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Kool Kat of the Week: Mike Malloy Rewinds Back to the 1980s Home Video Revolution with His Latest Documentary Feature
Posted on: Jul 15th, 2013 By: Anya99
Mike Malloy. Photo credit: Andramada Brittian.
Video may have killed the radio star, or so that '80s song goes, but it launched a lifelong passion for cult action movies in Kool Kat of the Week Mike Malloy. Now he's paying homage to the format that revolutionized the way people accessed and watched movies from the late 1970s to the 1990s in the documentary series PLASTIC MOVIES REWOUND: THE STORY OF THE '80S HOME VIDEO BOOM, for which he is seeking funding through a Kickstarter campaign. The timing couldn't be more perfect with VHS tapes, like 33rpm LPs, enjoying a renaissance among collectors, both old and new.
From his slicked-back hair to his Retro bowling shirts, Mike looks like he ought to be playing the stand-up bass in a rockabilly band. Instead he's devoted himself to "playing" tribute to a side of cinema that often doesn't get a lot of love from mainstream critics. At age 19, he signed his first book contract to write the first published biography of Spaghetti Western star Lee Van Cleef (for McFarland & Co.) Since then, he went on to write articles for a wide spectrum of national film magazines, served as managing editor of fan favorite Cult Movies Magazine, has spoken about movie topics at universities, ghost-wrote several fim books, and served on the selection committee of the 2006 Atlanta Film Festival.
In the past few years, Mike has moved increasingly both in front of and behind the camera. He has acted in more than 25 features and shorts. He co-produced the Western THE SCARLET WORM (2011) and directed the short, LOOK OUT! IT'S GOING TO BLOW! (2006), which won the award for best comedy short at MicroCineFest in Baltimore. But he's garnered the most acclaim, both national and international, for EUROCRIME! THE ITALIAN COP AND GANGSTER FILMS THAT RULED THE '70s, a kickass documentary homage to that B-movie subgenre which he wrote, directed, edited and produced.
ATLRetro caught up with Mike recently to find out more about how home videos fired his fascination with film, his unique vision for PLASTIC MOVIES REWOUND, some really cool incentives he's lined up for his Kickstarter campaign which collectors will love and what's up next for Georgia's Renaissance man of cult action cinema.
Having written Lee Van Cleef's first published biography at age 19, you've obviously been into rare cult and B movies since an early age. What triggered your passion for the less reputable side of cinema and why does it appeal to you so much?
I'm a rare guy who's deep into cult and genre cinema without caring much for horror or anything fantastic. For me, it's all about a desperate Warren Oates shooting it out in Mexico. Or Lee Marvin with a submachine gun. For some reason, I'm just drawn to gritty tough-guy cinema – which is not necessarily the same thing as action cinema.
How did the home video revolution influence you personally? Having been born in 1976, you can't really remember the pre-video days, I'd guess, but it must have afforded you access to a whole spectrum of these movies which otherwise would have been hard to track down and see.
And I even missed most of the '80s video boom, because my parents, in 1990, were the last on the block to get a VCR. But in 1994, I made up for lost time. I had a college girlfriend who had an off-campus apartment, and while she was at work, she didn't like the idea of me being on campus, potentially fraternizing with other young ladies. So before each shift, she would take me by the local mom-and-pop vid store and rent me 8 hours' worth of Bronson, Van Cleef, Carradine, etc. That kept me safely in her apartment, and it put me on the cinema path I'm on.
Videophile Magazine; Jim Lowe and Mike Malloy on the set of PLASTIC MOVIES REWOUND.
In Atlanta, Videodrome seems to be the last independent rental retailer still in business and it's even hard to find a Blockbuster left. And of course, they now just stock DVDs. Now you can order up a movie online and watch it instantly. Do you think we've lost something by no longer going in to browse, and was there a particular video store that became your home away from home?
One of our interviewees said something interesting: The mom-and-pop video store business model was based on customer DISsatisfaction. That is, you'd go in to rent CITIZEN KANE, it would be checked out, and you'd somehow end up leaving with SHRIEK OF THE MUTILATED (1974). Being forced to browse leads to an experimental attitude in movie watching. That's a good thing.
VHS tapes can get damaged easily, the picture and sound quality can't compare to a bluRay (or often even a regular DVD) and they rarely show a movie in widescreen. Why be nostalgic about them, and is it true that the VHS format, like LPs, is having a comeback?
VHS is experiencing a major comeback. There are about 20 little startup companies that have begun releasing movies to VHS again. A certain old horror VHS – of a film called DEMON QUEEN (1986) – sold recently on eBay for $750.00. VHS conventions are springing up all over the country.
I've always thought that the format is superior for horror films. If you watch THE TEXAS CHAIN SAW MASSACRE (1974) on a soft old VHS poorly transferred from a faded film print, that makes you feel as if you're watching some underground snuff film obtained from a shady guy in a trench coat. Watch that same movie on a pristine Blu-Ray, and you don't get that same grimy feeling.
Michael Perkins films a scene at Videodrome, Atlanta's last great independent video store.
There have been other documentaries about home video, such as ADJUST YOUR TRACKING (2013) and REWIND THIS (2013). What will PLASTIC MOVIES REWOUND add to the topic that hasn't been covered already?
PLASTIC MOVIES REWOUND will be a three-hour series, spanning six half-hour episodes. Those others just have a feature-length running time. So if mine isn't the most definitive word on the subject, I've really screwed up. I'm sort of glad those docs exist as companion works, because it frees me up to explore some of the weirder corners of the phenomenon I find fascinating. Things like video vending machines and pizza-style home delivery of VHS tapes.
You've got a pretty interesting line-up of interviewees, not all of which are big names. Can you tell us about a few of them and how you went about selecting them.
Right, many of these people are very significant without being instantly recognizable. We have Mitch Lowe, the founder of Netflix (and later a CEO of Redbox). We have Jim Olenski, owner of what is considered to be the first-ever video store. We have Seth Willenson, a Vice President at RCA who oversaw their failed video disc format. That's just several off the top of my head. They all have that level of significance. And we interviewed a bunch of cult filmmakers, because working at the cheap extreme of the video boom was where some of the craziest stories were. Further, we were glad – er, glad/sad – to have been able to document a closing video store in Toronto during its final month.
Gary Abdo and Mike Malloy. Photo credit: Jonathan Hickman.
Moviemakers, and artists of all ilk, have always seemingly been ripped off by others who pocket all the money. What distinguishes the video era in that regard, and are there any lessons filmmakers can apply to the current wild west of digital camerawork and online distribution?
I think the potential for ripping off artists is greater when an industry is in upheaval, when the rules and the financial models are unclear. And you're right, VOD and streaming have caused the same type of upheaval that the videocassette did in its day. So I love all the anecdotes we captured of swindled '80s filmmakers fighting back against their underhanded distributors. And I hope today's filmmakers realize that distributors are now becoming largely unnecessary at all. For instance, I hope Vimeo OnDemand – with its 90-10 split in favor of the filmmaker – is a total game changer.
You obviously went into this project with a lot of background, but did you find out any big surprises or delightful unexpected moments during your interviews/research?
I went into the project feeling proud that I was going to cover not only VHS and Beta, but all the failed video formats – like Cartrivision, Selectavision (CED) and V-Cord II. Turns out, they were just the tip of the iceberg. I now probably have about 15 different also-ran video formats I can touch on.
Left to right: a video vending machine; Mitch Lowe, founder of Netflix.
How different would the world be today if Cartrivision had caught on instead of VHS?
Well, Cartrivision was an early attempt at rights management for movies. The Cartrivision rental tapes couldn't be rewound at home; that could only be done at Sears, where you rented them. It limited you to one viewing per rental. So it would've started the concept of video rentals off on a very different attitude and philosophy. I think part of the reason the '80s home video phenomenon was such a boom was the freedom associated with it – you could rent a movie of your choosing and watch it at a time of your choosing. You could watch it a number of times before returning. Hell, you could use your rewind button to watch a jugsy shower scene over and over.
Tell us about the Kickstarter campaign. How's it going and how are you going to use the monies raised to finalize the film?
Since ADJUST YOUR TRACKING and REWIND THIS both successfully kickstarted, I knew this would be an uphill battle. My only chance was to turn what is normally a beg-a-thon into a reward-a-thon. So I created a $75 level for the collectors where they could get so much more than just a copy of the documentary. The very first expense I'll cover, if I get successfully funded, will be an 8 terabyte hard drive. I really can't cut another frame until I get it.
PLASTIC MOVIES REWOUND tells it like it was: Mike Malloy deals videos out of his van.
You've got some mighty cool incentives for donors, including actual vintage VHS cassettes. Tell us a little bit about them.
Not only have many of our filmmaker interviewees donated signed VHS and DVDs of their movies (to say nothing of rare, unused artwork and such), but a lot of these new startup VHS companies have also donated rewards. I'm feeling very supported.
Unlike your Italian-centric EUROCRIME documentary, you're trying to involve Atlanta as much as possible in PLASTIC MOVIES REWOUND, aren't you?
Local documentarian Michael Perkins (THE BOOKER) is my second-unit director, and Atlanta-based musician/engineer Matthew Miklos is my primary composer. His '80s synth sound is so authentic. An associate producer (Jonathan Hickman) and at least one interviewee (filmmaker Gary Abdo) are here too. Videodrome has been very cool about letting me shoot re-enactments in the store. I tried to document the closing of another Atlanta institution of the video-rental industry, but it didn't work out.
Anything else on your plate right now or next as a writer, director, producer or actor?
Later this year, I'm acting in HOT LEAD, HARD FURY in Denver and BUBBA THE REDNECK WEREWOLF in Florida. I wish someone would cast me locally so my pay doesn't keep getting eaten up by travel expenses!
