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UNM Newsroom / News / Dana Tai Soon Burgess Dance Company's concert to benefit UNM Dance program
Dana Tai Soon Burgess Dance Company's concert to benefit UNM Dance program
By Kathleen Clawson March 06, 2017
Categories: Inside UNM Theatre & Dance Latest News
The University of New Mexico's Department of Theatre and Dance welcomes the Dana Tai Soon Burgess Dance Company for a special benefit concert on March 21 at 7:30 p.m., as they begin their 25th Anniversary Season and Worldwide Tour in New Mexico.
On this one-night-only concert in Albuquerque, which benefits the dance program at UNM, the Dana Tai Soon Burgess Company will perform "Leaving Pusan," "Margin" and "Confluence." Burgess and the Company will also present a master class for UNM Dance students while at UNM.
Santa Fe native and UNM alum, Dana Tai Soon Burgess is a leading American choreographer, dancer, and cultural figure. He has been referred to as the "poet laureate of Washington dance" and "not only a Washington Prize, but a national dance treasure" (Washington Post Pulitzer Prize-winning dance critic Sarah Kaufman). His artistic focus explores the idea of cultural "confluence" and many of Burgess' dances have focused on the "hyphenated person" – someone who is between worlds. He has served as a cultural ambassador for the U.S. State Department for over two decades, an appointment he uses to promote international cultural dialogue through "the global language of dance."
Dana Tai Soon Burgess
Throughout his career, Burgess has performed, taught, and choreographed around the world. He founded Dana Tai Soon Burgess Dance Company in 1992. Now in its 25th season, it is the preeminent modern dance company in the Washington, D.C. region. He was a prominent feature in the Smithsonian exhibition "A Korean American Century" as part of the Korean American Centennial Celebration in 2003 as well as "Dancing the Dream," the Smithsonian's first exhibition on American dance. His portrait is part of the permanent collection of the National Portrait Gallery, where Burgess is the Smithsonian Institution's first choreographer-in-residence.
On their concert in Albuquerque, the Dana Tai Soon Burgess Company will perform three modern dances: "Leaving Pusan," "Margin" and "Confluence." Burgess says Leaving Pusan represents the journey his grandmother made from Korea to Hawaii at the turn of the last century. "For me, this work invokes the traditions she left behind in order to start a new life in America. The dance is filled with anxiety and the anticipation of forging a new life on the plantations of Oahu, Hawaii." The lead dancer uses a mask, a traditional symbol from Korean folk dance, and the costumes are white, the traditional color of mourning in Korea.
The second dance is Margin, which was inspired by the Smithsonian Institution's Outwin 2016 American Portraiture Today exhibition.
"As the Smithsonian's first choreographer-in-residence at the National Portrait Gallery," said Burgess, "I have the unique opportunity to be inspired by exhibits. The dance company rehearses in the National Portrait Gallery and our rehearsal process becomes part of the exhibits. For Margin, I was moved by The Outwin exhibit's overarching themes, which include issues of immigration, race, socio-economic inequality and an evolving gender dialogue. These issues are moving from the edge of our societal framework to a center stage conversation. Margin illuminates six portraits, each capturing a psychological moment of vulnerability."
The last piece is Confluence, which was inspired by the 1938 silver gelatin print of early 20th-century dance-choreographer Doris Humphrey by Barbara Morgan. "In the abstract photo by Morgan, Doris Humphrey emerges from shadow, implying a psychological tension between light and dark. Confluence reflects that tension, a steady stream of brief encounters and trysts in which trust ebbs and flows and the true nature of a connection is difficult to discern."
The performance will take place in the Elizabeth Waters Center for Dance in Carlisle Gym on UNM's Main Campus. Ticket prices are $12 General admission and $8 for Students. Tickets are available at the UNM Ticket Offices located at the UNM Bookstore, Central and Cornell, or the Arena (The Pit), University and Avenida Caesar Chavez, and by calling (505) 925-5858. Tickets may also be purchased online.
More information is available online or by calling the theatre office at 505.277.4332.
