blog.jetbrains.com/kotlin/2020/07/kotlin-1-4-m3-generating-default-methods-in-interfaces/)
> on the Kotlin blog.
>
{type="note"}

### Compatibility modes for default methods

If there are clients that use your Kotlin interfaces compiled without the `-Xjvm-default=all` option, then they may
be binary-incompatible with the code compiled with this option. To avoid breaking the compatibility with such clients,
use the `-Xjvm-default=all` mode and mark interfaces with the [`@JvmDefaultWithCompatibility`](https://kotlinlang.org/api/latest/jvm/stdlib/kotlin.jvm/-jvm-default-with-compatibility/) annotation.
This allows you to add this annotation to all interfaces in the public API once, and you won't need to use any annotations for new non-public code.

> Starting from Kotlin 1.6.20, you can compile modules in the default mode (the `-Xjvm-default=disable` compiler option) against
> modules compiled with the `-Xjvm-default=all` or `-Xjvm-default=all-compatibility` modes.
>
{type="note"}

Learn more about compatibility modes:

#### disable {initial-collapse-state="collapsed"}

Default behavior. Do not generate JVM default methods and prohibit `@JvmDefault` annotation usage.

#### all {initial-collapse-state="collapsed"}

Generate JVM default methods for all interface declarations with bodies in the module. Do not generate [`DefaultImpls`](https://blog.jetbrains.com/kotlin/2020/07/kotlin-1-4-m3-generating-default-methods-in-interfaces/) stubs
for interface declarations with bodies, which are generated by default in the `disable` mode.

If interface inherits a method with body from an interface compiled in the `disable` mode and doesn't override it,
then a `DefaultImpls` stub will be generated for it.

__Breaks binary compatibility__ if some client code relies on the presence of `DefaultImpls` classes.

> If interface delegation is used, all interface methods are delegated. The only exception are methods annotated with the deprecated `@JvmDefault` annotation.
>
{type="note"}

#### all-compatibility {initial-collapse-state="collapsed"}

In addition to the `all` mode, generate compatibility stubs in the [`DefaultImpls`](https://blog.jetbrains.com/kotlin/2020/07/kotlin-1-4-m3-generating-default-methods-in-interfaces/)
classes. Compatibility stubs could be useful for
library and runtime authors to keep backward binary compatibility for existing clients compiled against previous library versions.
`all` and `all-compatibility` modes are changing the library ABI surface that clients will use after the recompilation of the library.
In that sense, clients might be incompatible with previous library versions.
This usually means that you need a proper library versioning, for example, major version increase in SemVer.

The compiler generates all the members of `DefaultImpls` with the `@Deprecated` annotation: you shouldn't use these
members in Java code, because the compiler generates them only for compatibility purposes.

In case of inheritance from a Kotlin interface compiled in `all` or `all-compatibility` modes,
`DefaultImpls` compatibility stubs will invoke the default method of the interface with standard JVM runtime resolution semantics.

Perform additional compatibility checks for classes inheriting generic interfaces where in some cases additional implicit method
with specialized signatures was generated in the `disable` mode:
unlike in the `disable` mode, the compiler will report an error if you don't override such method explicitly and don't annotate the class
with `@JvmDefaultWithoutCompatibility` (see [this YouTrack issue](https://youtrack.jetbrains.com/issue/KT-39603) for more details).

## Visibility

The Kotlin visibility modifiers map to Java in the following way:

* `private` members are compiled to `private` members
* `private` top-level declarations are compiled to package-local declarations
* `protected` remains `protected` (note that Java allows accessing protected members from other classes in the same package
and Kotlin doesn't, so Java classes will have broader access to the code)
* `internal` declarations become `public` in Java. Members of `internal` classes go through name mangling, to make
it harder to accidentally use them from Java and to allow overloading for members with the same signature that don't see
each other according to Kotlin rules
* `public` remains `public`