Editor's Note: All photos are courtesy of Mike Malloy and used with permission.
Category: Kool Kat of the Week | Tags: 1980s, Adjust Your Tracking, Atlanta Film Festival, b-movies, Beta, Bronson, Bubba the Redneck Werewolf, Cartrivision, CED, cult movies, David Carradine, Demon Queen, Django, Django Lives, Django Unchained, Eurocrime, exploitation, Franco Nero, Gary Abdo, home video, Hot Lead Hard Fury, italian cop and gangster movies, Jim Olenski, Joe D'Augustine, Jonathan Hickman, Kickstarter, Kool Kat, Kool Kat of the Week, Lee Marvin, Lee Van Cleef, Look out it's going to blow, Matthew Miklos, mcfarland and company, Michael Perkins, Mike Malloy, Mitch Lowe, Netflix, Plastic Movies Rewound, quentin tarantino, RCA, Redbox, Rewind this, Robert Yeoman, Sears, Selectavision, Seth Willenson, Shriek of the Mutilated, spaghetti Western, Texas Chain Saw Massacre, The Booker, The Scarlet Worm, Toronto, V-Cord II, V/H/S, video rental, Video Store, Videodrome, Vimeo On Demand, Warren Oates, wes Anderson, western
As Real As It Gets: Cinema and Reality Blur in Mike Malloy's EUROCRIME!, A Fascinating Look Behind the Scenes of the '70s Italian Cop/Gangster Movie Genre
Posted on: Mar 26th, 2012 By: Anya99
By Philip Nutman
A labor of love for Atlanta filmmaker, Mike Malloy, who researched, wrote, directed, produced, edited and even contributed a small amount of instrumental funk to the score, EUROCRIME! THE ITALIAN COP AND GANGSTER FILMS THAT RULED THE '70s screens at the Atlanta Film Festival on Friday, March 30 at 7 p.m. at the Landmark Midtown Art Cinema. EUROCRIME! is a feature-length cinema documentary concerning the violent Italian 'poliziotteschi' (a literal translation is "policesque") cinematic movement of the 1970s which, at first glance, seem to be rip-offs of American cop/crime films like DIRTY HARRY or THE GODFATHER, but which really address Italian issues like the Sicilian Mafia and red terrorism.
What sets these movies apart from American cop movies of the era were the rushed methods of production (stars performing their own stunts, stealing shots, no live sound) and the dangerous bleed-over between real-life crime and movie crime. EUROCRIME! is an excellent, exhaustively researched, fascinating chronicle of this action-packed sub-genre of low budget Italian cinema.
ATLRetro scored an exclusive interview with the busy movie maker earlier this week.
ATLRetro: What inspired you to make EUROCRIME?
Mike Malloy: I got my first book contract – to write a cinema biography [of Spaghetti Western star Lee Van Cleef] – when I was 19, and over the next decade, I was slowly but surely building a career for myself writing for movie magazines [(FLAUNT, FILMFAX, VIDEO WATCHDOG, etc] and for newspapers [AP, Knight-Ridder, SUNDAY PAPER]. Then, one morning in 2007, I woke up and learned that the whole world had apparently decided overnight that film journalism was no longer going to be a paying profession. So I decided to try to parlay my film commentary into cinema documentaries.
The Eurocrime genre was my cinematic fascination at the time, so I made a three-minute demo video, and a colleague got it in front of an acquisitions VP at a major cable broadcaster. They said they'd be interested in buying the broadcast premiere if I could get it made. That allowed me to jump headlong into the project.
Mike Malloy dons a police badge himself in an acting role. Photo courtesy of Mike Malloy.
Looking back, I see what caused me to fall so madly in love with Eurocrime movies. I love cinema that rings true to life. And it may seem strange to say this, considering the Eurocrime genre's over-the-top violence and action, but these movies are about as real as it gets. And that's because of the way they were made. Sometimes the organized crime down in Naples got involved in producing these films, so you got a pretty hairy blurring of real-life crime and movie crime. And because the leading men of these films – even big international stars – performed their own dangerous stunts, the action had a certain authenticity to it too.
How long did it take to make EUROCRIME!?
Getting the interest from the broadcaster launched me on a four-year odyssey. I know nothing about raising money, and I was in a bad place to do it anyway, as these movies weren't experiencing the revival here in Atlanta that they were in places like Los Angeles and Austin. So I just did the doc on my own, basically, with a few small private investments and with some help from some colleagues who also loved these movies. And I ended up starting the project Standard Definition and starting over midway as HD, teaching myself all the necessary editing and VFX software along the way.
Having no real budget meant that most of the things that other pop-culture docs farm out – like stylish, graphics-oriented opening credits sequences – I just had to do myself. In fact, because I realized that many of our filmmaker interviews were shot on the fly and with less-than-ideal circumstances, I wanted to compensate by creating as many graphics, montages and other touches of style as possible.
I started the doc in my living room and finished it in the upstairs of my fiancée's parents house, as this project even cost me my ability to pay my rent for a while!
How did you obtain all the amazing footage (in addition to all the great interviews)?
These films have gotten some pretty great-looking DVD releases in other parts of the world. So it's a matter of finding those good-looking releases, than finding cruddy-looking gray-market copies of the same films with English dialogue, then matching up the good-looking print and the English audio. Of course, NTSC (North American) and PAL (European) video run at different speeds, so it takes plenty of trial-and-error adjustments to sync it.
We also were very grateful to receive some 8mm home movie footage from one of our interviewees – John Dulaney. And we got some other cool materials from people like Italian cinema documentarian Federico Caddeo.
Wasn't Quentin Tarantino supposed to be involved at some point?
We were interested in interviewing him regarding the important part he played in the revival of these movies, setting up Eurocrime screenings at The New Beverly inLos Angeles, the Alamo Drafthouse in Austinand at events like The Venice Film Festival. He said yes a couple times to the project, but we never could make it happen.
I'm now in production on PLASTIC MOVIES REWOUND: THE STORY OF THE '80s HOME VIDEO BOOM. And I'd like to do DAVID CARRADINE: THE LOST AUTEUR.
Where would intrigued viewers of the doc go to find these movies?
Last time I checked, Videodrome on North Avenue had a Eurocrime section. And the longtime Italian DVD company, RaroVideo, just started releasing some of their titles in theU.S.last year -movies like THE ITALIAN CONNECTION and LIVE LIKE A COP, DIE LIKE A MAN. And for years now, the U.S. DVD label Blue Underground has been championing Eurocrime movies in the U.S., releasing films like STREET LAW and THE BIG RACKET. All these titles from Raro and Blue Underground are available through Netflix, too.
Contributing write Philip Nutman, is a long-time film journalist, author, screenwriter and occasional director. He recently produced the forthcoming, controversial zombie love story, ABED, in Michigan.
Category: Features | Tags: 70s movies, Alamo Drafthouse, Atlanta Film Festival, cop movies, David Carradine, Eurocrime, Federico Caddeo, film documentary, gangster movies, home video, Italian movies, John Dulaney, Landmark Midtown Art, lost auteur, low-budget, Mafia, Mike Malloy, New Beverly, Plastic Movies Rewound, poilcesque, poliziotteschi, red terrorism, Venice Film Festival
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Five librarians discuss the future of the academic book
Christina Kamposiori reports on what librarians are thinking
• Christina Kamposiori
Published in British Academy Review, No. 29 (January 2017).
The print version of this article can be downloaded as a PDF file.
Christina Kamposiori is Programme Officer, Research Libraries UK (RLUK).
In the spirit of the second Academic Book Week taking place in January 2017, Research Libraries UK (RLUK) decided to conduct interviews with academic librarians holding different positions in the library, in order to find out about their expert views on the future of the academic book.
The professionals who very kindly contributed their time and expertise for the purposes of this article were: (1) Liz Waller, Head of Library and Archives, and leader of a team of senior managers delivering Library and Archives services to the academic, student and wider community at the University of York; (2) Beth Clark, Head of Digital Scholarship and Innovation at LSE Library; (3) Stuart Sharp, Joint Head of Acquisitions and Access, a large department purchasing the content and managing electronic availability of the content in the Library of the University of Glasgow; (4) Rozz Evans, Head of Collection Strategy for UCL Library Services and leader of the Collection Development Services team at the UCL Institute of Education; and (5) Dr Jessica Gardner, Director of Library Services and University Librarian, University of Bristol.
After each interviewee briefly described their role in the library, they discussed issues around the format, purpose and use of the future academic book, as well as the way in which they expect that these will be shaped by their community's needs. Moreover, we invited them to express their opinion on how they see the role of libraries and librarians developing as a result, and how this will differ from that of other stakeholders, such as authors, publishers, and booksellers. Finally, we asked them to outline the skills that librarians need to develop in order to respond efficiently to any challenges that the future academic book may bring.
According to the librarians' perspective, the future of the academic book looks increasingly digital and dynamic, while its content is easily accessible. Although print will still continue to exist because of the trust that academics have developed in it, authors and readers will probably be offered a variety of formats, shorter or longer, to choose from. So, even though dissemination of knowledge will remain as the main purpose and use of the academic book, its format will adapt to the researchers' and students' evolving needs. Improving impact will also constitute one of the concerns of the stakeholders of the future academic book; employing complementary dissemination strategies or moving to the 'mainstream' public reading realm can be two potential avenues for increasing impact. Our professionals argued:
"I believe there will be an increase in born digital 'books' which will offer new ways of engaging with the content, and new ways of presenting ideas. Whilst the idea of the book as the output for a sustained period of research will still hold good, I believe that the purpose of the book – the communication of ideas – will remain, but may manifest itself in different ways – perhaps offering a platform for the presentation of ongoing research and academic debate." (interviewee 1)
"Readers will be offered a wider choice of formats, with long-form print still playing an important role. However, we will also see more 'fragmented' books with content repackaged into other outputs, e.g. course materials." (2)