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Ryan Reynolds reveals details for PG-13 Once Upon a Deadpool
Forget jingle bells, this Christmas it will be F-bombs and decapitated bad guys all the way as Deadpool 2 heads back to cinemas. Or at least it would be if the gory R-rated superhero action comedy wasn't getting an unexpected PG-13 cut for the Festive Season. First revealed by star/producer Ryan Reynolds last month, Once Upon a Deadpool – as we now know it's called – will be drawing heavy inspiration from 1980s classic The Princess Bride in which a young Fred Savage is told the titular bedtime story by his grandfather. Now it will be Reynolds' Merc With a Mouth recounting the events of Deadpool 2 to a grown-up Savage, cutting out/getting around all the naughty bits in the process, in eight new scenes which the two actors, along with director David Leitch and a tiny crew, filmed "guerrilla-style" over just a couple of days. It's so ludicrous a concept that it's perfect.
Revealed in a new report from Deadline, this concept was conceived by Reynolds and co-writers Rhett Reese and Paul Wernick, but there's a lot more than just an opportunity to make new self-aware jokes. Following from Deadpool 2's historic R-rated theatrical run in May (it's now the second-highest grossing R-rated movie, bested only by the original Deadpool), Fox will release Once Upon a Deadpool on a limited run in US cinemas from 12 December to Christmas Eve and for every ticket sold during that time, $1 will be donated to the brazenly named "F-ck Cancer" campaign which will hilariously be renamed temporarily to "Fudge Cancer" to fit in with the PG-13 theme.
As Reynolds notes, making a PG-13 Deadpool is actually ironic, as one of the reasons it took the actor and original director Tim Miller so long to get their comic book passion project made was because they refused to tone down Deadpool's mature tones. Now they're doing just that, but for a good cause.
Fox has been asking for a PG-13 basically since the start in 2006,. I've said no since 2006. Now, this one time, I said 'Yes' on two conditions. First, a portion of the proceeds had to go to charity. Second, I wanted to kidnap Fred Savage. The second condition took some explaining…"
Savage, for his part, is fully in on Reynolds' irreverent humour as he responded to Deadline by saying that "While my participation in this film was anything but voluntary. I am happy to learn that Fudge Cancer will be the beneficiary of this shameless cash grab." And it kind of actually is a cash grab with some historic precedent.
Back in 1979, John Travolta's iconic R-rated Saturday Night Fever was re-released as a PG version less than two years after it had become a huge hit. With its scenes of drug use and sexual content scrubbed, it found a brand new younger audience who made it even more of a cultural phenomenon, adding $8.9 million to its original $85.2 million domestic earnings. Reynolds is fully aware of this history, and of course made a joke about it.
Eighty percent of Deadpool 3 takes place at a 1970's disco so it only makes sense we'd find a connection to Saturday Night Fever. Plus, Deadpool loves 'Stayin' Alive". It's literally his only superpower.
Of course, there's one other angle to this release. With the sale of Fox to the family-friendly Disney looming, this is a way for the studio to test just how a PG-13 Deadpool film would even work. Reese and Wernick though are fully cognizant of the fact that this may be easier said than done, confirming that "Deadpool has been a unique property and, by definition, what's in a Deadpool movie is all the stuff that can't be in any other superhero movie." We'll have to see just how this plays out next month.
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Home Environment A simplified model for calculating the insertion gain of track support systems using the finite difference method
Rupert Thornley-Taylor
Oliver Bewes
Gennaro Sica (HS2 Ltd/HS2 Ltd)
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A simplified model for calculating the insertion gain of track support systems using the finite difference method
Published on 9 October 2021 Print this document
In the procurement of track support systems for railways planned in the vicinity of receptors sensitive to groundborne noise and vibration it can be necessary to specify parameters of components of the system in order to ensure that its in-service performance will deliver the required level of mitigation against the effects of groundborne noise and vibration. In previous comparable schemes in the UK it has been the practice to specify the performance of the track system in terms of Insertion Gain (IG). This is defined as the difference between the vibration spectrum at a reception point with the mitigating track in place, and with a hypothetically "very stiff" track support system. It is necessary to have a means of verifying that a proposed system is likely to satisfy the requirements and it is desirable to simplify the method of evaluation of predicted track perfor-mancebased on the stated parameters. A simplified algorithm for rapidly calcu-lating the insertion gain of a two-stage (or single-stage) resilient track support system has been developed using the finite-difference method. This provides a tool for evaluating the predicted performance of a variety of proposed track sup-port systems in order to compare it against the required specification.