## KClass

Sometimes you need to call a Kotlin method with a parameter of type `KClass`.
There is no automatic conversion from `Class` to `KClass`, so you have to do it manually by invoking the equivalent of
the `Class<T>.kotlin` extension property:

```kotlin
kotlin.jvm.JvmClassMappingKt.getKotlinClass(MainView.class)
```

## Handling signature clashes with @JvmName

Sometimes we have a named function in Kotlin, for which we need a different JVM name in the bytecode.
The most prominent example happens due to *type erasure*:

```kotlin
fun List<String>.filterValid(): List<String>
fun List<Int>.filterValid(): List<Int>
```

These two functions can not be defined side-by-side, because their JVM signatures are the same: `filterValid(Ljava/util/List;)Ljava/util/List;`.
If we really want them to have the same name in Kotlin, we can annotate one (or both) of them with
[`@JvmName`](https://kotlinlang.org/api/latest/jvm/stdlib/kotlin.jvm/-jvm-name/index.html) and specify a different name
as an argument:

```kotlin
fun List<String>.filterValid(): List<String>

@JvmName("filterValidInt")
fun List<Int>.filterValid(): List<Int>
```

From Kotlin they will be accessible by the same name `filterValid`, but from Java it will be `filterValid` and `filterValidInt`.

The same trick applies when we need to have a property `x` alongside with a function `getX()`:

```kotlin
val x: Int
    @JvmName("getX_prop")
    get() = 15

fun getX() = 10
```

To change the names of generated accessor methods for properties without explicitly implemented getters and setters,
you can use `@get:JvmName` and `@set:JvmName`:

```kotlin
@get:JvmName("x")
@set:JvmName("changeX")
var x: Int = 23
```

## Overloads generation

Normally, if you write a Kotlin function with default parameter values, it will be visible in Java only as a full
signature, with all parameters present. If you wish to expose multiple overloads to Java callers, you can use the
[`@JvmOverloads`](https://kotlinlang.org/api/latest/jvm/stdlib/kotlin.jvm/-jvm-overloads/index.html) annotation.

The annotation also works for constructors, static methods, and so on. It can't be used on abstract methods, including
methods defined in interfaces.

```kotlin
class Circle @JvmOverloads constructor(centerX: Int, centerY: Int, radius: Double = 1.0) {
    @JvmOverloads fun draw(label: String, lineWidth: Int = 1, color: String = "red") { /*...*/ }
}
```

For every parameter with a default value, this will generate one additional overload, which has this parameter and
all parameters to the right of it in the parameter list removed. In this example, the following will be
generated:

```java
// Constructors:
Circle(int centerX, int centerY, double radius)
Circle(int centerX, int centerY)

// Methods
void draw(String label, int lineWidth, String color) { }
void draw(String label, int lineWidth) { }
void draw(String label) { }
```

Note that, as described in [Secondary constructors](classes.md#secondary-constructors), if a class has default
values for all constructor parameters, a public constructor with no arguments will be generated for it. This works even
if the `@JvmOverloads` annotation is not specified.

## Checked exceptions

Kotlin does not have checked exceptions.
So, normally the Java signatures of Kotlin functions do not declare exceptions thrown.
Thus, if you have a function in Kotlin like this:

```kotlin
// example.kt
package demo

fun writeToFile() {
    /*...*/
    throw IOException()
}
```

And you want to call it from Java and catch the exception:

```java

// Java
try {
    demo.Example.writeToFile();
} catch (IOException e) {
    // error: writeToFile() does not declare IOException in the throws list
    // ...
}
```

You get an error message from the Java compiler, because `writeToFile()` does not declare `IOException`.
To work around this problem, use the [`@Throws`](https://kotlinlang.org/api/latest/jvm/stdlib/kotlin/-throws/index.html)
annotation in Kotlin:

```kotlin
@Throws(IOException::class)
fun writeToFile() {
    /*...*/
    throw IOException()
}
```

## Null-safety

When calling Kotlin functions from Java, nobody prevents us from passing `null` as a non-null parameter.
That's why Kotlin generates runtime checks for all public functions that expect non-nulls.
This way we get a `NullPointerException` in the Java code immediately.