"A relatively small number of titles will cross into more mainstream public reading, and I suspect that, to improve 'impact', publishers and academics will expand this." (3)
"Access needs to be simpler and more consistent, and ebooks need to be much more flexible in terms of sharing, downloading and manipulating content." (4)
"We are seeing publishers and academics with marketing and engagement strategies that move beyond the book to include ways of pushing ideas through social media, with blogs, video etc." (5)
Academics' changing publishing practices, often driven by the Research Excellence Framework (REF), funding and career requirements will be one of the main factors impacting on the future of the academic book. On the other hand, students' needs for increased access to context across devices and platforms will influence the development and future of textbooks. Yet, personal reading habits and differences in publishing behaviour and needs across academic disciplines are additional issues that will contribute to the shaping of the future academic book.
"The way in which academics share their work is beginning to change, with new technologies and methodologies being embraced by a minority, but this will become more prevalent as the richness of this transmission is acknowledged and further developed." (1)
"The future academic book will continue to be shaped by drivers such as the REF, research funder requirements, academic promotion procedures, and the established norms for publication in certain fields." (2)
"I could see open access e-textbooks, if successfully developed, challenging some standard textbook publishing in some subjects, but the models are challenging and the effects will be limited. I think the biggest move will be towards ebook-only academic books, purchased, as is increasingly the case with SHEDL [Scottish Higher Education Digital Library] in Scotland, through evidence-based or subscription deals, with limited DRM [Digital Rights Management]." (3)
"The drivers for 'any time, any place, any device' are powerful ones, particularly for students to access content wherever they are in the world, and for content to be re-used and re-purposed in different contexts. The needs of students in this regard will continue to drive up digital innovation in the future of the academic book. But it is a balance. We shouldn't ignore the fact that for many of us – including students – print remains a preferred format for reading long-form, and that in the arts, humanities and social sciences the long-form academic book is a reflection of discipline craft, of deep analysis and thinking formed into a long argument or discourse." (5)
Considering the impact that these changes will have on libraries, the professionals interviewed told us that new models of publishing and collaboration are likely to emerge. Libraries will have an active role in the design of resources and content, while strongly influencing the deals with publishers over content and resource subscriptions. As part of this more dynamic role, the role of libraries as open access publishers may expand, with existing successful initiatives, such as UCL Press and White Rose University Press, leading the way.
"Already libraries are supporting open access publishing in their institutions, e.g. UCL Press and White Rose University Press, and with new formats the potential for the library to become involved in supporting 'publishing' increases. The library should be well placed to partner with the academic community in exploring new dissemination outlets." (1)
"Increasingly we see librarians providing support for authors during the whole research cycle, providing advice on systematic reviews, RDM [Research Data Management], open access publishing, bibliometrics, managing research outputs, and minting DOIs [Digital Object Identifiers]. In future, librarians are likely to develop this support role for authors, providing advice on publication, funding and licensing options, liaising with publishers and booksellers, and in some cases actively developing a publishing role themselves, providing open access platforms and supporting university presses." (2)
"The libraries' role will be to facilitate the content on the 'big deals' with publishers, and less time, effort and resources will need to be spent on the development of new print collections." (3)
"Librarians need to continue to advocate robustly (and collectively) on behalf of their users in terms of establishing what is and is not acceptable in terms of the purchase of/ subscription to this content." (4)
"Libraries are not simply 'consumers' of information resources, but increasingly involved in influencing how they are designed (for instance to help improve accessibility and licensing for ebooks), and in content (for instance in collaborative design of multimedia educational resources). We are also seeing models where libraries are becoming publishers, working to innovate and enable open access monographs as the academy works to take back some control over research dissemination." (5)
Based on the above comments, librarians' role will also expand and include the provision of support to scholars throughout the research life-cycle; from advice on funding resources to open access publishing support. However, in order to meet the demands and responsibilities of this new role, collaboration is crucial. According to the professionals that took part in the interviews, boundaries between stakeholders have become blurred, opening up new opportunities for partnerships.
"The lines between author, publisher, bookseller and librarian may become blurred as we explore the potential for new and innovative partnerships." (1)
"I believe the HE library profession needs to come together collaboratively to ensure that academics, who are the producers of this academic book content, are fully informed when it comes to making publishing decisions." (4)
"I think we will see academic librarians working in closer partnership with authors and publishers, particularly with the growth in university press initiatives." (5)
As a result, the skills that library professionals need to develop – according to these five librarians – range from a deeper understanding of the research and publishing process, to technical, communication, negotiation and marketing skills. Actually, collaboration and communication are key, not only for forming strong partnerships across institutions and industry partners, but also for building a robust internal community of professionals who have an active role in the library and a unique set of skills. Beth Clark, Stuart Sharp, Rozz Evans and Liz Waller outline the skills that librarians need in order to tackle the challenges associated with the future academic book efficiently:
"Continued development of scholarly communications skills (bibliometrics, RDM, open access etc.), plus enhanced metadata, discovery and digital preservation to ensure long-term access to multi-format content. Advising authors on licensing content for accessibility and reuse e.g. text and data mining. Supporting new publication models either financially or practically, providing platforms to support innovative publishing, and developing technical skills to support this." (2)
"We need to be able to utilise improved use of analytics to evaluate the value of content, the skills to ensure that the content is easily discoverable to our users, and improved negotiating skills when up against publishers with experienced sales staff. We need to improve marketing skills to ensure that the content purchased is known and explained to the relevant users." (3)
"Greater understanding of publishing for all librarians, not just those working in acquisitions teams, a proactive approach to explaining how this works to academics and students, and a willingness to articulate problems across the sector and in dialogue with publishers. Ability to work with academics in terms of what content is published and how, and more involvement in course planning. Selection of books for courses will, of course, remain the domain of academic staff, but they need to be in a position to make well-informed decisions and there is a role there for librarians." (4)
"Librarians supporting academic publishing will need a deeper understanding of the research process and of academic practice and thinking, a knowledge of publishing processes and of new platforms and technologies which might be exploited. New publishing formats will require us to think about how we support discovery and potentially curation and preservation challenges presented by fluid, digital formats. It will be an exciting new world in which librarians can utilise existing skills sets in new ways, and embrace new skills, knowledge and understanding." (1)
Indeed, the future of the academic book may entail new challenges for libraries and their professionals, in terms of infrastructure, skills and resources. Yet, it also promises to open up new opportunities for co-operation across sectors, as well as new types of engagement with their audience, making the academic library a lively and innovative space for creating and sharing knowledge.
Five librarians discuss the future of the academic book (BAR 29)
British Academy Review 29
How should we read a monograph?
Kathryn Sutherland offers some personal reflections on the academic book of the future
Early career scholars and the academic book of the future
Amartya Sen in conversation with Nicholas Stern
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text:
Helena-West Helena resident indicted for supporting terrorist organization
The superseding indictment alleges that Al-Rayanni provided material support and resources to a foreign terrorist organization.
Author: THV11 Digital
Published: 2:34 PM CDT August 9, 2019
Updated: 6:42 PM CDT August 9, 2019
HELENA-WEST HELENA, Ark. — According to the Office of the United States Attorney, a Helena-West Helena resident has been charged with providing support to a terrorist organization.
Bilal Al-Rayanni, a 28-year-old Yemeni national living in Arkansas, was charged with supporting a terrorist organization in Yemen, as well as providing a false name on a passport.
RELATED: California town pledges to remain strong in wake of shooting
The superseding indictment alleges that Al-Rayanni, also known as Bilal Kassim Alawdi, provided material support and resources to a foreign terrorist organization known as Al Qa'ida in the Arabian Peninsula (AQAP).
Al-Rayanni provided support by working as personnel for the AQAP for three months in Yemen in 2014, knowing that the organization engaged in terrorism, according to the superseding indictment.
Al-Rayanni lived in Arkansas prior to traveling to Yemen in 2014.
The superseding indictment states that this activity occurred within an extraterritorial jurisdiction of the United States, meaning that Al-Rayanni's alleged criminal actions took place out of the country, before he returned to Arkansas.
RELATED: Deaths as suicide bomber detonates in Somalia mayor's office
Al-Rayanni was originally charged on July 11, in a one-count indictment charging him with making a false statement on a passport application in May, alleging that he used a false name on the application.
Al-Rayanni will be arraigned before United States Magistrate Judge Jerome T. Kearney on Thursday. Al-Rayanni has been held in federal custody since originally arrested on the passport charge on June 27.