A simplified model for calculating the insertion gain of track support systems using the finite difference method - Paper first presented at IWRN13 September 2019


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Oehlbach Phono PreAmp Pro – just the basics
December 24, 2016 Leave a Comment Written by J LOH
OEHLBACH PHONO PREAMP PRO phono preamp
+ Compatible with both MC and MM cartridges. Clean-sounding and sufficiently high output with a balanced presentation. Plug and play simplicity, hardly takes up any space and can be hidden away.
– Nothing at its price, but don't expect cutting-edge sonics.
Sound: 7/10
Value: 8/10
I HAVE made a silent promise to myself not to use the term "vinyl revival" any more. Almost invariably over the past five years or so, the phrase pops up in any article or report that talks about the format (yes, I am guilty of using it judiciously too) and it is starting to grate on me. I believe that it has come to a point where those who have any interest in records (and music in general) are well aware of the situation and it won't make any difference to the lives of those who haven't, anyway.
Unfortunately, I'm going to to have to renege on this promise (sorry, me). There's simply no way I can talk about Oehlbach's Phono PreAmp Pro and not mention "vinyl revival" (see, I've done it) as it sits in a segment of the vinyl playback accessory market that has shown considerable growth due to the resurgent popularity of the format.
The PPP (as I shall refer to it henceforth) is an entry-level product and will be of interest to those who already own – or are assembling – their first hi-fi system but whose amplifiers do not have a phono stage. It will also be ideal for those with mass-market consumer music systems who want to hook up a turntable.
Emphasis is placed on "entry-level" here as the only switchable function on the PPP is between moving magnet (MM) and moving coil (MC) compatibility modes. Input impedances are fixed at 50 ohms for MM and 100 ohms for MC, so advanced users who want to tweak loadings for their cartridges will have to look elsewhere.
There isn't much to describe – it is diminutive at 24 x 64 x 94mm (h/w/d) and weighs a mere 100g, housed in an all-aluminium casing. All stereo RCA inputs and outputs are gold-plated, and the unit also has a connector for a ground wire if needed. It feeds off an 18V, 150mA DC wall-wart while a toggle switch turns the unit on and off with a blue LED light indicating operational status.
Putting the PPP to use is simple – plug the stereo pair of RCA plugs coming out of the turntable to its inputs and connect another pair of interconnects from its outputs to the line-level input of the amplifier. Power the unit on and ensure it is set to the appropriate cartridge type and you're good to start spinning vinyl!
The PPP is so small and light, there won't be any trouble finding a space for it on the rack or space where the system sits. The only difficulty one may encounter is to ensure the connecting cables and wires (there are quite a number of them) aren't a mess and that the power supply and signal-carrying cables (including the rest of the system's) are placed as far apart from each other as possible. Otherwise, hum – especially if using unshielded cables – may be an issue.
As mentioned before, the PPP is an entry-level product, so it is unreasonable to expect cutting-edge performance from it. What it did was call little attention to itself while conveying the warmth and immediacy that is inherent in vinyl playback. There was sufficient presence in the treble, and a fair amount of detail came through. Bass was decent with some low-end punch as well as midrange presence. Plugged into the reference system, its limitations were laid bare – separation of instruments wasn't obvious and there was restricted front-to-back dimensionality in its soundstage. Images weren't clearly defined and the music was more of a wall of sound rather than the layered presentation that I was used to.
To the PPP's credit, its overall sonic was quite lively – you could still groove to the music and by no means did it overly veil the nuances of the records I was spinning. There was some low-level hiss present, but only obvious when the stylus was not in the groove. Once the music is playing, you don't really notice it at all. In actual fact, I found the overall sound to be balanced. It didn't emphasise any particular particular frequency range to make it sound artificially punchier or more detailed, and I would go so far as to call it an "honest" presentation, Yes, it had its shortcomings, but was decent enough for me to enjoy a number of two- to three-hour listening sessions with it.