## Variant generics

When Kotlin classes make use of [declaration-site variance](generics.md#declaration-site-variance), there are two
options of how their usages are seen from the Java code. For example, imagine you have the following class and two functions that use it:

```kotlin
class Box<out T>(val value: T)

interface Base
class Derived : Base

fun boxDerived(value: Derived): Box<Derived> = Box(value)
fun unboxBase(box: Box<Base>): Base = box.value
```

A naive way of translating these functions into Java would be this:

```java
Box<Derived> boxDerived(Derived value) { ... }
Base unboxBase(Box<Base> box) { ... }
```

The problem is that in Kotlin you can write `unboxBase(boxDerived(Derived()))` but in Java that would be impossible
because in Java the class `Box` is *invariant* in its parameter `T`, and thus `Box<Derived>` is not a subtype of `Box<Base>`.
To make this work in Java, you would have to define `unboxBase` as follows:

```java
Base unboxBase(Box<? extends Base> box) { ... }
```

This declaration uses Java's *wildcards types* (`? extends Base`) to emulate declaration-site variance through use-site
variance, because it is all Java has.

To make Kotlin APIs work in Java, the compiler generates `Box<Super>` as `Box<? extends Super>` for covariantly defined `Box`
(or `Foo<? super Bar>` for contravariantly defined `Foo`) when it appears *as a parameter*. When it's a return value,
wildcards are not generated, because otherwise Java clients will have to deal with them (and it's against the common
Java coding style). Therefore, the functions from our example are actually translated as follows:

```java

// return type - no wildcards
Box<Derived> boxDerived(Derived value) { ... }

// parameter - wildcards
Base unboxBase(Box<? extends Base> box) { ... }
```

> When the argument type is final, there's usually no point in generating the wildcard, so `Box<String>` is always `Box<String>`,
>no matter what position it takes.
>
{type="note"}

If you need wildcards where they are not generated by default, use the `@JvmWildcard` annotation:

```kotlin
fun boxDerived(value: Derived): Box<@JvmWildcard Derived> = Box(value)
// is translated to
// Box<? extends Derived> boxDerived(Derived value) { ... }
```

In the opposite case, if you don't need wildcards where they are generated, use `@JvmSuppressWildcards`:

```kotlin
fun unboxBase(box: Box<@JvmSuppressWildcards Base>): Base = box.value
// is translated to
// Base unboxBase(Box<Base> box) { ... }
```

>`@JvmSuppressWildcards` can be used not only on individual type arguments, but on entire declarations, such as functions
>or classes, causing all wildcards inside them to be suppressed.
>
{type="note"}

### Translation of type `Nothing`

The type [`Nothing`](exceptions.md#the-nothing-type) is special, because it has no natural counterpart in Java. Indeed, every Java reference type, including
`java.lang.Void`, accepts `null` as a value, and `Nothing` doesn't accept even that. So, this type cannot be accurately
represented in the Java world. This is why Kotlin generates a raw type where an argument of type `Nothing` is used:

```kotlin
fun emptyList(): List<Nothing> = listOf()
// is translated to
// List emptyList() { ... }
```