In this post, we will learn how to build an IoT Dashboard using Node-Redand node-red-dashboard. These set-up can be deployed on Raspberry Pi, Orange Pi, ... easily. We will make a demo for this post,sharing IoT a simple smart home demo: a floor has 1 bulb and 1 temperature sensor.
How This Bike Sharing Works. Spekun has been equipped with Smartlock device embedded on the bike. This system is compatible with NB-IoT connectivity technology that enables all Spekun to communicate with the operator's server so that the operator can track the bicycle while knowing the amount of bicycle distribution in all areas.
We found that obtaining business value using the connections the IoT creates between an organization and its customers, suppliers, and competitors depends on companies' willingness to share data with other organizations. Commercial laundry facilities are a fact of life in apartment buildings and college campuses around the world.
Sharing data and incorporating leaderboards is great, however people want to improve individually, too. Gyms, classes and apps are tapping into this desire, using IoT technology to improve their guest experiences so they're seamless and focused on the individual.
1 min read . Singtel, China Mobile in network-sharing IoT deal – The Straits Times. What happened: Singapore-based telecom company Singtel is partnering with China Mobile to improve the Internet of Things network infrastructure across the Asia Pacific region.The agreement will make the operation of IoT devices seamless across the two companies' networks.


text:
Kelly hurt as Cardinals lose to Brewers 5-1
By JIM HOEHN, Associated Press | Posted - April 16, 2014 at 5:10 p.m.
 8 photos
MILWAUKEE (AP) — The St. Louis Cardinals' 5-1 loss to the Milwaukee Brewers on Wednesday may prove more costly than one defeat in the NL Central standings.
Cardinals starter Joe Kelly left in the middle of the fourth inning with left hamstring tightness after trying to beat out a bunt attempt in the top half.
"I felt like I tried to step a little quicker, maybe a little overextend and hit the bag a little bit before it and ended up tweaking it," Kelly said.
He was scheduled to return to St. Louis for additional examination and treatment.
"I was feeling pretty good. I had three pitches working for me first time the whole year," he said. "I had a slider and a pretty good curveball breaking down, and had some velocity on my fastball and was locating it."
Kelly (1-1), who gave up an unearned run and three hits in four innings, did not know whether he would miss his next turn.
"If I miss my next start, I do," he said. "It's early in the year. It's best to be precautionary and go out and be healthy and go to my next one."
Wily Peralta (2-0) allowed one run and six hits in 6 1-3 innings, helping the Brewers avoid a series sweep.
Milwaukee, which entered the series with a nine-game winning streak, had one run and six hits in losing the first two games to St. Louis. The Cardinals won last year's season series 14-5.
"It felt good. That's a pretty good team over there," Lucroy said. "They've had some momentum against us the last few years, so it was nice to get a win. To finish a homestand 4-2, that's pretty good. If we do that the rest of the year, we're going to be there at the end. They're a good team, a good club, but we're glad to pull one out against them on the last day."
After Kelly departed, the Brewers boosted their lead to 4-0 in the fifth against Seth Maness.
Wily Peralta reached when his two-out liner went off the glove of shortstop Jhonny Peralta. Gomez walked, Jean Segura reached on an infield single, Lucroy followed with a two-run single and Aramis Ramirez had an RBI single.
Milwaukee went ahead in the third inning when first baseman Matt Adams misplayed Logan Schafer's leadoff bouncer for an error, Peralta sacrificed, and Carlos Gomez hit an RBI double to the wall in right-center, one pitch after bunting foul.
"That just goes back to prove the point that that's something we've got to bring every day," Cardinals manager Mike Matheny said. "We've got to bring that good defense. ... We've got the kind of guys who can make the plays. In games like this where we're not stacking up a bunch of runs."
Allen Craig hit his first home run of the season, a sixth-inning drive off Peralta. Pat Neshek walked pinch-hitter Lyle Overbay with the bases loaded in the eighth for the Brewers final run.
Will Smith, Tyler Thornburg and Francisco Rodriguez combined for 2 2-3 innings of scoreless relief. Thornburg retired three batters, extending his streak to 20 batters over six outings.
"I expect good things through this season," Brewers manager Ron Roenicke said of his bullpen. "We'll try to manage them right and make sure we're not using too many of the guys. I think Thornburg is stepping in, and what he's doing is huge."
NOTES: Ryan Braun, still bothered by an ailing right thumb, was held out of the starting lineup. Braun, hitting 269, has three homers and 10 RBIs — but all the homers and seven RBIs came at Philadelphia on April 8. ... Official scorer Tim O'Driscoll originally credited Wily Peralta with a single in the fifth, then changed it to an error on Jhonny Peralta, then after the game ruled it a hit for Wily Peralta.
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Steel Panther announce 2012 UK tour – ticket details
Tom Goodwyn Dec 6, 2011 8:58 am GMT
Hair metallers will return to the UK in March
Steel Panther have announced a UK tour for next year.
The hair metal band, who are currently supporting Motley Crue and Def Leppard on their joint UK arena tour, will play four dates in March.
The shows begin at Birmingham's O2 Academy on March 27 and run until March 31, when the band headline London's O2 Academy Brixton. These gigs will be the band's largest UK headline shows to date.
Steel Panther will tour in support of their third studio album 'Balls Out', which they released last month.
You can watch a new video interview with Steel Panther by scrolling down to the bottom of the page and clicking.
Steel Panther will play:
O2 Academy Birmingham (March 27)
O2 Academy Glasgow (28)
Manchester Academy (30)
O2 Academy Brixton (31)
Tickets go onsale on Friday (December 9) at 9am (GMT). To check the availability of Steel Panther tickets and get all the latest listings, go to NME.COM/TICKETS now, or call 0871 230 1094.
Kate Nash Credit: Mike Lewis Photography/Redferns
Kate Nash calls for better support systems for musicians: "Because our lifestyles are associated with partying, the industry hasn't had to be professional"
Norwich band asked to headline festival after Lykke Li pulls out last minute
Diego Luna Credit: Getty Images
Diego Luna was "so disappointed" with 'Rogue One: A Star Wars Story' ending