However, the PPP made perfect sense when I used it with a vintage Pioneer PL1200 turntable and a replica of an "old-school" vacuum tube radio (China-made, unknown make and model). I use it for general radio listening and sometimes plug my iPhone directly into this unit, but I have never heard it sound livelier than when I was spinning vinyl through it in tandem with the PPP.
There may be cheaper standalone photo stages available than the Oehlbach Phono PreAmp Pro. Most of them, however, are solely for MM cartridges, and can sound "tacky", to put it mildly.
The PPP, on the other hand, is well-made and sounds half decent in a modest system. If you're not willing to part with the larger amounts of cash demanded by established audiophile brands, this may just be the phono stage you're looking for.
Turntables: Rega P5 with Benz-Micro MC20E2-L cartridge, Pioneer PL1200 with Audio Technica AT-91E moving magnet cartridge / Amplification: Audio Image phono stage, Euphonic Research ATT-600 and Odyssey Audio Tempest preamps, Odyssey Audio Stratos Stereo Extreme power amplifier / Speakers: Magnepan MG1.6QR / Cabling: DH Labs SilverSonic USB cable, Clear Day Double Shotgun silver speaker cables, assortment of pure silver interconnects.
Price: €99
Malaysian price: RM800
Malaysian distributor: Audio Art (+605-243 2339) / Find your distributor.
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The four ages of maritime data analytics and the rise of digitalisation
02 Aug 2018by Craig Jallal
Maritime data analytics has developed from a passive look-up tool to the new world of digitalisation. Belatedly, shipbrokers are looking to retain control of their 'unique' data, but that ship has already sailed
Maritime data analytics is the term given to collecting, analysing and disseminating information on shipping activities. The core of the data is the ship specification, ownership, commercial operation and movements.
The first era of shipping data: the age of chit-chat
The first age of maritime data analytics started with chit-chat in Lloyd's coffee houses and the subsequent publication of Lloyd's List in 1734, literally listing vessels arriving the Pool of London, and their cargoes. This was the age of passive data, which was really only of interest to those in the shipping and insurance industries.
With hindsight, the use of passive shipping data probably peaked in the 1980s, when aggregators such as Lloyd's of London Press (LLP), had exclusive access to Lloyd's Agents in ports around the world, reporting back on vessel movements. LLP also published Lloyd's List, registers of ships and shipping companies and the Confidential Index, a directory of beneficial owners, which was only available to select clients. Larger shipbrokers such as Clarksons also published ship registers, and every respectable broker's office had shelves groaning with ship registers from different organisations, all telling a different story about the specification of the vessel.
The second era: investigating where are we in the shipping cycle
The start of the second age of maritime data analytics, the investigative age, was triggered by several events. One was the publication of Maritime Economics in 1988 by Dr Martin Stopford. Now those entering the shipping industry had an easy-to-understand textbook explaining supply and demand and shipping cycles. A new generation of shipping analyst developed tools to investigate the changes in shipping in vessel demand, but they needed a lot of data.
Aggregators like LLP collated ship details on a mainframe, cleaning out duplicates and performing basic analysis before selling the data at very high cost to government agencies. LLP extended the programming to published changes in sector size, fleet and hence cargo movement data in aggregate form in publications such as Lloyd' Shipping Economist.
Meanwhile, the ever-innovative Dr Stopford and Cliff Tyler of Clarkson Research developed the Shipping Intelligence Weekly, which took the basic broker's report and included indicative indices and text explaining what was happening in the shipping markets. Dr Stopford has likened collecting shipping data at the time as a car driving along a road with the windscreen blacked out. It is the Shipping Intelligence Weekly's role to report the scenery passing by the front windows.
Then IMO adopted Resolution A.600(15) in 1987 calling for all ships to be given a unique number, aiming to prevent fraud, identify polluting vessels and enhance safety. The IMO number came into force in 1996. Now there was a unique identifier that stayed with the ship, no matter how many times it was sold or the name changed.