text:
Bernard Dayo
Sep. 29, 2022 10:58AM EST
Photo: Kugali
Kugali's CEO On Making Animation History with Disney
With its upcoming series, Iwájú, the media company is at the forefront of African animation's global breakthrough, but it doesn't want viewers on the continent to get left behind.
"We have been working on this for a couple of years so there's a relief in seeing something you have nurtured get to this point," Kugali's new CEO Danson Njoka tells OkayAfrica. Over a Zoom call, while working from his London apartment, Njoka speaks fondly about Iwájú, the sci-fi animated series created with Disney that will finally reach audiences next year. At the D23 Expo earlier this month in California, a first look at the series was unveiled, as part of the studio's upcoming content slate, making it all the more real.
News of Kugali and Disney teaming up for a landmark series came as a surprise in 2020, against the curveball that was the pandemic. Set in futuristic Lagos, Nigeria, Iwájú is the first time Disney is working with an outside studio in its 100-year history. Importantly for Kugali, an indie African entertainment company, it's the first African animated series backed by one of the world's leading media powerhouses.
While there's excitement for sure, Njoka feels an array of other emotions. Aside from some trepidation in overseeing a huge project and the public expectations that go with that, there's a twinge of sadness. "It's bittersweet because why is it a significant moment? Why is it the first time we have an African animated series on a major platform? It's also a constant reminder on why the work we do matters,'' he says.
Kugali was founded out of a mutual love of African comic books, graphic novels and games.
The early Nigerian founders of Kugali, Tolu Olowofoyeku and Ziki Nelson, shared a common passion for comic books, graphic novels, and games, which they covered on a podcast. Then came an expansion into publishing, which led to the next step -- founding Kugali, a media company rooted in the vast and authentic stories from Africa and the diaspora. With the help of crowdfunding platform Kickstarter, they were able to publish Kugali Anthology in 2017, which featured the work of top African artists from 10 different countries.
As the company began to receive media attention, their BBC interview would become an oft-referenced launch point in their fate with Disney. Co-founder Hamid Ibrahim had declared that they were going to "kick Disney's ass" in the landscape of animation. A Disney exec had caught wind of the soundbite and reached out to them, partly amused and curious. That an African comic book startup could muster this much confidence came from daring to imagine. More tangibly, they had a string of small victories to back up the claim.
"Certainly fortune and luck played a part in some regard," Njoka says. "But we, at that point, had the most successful graphic novel Kickstarter [in Africa], so Kugali was already on the path of achieving significant things. We had an audience that was available."
Kugali's Hamid Ibrahim, Olufikayo Ziki Adeola and Tolu Olowofoyeku at the D23 Expo earlier this month.
Kugali's mandate to be an authentic source of African storytelling also means they've retained creative autonomy in their collaboration with Disney. It's hard to ignore the power differential between both companies, as well as the cultural orientations that separate them. But developing Iwájú as a visual concept benefitted from what Disney and Kugali each had to offer.
And Njoka acknowledges this: "There's a great deal we can learn about storytelling, the reach and the audience that Disney has available. Also, the reason we decided to collaborate with Disney is because they have been at this for 100 years. A project of this scale hasn't been done on the continent because we don't have the resources and capacity to be able to do so." Kugali, in turn, offers Disney the chance to partner with an authority on African animation.
Since its launch in 2019, streaming platform Disney+ has boasted a library of animation and superhero fare, and has recently overtaken Netflix in the number of subscribers. But its programming excludes certain regions, and Africa is one of them. In a bid for expansion, Disney+ is now in South Africa and North Africa (Egypt, Morocco, Tunisia, and Libya).
Danson Njoka is taking Kugali's creations to the globe but wants to make sure Africans still get to enjoy it too.
Photo: Ellen K Stone
With Lagos as a setting in Iwájú, there are concerns about inaccessibility of the series in Nigeria and neighboring African countries. As a Kenyan, Njoka's keenly aware of this challenge, and how Kugali can address this. "We understand that while we run a platform that publishes content for an African audience, there may be constraints around distribution and accessibility," he says. "This is why we are launching an app which will be available in the next few months, and the intention specifically is to make our content as easy and cost-effective as possible. And that includes all our projects, including Iwájú. The hope for us is that in the future, our content is readily accessible.''