MAHLE PowerPak in an approved part number.
Fletcher, NC (February 22, 2019) – MAHLE Motorsport now offers a PowerPak Piston Kit for Wissota concept engines for both small block Chevy and small block Ford. Featuring MAHLE Motorsport's lightweight yet strong, low drag slipper skirt forging, dual coatings and precision ring grooves for maximum sealing and power, this new PowerPak is approved for Wissota Auto Racing and Wissota Late Models known for 347 – 360 cubic inch engines generating 500+ HP.
The all forged pistons are precision machined to exacting tolerances on purpose built equipment manufactured by MAHLE specifically designed for piston production and feature precision ring grooves for maximum sealing and power. The top ring groove is hard anodized to protect against micro-welding insuring optimum ring seal over the life of the engine.
The pistons are dual coated with a phosphate dry lubricant to guard against galling in the pin bores and to add lubricity in the second and third ring grooves followed by a Grafal® anti-friction skirt coating to reduce drag, scuffing, friction and cylinder bore wear. This proprietary skirtcoating has a cushioning property that greatly reduces wear for both the piston and the bore as well as a substantial reduction in noise. Included in the kit are 1.5. 1.5, 3.0mm ductile iron moly rings.
For more information about MAHLE Motorsport's PowerPak Piston Kit for Wissota B-Mod Concept Engines visit MahleMotorsports.com, or call MAHLE Motorsport toll free at 888-255-1942.
Mt Gilead, OH (February 14, 2018)… Hot Shot's Secret, a leading brand of high performance fuel and oil additives for gas and diesel vehicles, now offers a new line of Severe Duty Transmission Fluids and Gear Oils branded under their most premium line, Blue Diamond. Blue Diamond Severe Duty formulas are for all vehicles that experience heavy loads, towing or challenging terrain including commercial or utility vehicles, semi-trucks, motorhomes, tractors and off-road vehicles where there is an excessive demand on transmissions and gears.
Hot Shot's Secret's Blue Diamond Severe Duty Transmission Fluid and Gear Oil formulas utilize 100% poly-alpha-olefin (PAO) Group IV synthetic oils and high-quality Group V esters infused with Hot Shot's Secret's patented FR3 nano technology. Both Blue Diamond Transmission Fluids and Gear Oils offer multiple benefits that provide longer transmission and gear protection and performance with extended drain intervals.
Developed to be the most effective transmission fluid and gear oil on the market today, Blue Diamond Severe Duty formulas ensure improved oxidation resistance and thermal stability; all while reducing deposits, varnish and sludge that can cause costly breakdowns. These unique formulas reduce heat transfer with improved oxidation stability for maximum protection. The FR3 nano technology provides a higher level of energy efficiency for improved shift response, reduced noise and vibration, and horsepower gain up to 3%. All Blue Diamond Severe Duty products are backed by Hot Shot's Secret's money back guarantee.
Visit Hot Shot's Secret's website for a list of applications for Blue Diamond Severe Duty Transmission Fluid, which is offered in two types: a Multi-Vehicle ATF covering numerous applications and a version for Ford Type F / Allison C4 spec transmissions.
Severe Duty Gear Oil is recommended for all commercial use (light, med and HD) and utility vehicles that experience heavy towing and hauling as well as utility vehicles, tractors, semi-trucks, motorhomes, off-road trucks and UTVs that need added film strength for extra protection. Hot Shot's Secret's Blue Diamond Severe Duty Gear Oil is offered in three viscosity levels: 75W-90, 80W-110 and 85W-140.
For more information about Hot Shot's Secret transmission fluids and other high performance formulas, visit HotShotSecret.com, or visit the Hot Shot's Secret Dealer Locator to find a dealer in your vicinity. To speak directly with a Hot Shot's Secret highly qualified technician, call toll free 800-341-6516, or visit our Talk to an Expert page for specific help.
Filed Under: Blog, Clients, Lubrication Specialties Inc.
Mt Gilead, OH (January 15, 2019)… Hot Shot's Secret, a leading brand of high performance oil and fuel additives, now offers a new winter emergency product –Diesel Winter Rescue. This formulated product reliquifies gelled fuel and de-ices frozen fuel filters to restore the flow of diesel fuel to the engine allowing the vehicle to be fully operational again. Unlike Hot Shot's Secret's Diesel Winter Anti-Gel that works as a preventative maintenance product in cold weather, Diesel Winter Rescue contains a military grade de-icer and works to disperse moisture throughout the fuel system: tank, lines, pumps and filters to return diesel powered vehicles to normal operation, regardless of outside weather conditions. When temperatures dip below freezing, this product is the one to have on hand for emergencies as a safety precaution.
For more information about Hot Shot's Secret Diesel Winter Rescue or other products manufactured by Lubrication Specialties, visit hotshotsecret.com. To speak directly with a Hot Shot's Secret highly qualified technician, call toll free 800-341-6516, or click here.
Mt Gilead, OH, (January 8, 2019)… In support of breast cancer research, Lubrication Specialties Inc., manufacturer of Hot Shot's Secret performance fuel and oil additives and ADRENALINE race oil, announce a contribution of $5,950 to the Breast Cancer Research Foundation. The funds were raised throughout the NHRDA race season through a special promotion sponsored by Hot Shot's Secret. The promotion rewarded funds to Mueller's Save the Racks charity for each successful pass made in either of Mueller's two Save the Racks themed trucks driven throughout the 2018 race season by Mueller or Firepunk Diesel team member, Larson Miller. Hot Shot's Secret donated $50 for each pass, in addition to giving a $250 bonus for each runner-up finish and a $500 bonus for a class victory at each NHRDA event. This, in addition to Save the Racks promotional tee shirt sales, accounted for the close to $6,000 in funds raised for breast cancer research.
Last year Mueller branded her Dodge Cummins Super Diesel race truck in a pink Save the Racks motif to support her mother who has successfully battled breast cancer. Early this year, she also branded a second Save the Racks truck, a Chevrolet S-10, driven by Larson Miller. This truck became the fastest diesel door car on the planet in September for the 1/8th with a record 4.47 at 167 mph at the SunCoast Diesel, the sixth stop of the Outlaw Diesel Super Series.
For more information about Hot Shot's Secret products, visit hotshotsecret.com. For more information about how to support Save The Racks, email Kyle Fischer at Lubrication Specialties Inc. at kyle@lubricationspecialties.com. To speak directly with a Hot Shot's Secret highly qualified technician, call toll free 800-341-6516, or click here.
Cookeville, TN, (November 26, 2018)… American Powertrain™, an industry leader of TREMEC®transmission conversion kits for GM, Ford, Mopar and AMC, has now been named the 2018 Elite Performer by TREMEC Transmissions. The Elite Performer Award is given to the authorized TREMEC dealer that has the number one sales volume of TREMEC brand performance products for the year. The award was presented to Robert Hall, owner of American Powertrain at the 2018 SEMA Show by Nate Tovey, Enthusiast Marketing Director for TREMEC.
Mt Gilead, OH, (November 13, 2018)…Lubrication Specialties Inc. (LSI), manufacturer of Hot Shot's Secret high performance fuel and oil additives, is expanding the company's bottling production capability by 30% and adding shelves to accommodate 20,000 units. Sales of the company's flagship automotive additive brand, Hot Shot's Secret, the addition of new automotive oil and gas products, and the increase in private label custom formulations precipitated the decision to increase production and storage for 2019.
LSI recently celebrated the company's 20th year of continuous operations, however it was this year that the company was prompted to add several key management positions, greatly expand retail and online distribution, and begin production of formulations for new markets that is theimpetus for record growth. The forecast is that in addition to continued steady sales of Hot Shot's Secret's growing product line, LSI will experience a higher concentration of new business in developing problem-specific custom formulations for companies both for, and outside of, the automotive aftermarket.
Owner and President, Chris Gabrelcik, is one of few people worldwide that holds both a Certification of Lubrication Specialist and Oil Management Analysis; expertise that is unique in the industry. LSI was originally based on finding problem specific solutions for industrial and commercial accounts; a model of operations that led to the development of Hot Shot's Secret Stiction Eliminator and the company's burgeoning automotive aftermarket business.
Filed Under: Clients, Lubrication Specialties Inc.
Ponte Vedra, FL (October 25, 2018)…In Short Track, Dalton Zehr is now the person to beat. After battling car issues from a wreck that tore up the right side of his car, and coming into the final race of the season a mere two points ahead of Austin Nason, E3 sponsored racer Zehr pulled off his first ARCA Midwest Tour Championship. Zehr won the championship over Nason by five points in a hard fought and contentious race. Zehr now has 100 plus feature wins, three touring championships and four track championships.E3 sponsored racer, Leah Pritchett known for wins in Nostalgia Funny Car, Pro Mod and Top Fuel can now boast a championship in NHRA Factory Stock. Competing in her Mopar Dodge Challenger Drag Pak for both Factory Stock and Top Fuel, she clinched the win at the SAMTECH NHRA Factory Stock Showdown in Dallas at the Texas Motorplex. This made her fifth win for the seven-event NHRA Factory Stock Showdown season beating teammate Mark Pawuk in a neck to neck battle.
E3 Spark Plugs, the official ignition product for NHRA, proudly congratulates Leah and Dalton on their 2018 championships. As an avid supporter of both grassroots and sportsmen level racing E3 currently sponsors top racers across multiple series including: USAC racer Dave Darland, NHRA racers Antron Brown, Dan Schumacher, Courtney Force, Ron Capps, Andrew Ranger and more. Additionally, E3 is a longstanding sponsor of NMRA, NMCA and NHRA drag racing, the title sponsor for the NHRA PRO MOD drag racing series, E3 Spark Plugs Off Road Nationals, E3 Spark Plugs Late Model Nationals, and the E3 Spark Plugs Drag Boat Nationals, and sponsor of the Lucas Oil Late Model Dirt Series and the Lucas Oil Pro Pulling League.
E3 manufactures a full line of DiamondFIRE race ignition products that include DiamondFIRE race spark plugs and race wires, billet distributors for Chevy, Ford and HEI applications, 6CDI ignition box, high output CD coil, external 2-step rev control, race O2 Sensor, and high output race coils.
For more information about E3 spark plugs and performance ignition products, visite3sparkplugs.com. For the latest company and product news follow E3 on Facebook, Twitter,Google +, Instagram, or subscribe to E3's You Tube Channel.