What does Iwájú on Disney+ mean for local animation in Africa? Animation on the continent is still a budding industry, and in recent years, a crop of independent studios have boldly entered the space, from Ghana's AnimaxFYB Studios and Nigeria's Anthill Studios to South Africa's Triggerfish. While there's an undeniable presence of young creators, animators, and storytellers who have taken large swings in this medium, they are held back by a lack of infrastructure and resources.
The idea that animation is a low-tier artistic expression is still quite prevalent, and it's another reason the medium hasn't received widespread appreciation. Njoka thinks the Kugali-Disney partnership could shift attitudes with Iwájú's release in 2023. "I think there will be a 'wow' effect; there will be a sense of pride, hopefully. There will also be a recognition of the immense and vast potential on the continent when it comes to animation. There will be a lot of young people and even older people saying, 'Oh, maybe this is something I can do.' We hope to be the inspiration many people need to pursue their dreams."
Murenga, Kugali's first queer African graphic novel, has been the company's most successful Kickstarter to date.
Kugali aims to start encouraging more interest in animation with Kugali Academy, a training school that will take in young talent and offers guidance and support. It's due to open next year. And knowing the importance of not just telling African stories but the ones that get the least attention, Kugali takes pride in Murenga, its first queer African graphic novel, which also has had a successful Kickstarter campaign.
Crowdfunding remains an important route for the company since it was founded, enabling it to tell the stories it wants to tell without external influence. Murenga is one of them. "It's a story that is very personal to us," Njoka says. "At Kugali, we are unafraid, and we recognize how vital it is to create content like Murenga. Kickstarter is a platform we continue to use and our initial goal was to generate £10,000 but we have far eclipsed that. If we are going to take up the mantle of telling African narratives, we can't do [so] without telling everyone's story."
Njoka knows there will be negative feedback for Murenga, on the continent and beyond. He's aware of critiques framed as "woke propaganda" for showing queer characters in an African comic. But he feels they don't hold any weight given Kugali's mission statement about representation. His face is a picture of confidence on the Zoom screen: "Look at the negative reactions to The Little Mermaid and The Rings of Power for having Black characters in lead roles. Is that "woke"? These responses we have been encountering will not be the last. In fact, any such response to our work only further highlights why our work is important."
A Kickstarter model of funding allows Kugali to tell the stories it wants to tell -- like the one at the center of Murenga.
Kugali celebrates its 5-year anniversary in October. Much has happened since their podcast days, and the slew of comic book titles and graphic novels that have been published under the brand. Njoka shares that overcoming doubts has been one of the challenges Kugali has faced -- doubts about their talents and what they were capable of achieving as a team. "The doubt comes from the immense responsibility on our shoulders," Njoka adds. "To make sure that whatever we create is spectacular and that it doesn't flounder; it doesn't fail, not only in the practical sense, but also how it represents in terms of stories."
Their off-site work model brings members of the team from all over the continent, a practice that has been in place even before the pandemic hit in 2020. But managing people effectively and fostering a sense of community without ever seeing each other has been another challenge, which they have been able to surmount. Njoka became Kugali's new CEO in March, 2022, after occupying an acting position. He hopes to steer the company into a future where creatives are supported and encouraged to do radical and new things. He imagines creating an entirely new industry that hasn't existed: "My role here at Kugali is to be a chief storyteller, to bring other storytellers along and to keep championing what we do."
Jun. 29, 2022 10:03AM EST
(Photo by Leon Bennett/Getty Images)
Rise Immortalizes Giannis Antetokounmpo's Story Of Victory
The Greek-Nigerian sports star and his family give the world their sincere story and show us that "When one of us wins, we all win."