text:
Diana Ross Drops New Single And Video Single
https://audio.pulsewebcontent.com/MP3/2007/02_feb/Diana_Ross_On_Directing_Her_Career.mp3
https://audio.pulsewebcontent.com/MP3/1999/10_oct/jo1014bs_01_Diana_Ross_on_being_family_oriented.mp3
Diana Ross has just released her latest single, "I Still Believe," along with the teaser for her music video "All Is Well." Both tracks are featured on her new album Thank You, which drops on Friday (November 5th). Rolling Stone reported the new video was directed by Amanda Demme in collaboration with Ross' sons, producer Evan Ross and photographer Ross Naess. "I Still Believe" marks her first music video in over a decade.
Diana Ross said in a statement, "My sons gave me the confidence and encouragement to make this video. After spending almost two years not performing and not being in front of the camera, they supported me in easing back into being around lots of people. I am filled with appreciation for the work that they all did to make this happen."
Ross said of the Thank You album, "I spent the past year recording new music and this music is a reflection of the joy and the love and the gratitude that I feel every day. For me there was an urgency in making a meaningful album, working with what is happening now in our world. Through the power of music, we are creating a new kind of conversation that supports our choices and the decisions that we make."
Diana Ross told us it took her years to finally become in charge of her career: "Y'know, you learn from mistakes. You learn what you have to offer and you try to give that back. And it gives you a little bit of ownership in that way. When you have a little ownership in executive producing, you have more of a voice in how certain things are done. Not that much, but you have somewhat of a voice, and it took me a long time to get to be an executive producer."
She says that despite her many years in the spotlight, she's still a family-oriented person: "Y'know, that's really who I am. I'm in show business, and I know people have a lot of images of what, y'know, all the possibilities of show business are, but I'm a . . . I'm a family-oriented person."