Disney+'s RISE is a charming, family-friendly film depicting traumas that one couldn't fathom. The movie tells the story of Greek-Nigerian basketball superstar Giannis Antetokounmpo (Uche Agada) and his ascent from poverty to National Basketball Association champion. The film retells the years the Antetokounmpo family spent dodging immigration officers, the four children sharing a single bed for years while their parents slept on the couch, and the sacrifices that led to the Antetokounmpo brothers' domination in the NBA. A harrowing tale of perseverance and dedication to family that could be an empathy-building tool for the sports fans that are attracted to the brothers' professional escapades.
The affectionately nicknamed "Greek Freak" and his brothers Thanasis, Kostas, and Alex (played by Ral Agada, Jaden Osimuwa, and Elijah Sholanke, respectively) grew up in a world where their existence and personal safety were constantly at threat. The film details the heavy decision that Giannis's parents made to leave Nigeria in search of a better life. Charles and Victoria Adetokunbo (Dayo Okeniyi and Yetide Badaki) were forced to leave behind their firstborn son, Francis (Anthony Abiola), in Nigeria when the couple traveled to Turkey. After an onslaught of horrific experiences -- including having their passports seized by Turkish authorities -- Charles and Victoria smuggle themselves across the Turkey/Greece border.
All four boys were born and raised in Greece. However, none were awarded legal documentation until three months before Giannia's NBA draft -- at the age of 18.
Photo by Jesse Grant/Getty Images for Disney
The story focuses largely on Giannis and older brother Thanasis, as they discover Basketball well into their late teens and see it as a way out for the family. Standing at a whopping 6′ 11″, Giannis towers over Thanisis. But the eldest of the clan is the first to master the sport. As the movie portrays it, Thanasis was seen as the family star and if not for an ill-timed ankle injury, would have preceded Giannis as the first to be scouted. The film is a sincere take on the belief that natural-born talent can only manifest as greatness if you put the work in. Giannis, now with the pressure of saving his family on his young shoulders, put in his hours days worth of commitment, eventually being picked by a Spanish club CAI Zaragoza before becoming eligible, in 2013, for the NBA draft.
In 2013, on their first trip out of Greece since birth, Giannis and Thanasis traveled to the US where the younger was drafted in the first round by the Milwaukee Bucks.
The movie reminds us of how quickly the ego can create uncomfortable family dynamics. Not only was there no animosity between Thanasis and Giannis when the former was expected to break into the industry first, but the Greek Freak also brought his band of brothers up with him; Thanasis plays alongside Giannis for the Milwaukee Bucks; Kostas plays for the Los Angeles Lakers, while youngest Alex is currently undrafted, last playing for the Canadian Raptors 905.
How do you detail a child as young as seven having to run away from violent police officers for trying to put food on their family's table in a Disney-friendly way? Somehow, they did it. One can assume that the final product is a watered-down version of the real experiences. We have to give Disney their props when considering how transparent the production giants let the Antetokounmpo family be. Shocking dramatizations of the young boys having to evade police custody and the ever-present ignorance that is racism fill the family's story. I couldn't recall a Disney movie ever tackling racism this head-on before, making this debut crucial for so many young eyes.
Yetide Badaki as Vera, Ral Agada as Thanasis, Elijah Sholanke as Alexandros, Uche Agada as Giannis, Dayo Okeniyi as Charles, and Jaden Osimuwa as Kostas in RISE, exclusively on Disney+.
Photo by Patrick Redmond. © 2021 20th Century Studios. All Rights Reserved.
To have to leave behind your infant child, driven by hope and a prayer alone into uncharted, unaccepting waters is something many will be lucky to never face. The reputation of those who leave the continent to seek better lives in different countries is often dismal. Often painting African refugees as less than human, as if someone would choose a life of insecurity and instability. Giannis's likability within the world of basketball is likely to draw an unsuspecting audience to Disney's popular streaming platform to witness a worldview they probably couldn't even imagine. Knowledge and understanding are key tools in dismantling ignorance, and that genre of society could use it.
RISE is available for streaming on Disney+ exclusively. Check out the trailer here!
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Hoover Institution Press Publishes In The Wake Of Empire By Anatol Shmelev
The Hoover Institution Press has published In the Wake of Empire: Anti-Bolshevik Russia in International Affairs, 1917–1920, by Anatol Shmelev, Robert Conquest Curator for Russia and Eurasia at the Hoover Library & Archives. Tuesday, January 26, 2021 2 min read