Business for the 21st Century: Responsible. Sustainable. Considerate.
The values we follow are as important to us as the business itself. Our good reputation, the satisfaction of our customers and employees, the sustainable development of the whole society is all essential to our business. We have a sophisticated environmental strategy, we are engaged in a number of CSR activities (Corporate Social Responsibility) and we are guided by a corporate ethical code.
We believe that good quality business is just as important as the quality relationships between its customers. That is why we have a code of ethics in HOPI, which we carefully follow.
Employees - At HOPI, we want to create a work environment in which there is an atmosphere of mutual trust and respect for all. We want to hold everyone responsible and accountable for their work performance to maintain our good reputation. We strive to further progress our employees, give them space to grow and maintain open communication with them through corporate information and consultation processes. We want everyone to work together and function as one team with a common goal.
HOPI is guided by the principles of honesty and fair dealing. We act in this conduct with suppliers, customers, competitors and our employees. We are open, honest, truthful and straight forward. Thus, we expect the same in return.
Our strategy is to acquire and maintain our business partners with a quality of service that is fully tailored to their individual needs and requirements. We comply with ISO 9001 and HACCP, including hazard analysis and critical point determination for all logistics processes. We strive to always set up mutually beneficial relationships with our customers, suppliers and other business partners that follow our principles and goals.
We installed energy efficient lights in our warehouses, we use the technology of reflective surfaces, and we have introduced motion sensors to save energy.
Gradually, we have introduced the EURO 6 standard. Through this, we achieve maximum fuel savings through central planning, fleet diversification and driver training for the economic drive.
HOPI focuses on waste sorting, recycling, and using economical packaging machines. We have reduced the production of waste and packaging materials.
Within our CSR activities, we support a number of sporting, cultural and educational projects that enrich our society and contribute to the greater life satisfaction of our fellow citizens. In 2018 we supported the REX animal home, the Tátika Kindergarden of Gyál the Suburb Social Center of Gyál.
Our company runs its business since 2005 in Hungary as daughter company of the HOPI Holding what was founded in 1992 in Czech Republic, part of the first wave of HOPI's international expansion. Thorough the last decade HOPI gained respect on the Hungarian warehousing and forwarding market by the high-quality services offered to our multinational and local customers. The headquarter and central warehouse of HOPI Hungary is in Gyál, but HOPI sites can be found in several other locations in Budapest and Hungary.
© All rights reserved - HOPI Hungary is a member of Corporate documents are here.


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Quang Nam (på vietnamesiska Quảng Nam) är en provins i centrala Vietnam. Ytan är 10 408 km² och invånarantalet är 1 454 000 (2004). Provinsen består av stadsdistrikten Tam Ky (huvudstaden) och Hoi An samt fjorton landsbygdsdistrikt: Bac Tra My, Dai Loc, Dien Ban, Dong Giang, Duy Xuyen, Hiep Duc, Nam Giang, Nam Tra My, Nui Thanh, Phuoc Son, Que Son, Tay Giang, Thang Binh och Tien Phuoc.

Vietnams provinser

redpajama_set_name: RedPajamaWikipedia


text:
Big Box Recruiter
Lowe's Unites Creator Collective And Project Matchmaking Program To Help Us All #FallTogether
Press Releases Diversity, Lowes, Retail
Diverse small business owners are invited to pitch Lowe's executives for a chance to sell their products online and in stores nationwide MOORESVILLE, N.C., July 13, 2021 /PRNewswire/ — Today, Lowe's and Daymond John, star of ABC's Shark Tank and New York Times best-selling author, are announcing the next round of Making It…With Lowe's, a […]
Lowe's Launches Home Décor Curation Series That Uncovers Bold, Attainable Style
Press Releases InteriorDesign, Lowes, Retail
"Lowe's House of Curators" kicks off by celebrating 100 years of color and design from Lowe's and fellow centenarian and fashion icon Iris Apfel MOORESVILLE, N.C., May 3, 2021 /PRNewswire/ — As home continues to increase in importance during the pandemic and becomes the epicenter of how consumers express their personal style, Lowe's is introducing […]
Lowe's To Host National Hiring Day On May 4 To Hire More Than 50,000 Store Associates
Press Releases Construction, Lowes, Retail
Home to any possibility, Lowe's is making it easy to start a career with available seasonal, part-time and full-time positions at 1,700-plus stores nationwide Candidates can interview and receive on-the-spot offers to join one of World's Most Admired Companies MOORESVILLE, N.C., April 29, 2021 /PRNewswire/ — As the busiest season for home improvement continues, Lowe's […]
Lowe's Acquires STAINMASTER®, the Most Recognized and Trusted Carpet Brand, Advancing Total Home Strategy
Press Releases Home, InteriorDesign, Lowes, Retail
Purchase Expands Lowe's Private Brand Offering MOORESVILLE, N.C., April 22, 2021 /PRNewswire/ — Lowe's Companies, Inc. (NYSE: LOW) today announced it acquired the STAINMASTER brand, the most recognized and trusted carpet brand on the market today, advancing the home improvement retailer's Total Home strategy. With this acquisition, Lowe's will build on its decade-long exclusive position […]
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Q: How to retrieve the previous data record in TYPO3 Extbase? I have a form that submits data to my controller. The function createAction() takes care for adding a new record to the database.
I need to get a certain value (specialValue) from the previous record in the database, which is neither deleted nor hidden. However, with the following, I can only get the uid (not respecting the deleted/hidden state).
public function createAction(Tx_MyExt_Domain_Model_MyObject $myobject) {
    $this->myObjectRepository->add($myobject);

    $persistenceManager = t3lib_div::makeInstance('Tx_Extbase_Persistence_Manager');
    $persistenceManager->persistAll();

    $uid = $myobject->getUid();
    $previousMyObject = $this->myObjectRepository->findByUid($uid-1);
    $myobject->setSpecialValue($previousMyObject->getSpecialValue() +1);
}

Is there something like a findPrevious() method for my repository, or do I have to create it myself?

A: Get the first available (not hidden, not deleted) object with uid less, than new one ($uid in your case), using descending sorting, add this to your repo:
public function findPreviousAvailable($uid) {
    $query = $this->createQuery()
        ->setOrderings(array('uid'=> Tx_Extbase_Persistence_QueryInterface::ORDER_DESCENDING));

    $query->matching($query->lessThan('uid', $uid));

    return $query->execute()->getFirst();
}

until you won't force ignoring enabled fields, they will be included in query (also user groups, access times etc.)
And... no, afaik there's no such method available out-of-the-box.

redpajama_set_name: RedPajamaStackExchange


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On this day: Pete Sampras eases past Boris Becker in unexpected Rome final
by JOVICA ILIC | VIEW 2872
Ever since he made his first significant steps on the ATP Tour in 1990 (they were giant ones, actually, winning the US Open and Grand Slam Cup), Pete Sampras was known as one of the finest players on the fast surfaces that tennis has ever seen, winning the majority of his titles on grass, carpet or hard courts.
Out of his 64 ATP titles, three came on clay and the most important one landed in Rome 1994 when he defeated Boris Becker 6-1, 6-2, 6-2 in an hour and 52 minutes for his fifth Masters 1000 title and the third in 1994 after Indian Wells and Miami.
Just like many times during the 90s, it was a wide-open draw and Pete didn't have to play against the rivals from the top-25 en route to the final, with Becker as the best possible opponent to compete against in an ATP final on clay, losing all four Masters 1000 finals on the dirt (Becker never won an ATP title on clay).
This was their eighth meeting and the fifth win for the American, also the fourth in a row, earning it with an excellent serving display after saving all three break points he faced. Pete brought 47% of the first serve in although no one could have noticed that since he lost just 30% of the points in his games.
On the other hand, Becker struggled even more with the initial shot, serving at only 34% and ruining chances for a more favorable result. The German never found the rhythm and Pete won more than 50% of the return points, creating nine break chances and converting six for a commanding victory.
Sampras had a massive advantage in the shortest points and made the crucial difference on the court, serving well and doing a lot of damage with his first groundstroke or volley. Becker stayed in touch in the points that reached the fifth stroke and that wasn't enough to keep him in contention longer or to make the encounter more exciting.
The German had a chance to move in front in the very first game of the match but netted a forehand before Pete held with a beautiful backhand down the line winner to avoid an early setback. A backhand return winner gave Sampras a break in game two and he found himself 3-0 up when Boris sent a forehand into the net.
Things went from bad to worse for a former Grand Slam champion, hitting a double fault in game four to extend his downfall, creating a break chance in the next game to at least reduce the deficit and get his name on the scoreboard.
Pete repelled it with an excellent volley and closed the game with a forehand winner that sent him 5-0 up. Boris delivered a nice hold in game six before Sampras closed the set with a reliable service game a few minutes later, taking the opener 6-1 in 35 minutes.
Set number two offered nothing new and Pete gained an instant lead with a break in the opening game when Becker netted a backhand, holding at love in game two after another loose backhand from the German to cement the advantage.
Boris managed to avoid another upset, holding in game three with a forehand winner and staying in touch with Sampras until game seven when the American grabbed another break with a crosscourt forehand winner. Everything worked well for world no.
1 who fired a forehand winner at 5-2 to close the set and move a set away from the triumph after just 70 minutes. Carried by this momentum, Pete broke at love at the start of the third set with a volley winner and the finish line was clearly within his reach now, having to serve well by the end of the match to grab the trophy.
Nonetheless, Becker created a break point with a magnificent volley winner in the second game that Sampras erased with a good forehand attack that drew another backhand error from the German, keeping his serve intact and bringing the game home with a service winner.
Becker saved a break point in game three to reduce the deficit but Pete was not to be denied, firing a forehand winner in game six to maintain in front and build a 4-2 advantage. Becker's fate was sealed when he got broken at love a few minutes later after a backhand winner from Sampras who completed impressive triumph with his famous smash winner in game eight, celebrating the most prominent title on his least favorite surface and proving he was above all the others when he had his day, even on clay.
This was Pete's 27th victory in a row after losing in the opening round of Philadelphia in February, winning 39 out of 41 matches since the start of the season and conquering seven titles from nine tournaments played.