Hoover Institution (Stanford, CA) – The Hoover Institution Press has published In the Wake of Empire: Anti-Bolshevik Russia in International Affairs, 1917–1920, by Anatol Shmelev, Robert Conquest Curator for Russia and Eurasia at the Hoover Library & Archives.
Based on primary-source information from Hoover's Russian collections, this account examines how, following the Bolshevik coup of November 1917, the anti-Bolsheviks, or "Whites," controlled territory in parts of Russia and struggled to carry out their vision for the future of the country.
Shmelev explores how the Whites were able to overcome internal tensions to lobby for recognition on the world stage, only to fail—in part as a result of the West's desire to leave the "Russian question" to Russians alone.
In the Wake of Empire examines the personalities, institutions, political culture, and geostrategic concerns that shaped the foreign policy of the White movement and anti-Bolshevik governments. Shmelev also provides a psychological study of the factors that ultimately doomed the White effort: the wishful thinking with regard to their own political prospects and an irrational and ill-placed desire that they would receive help from the Allies.
Additionally, Shmelev explains how the Whites' lack of communications machinery and state apparatus made it impossible to conduct domestic and foreign policy effectively. However, their comprehensive program, embodied by the slogan "Russia—Great, United, and Indivisible," endured and was resurrected in the politics of Russia's post-Soviet era. This program, at the heart of White ideology, aspired for Russia to protect its territorial integrity, to restore its pre-1914 borders with the exception of Poland, and to provide local autonomy for national minorities.
"This study aims intentionally to argue that the fight for a 'Russia—Great, United, and Indivisible' not only eclipsed the fight against Bolshevism but made the latter struggle untenable," writes Shmelev.
In the Wake of Empire is available in hardcover and e-book formats. Click here to purchase.
Anatol Shmelev is a research fellow and Robert Conquest Curator for Russia and Eurasia at the Hoover Institution. His area of specialization is the Russian Civil War, 1917–22.
Acclaim for In the Wake of Empire
"Anatol Shmelev has succeeded in making an important contribution to the study of the Russian Revolution and the Civil War. On the basis of extraordinarily thorough research and the wide use of primary sources, he is the first to discuss the foreign policies of the White Movement. He demonstrates that although the diplomats who served the White cause had a weak hand to play, nevertheless they remained faithful to the cause of a united, powerful Russia, ready to play a significant part in European diplomacy."
—Peter Kenez, professor emeritus, University of California–Santa Cruz
"Based on exhaustive archival research and engagingly presented, Shmelev's study is a tour de force that unravels the complex and tragic story of the Russian diplomats stranded abroad by the Bolshevik revolution. The account traces their failed attempt to defend age-old Russian interests at the post–Great War peace conferences, in the face of fracture and civil war in Russia on one hand, and their erstwhile allies' deep suspicions and skepticism of the re-creation of a 'great' Russia which no longer existed."
—David McDonald, Alice D. Mortenson-Petrovich Distinguished Chair in Russian History, University of Wisconsin–Madison
"Many have told the story about how Russians fought their civil war on the battlefield, but their momentous struggles at the Paris peace talks of 1919 have been unjustly ignored. Engagingly written, erudite, and encyclopedic in scope, In the Wake of Empire will likely prove to be the definitive study in any language of the 'other Russia's' ultimately doomed attempt to retain great power status. Shmelev's archival research is nothing short of herculean."
—David Schimmelpenninck van der Oye, professor of Russian history, Brock University
"Though exhaustive multiarchival research, impeccable scholarship, and compelling analysis, Anatol Shmelev has written the authoritative account of anti-Bolshevik Russia's foreign policies during three tumultuous years of revolution, civil war, and foreign intervention. By illuminating a neglected aspect of a doomed cause, In the Wake of Empire invites the thought that victors may write history, but losers have more interesting things to say."
—John J. Stephan, professor of history emeritus, University of Hawaii
For coverage opportunities, contact Jeffrey Marschner, 202-760-3187, jmarsch@stanford.edu.
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Hoover Archives Acquires New Historical Materials Evidencing Taiwan's Bumpy Process toward Democratization
January 13, 2023 by Hsiao-ting Lin Hoover Daily Report
Hoover Acquires the Papers of Shultz Biographer Philip Taubman
January 12, 2023 by Jean McElwee Cannon
Q&A: Col. Henry C. Brown (US Army), National Security Affairs Fellow
January 12, 2023 interview with COL Henry C. Brown Questions & Answers, Hoover Daily Report