The arrival of the IMO number was the start of big data in shipping, but few realised the significance as the time. Which must be the explanation as to why awarding and recording the ship IMO number was not kept inhouse at IMO or tasked to an industry body like the Baltic Exchange, but was given to a private company.
With hindsight, this was a huge commercial advantage and the other publishers of shipping data were livid.
Meanwhile, the internet arrived, and suddenly vessel specifications and IMO numbers were on owners' websites. This brought about an expansion in the research departments, with rooms full of analysts peering at screens to update ship specifications on an internal database and match sales in brokers' reports, and names of vessels to those reported in Lloyd's List and Tradewinds.
Brokers and some shipping consultancies were at the forefront of producing online shipping databases with analytical features, but these were only available to carefully chosen clients. There was considerable paranoia about data being stolen. Indeed, at least one shipbroker was taken to court over the theft of electronic data.
In the midst of all this distrust, Dr Stopford took an alternative path and chose to sell the Clarkson database of ships, prices and values through the Shipping Intelligence Network (SIN) at a reasonable price to whoever wanted it. For many years the easy-to-use SIN was the de facto shipping database, and there are probably hundreds of shipping analysts today who owe a debt of gratitude to SIN.
The third era: big shipping data
We are now in the third age of maritime data analytics, which is the age of prediction using algorithms and integrating several strands of data through digitalisation. The driving force behind the digitalisation of shipping data is often outsiders to shipping. This is perfectly summed up by the activity of CargoMetrics, a hedge fund based in Boston. In 2010, Dr Scott Borgerson, a US Coast Guard Academy graduate with an impressive array of educational qualifications had an idea on how to use the fact that demand for shipping is predicated on the micro and macro supply situation. Although he was a mariner, he had little experience of the commercial world of shipping.
So he set out to learn all about the commercial realities of shipping, and applied maths to the problem of predicting cargo flows, supply shortages and demand growth. CargoMetrics' data scientists are sucking up data on commodities using customs data, vessel AIS movements (satellite and terrestrial), images and other raw data from hundreds of sources on a daily basis. The company has a dynamic register of ships (it is no secret that CargoMetrics is working with Clarkson Research Services) and has geo-tagged the global ports. This means CargoMetrics can track a ship to the berth and then cross-reference the cargo against customs data, images from ports and other data.
As a hedge fund, CargoMetrics is monetising all this research arbitraging the information by trading on hundreds of stock exchanges around the world. This is an outsider using algorithms to predict ship movements, with no interest in selling the data to those in shipping. Indeed, to do so would limit CargoMetrics ability to arbitrage.
What is the fourth era of maritime data analytics?
As a naturally conservative industry, there is a persistence from shipping insiders' that the data they hold is unique and valuable. The recent negotiations between the Baltic Exchange and the shipbrokers to impose value and copyright on the data they supply reinforces this stereotype.
It is a question of scale and data requirements. Trading companies and their data suppliers are far larger than shipping companies, and far more profitable (the market cap of the largest shipping company, AP Moller-Maersk, is a quarter of that of any one of the top ten traders). These companies use this muscle to create trading platforms that use algorithms to best guess the likely employment of the fleet.
For example, Paris-based Kpler is scooping up data from AIS satellite feeds, customs data, ports agents, shipbrokers and traders. The service claims to be able to give the employment of 70% of the vessels in its system, and predict individual vessel movements and cargo flows. The platform was built for trading houses and is now being offered in the shipping market.
One characteristic of the fourth era in maritime data analytics will be workarounds for the problem of not having access unique data, and there is one obvious group of shipping insiders whose unique access to maritime data has not been exploited.
The crew know the intimate specification of the ship, probably better than the owner. They know the volume of cargo loaded, not some rounded-up figure broadcast by AIS, or some guestimate based on the AIS draught. They have the up-to-date position and speed.
The fourth era of maritime data will be characterised by how and when the trading companies choose to tap into this valuable information, and how the seafarer is rewarded for participating. One option would a smartphone app that broadcasts speed and position and offers incentives for crew to add higher levels of data. From chit-chat to passive data gathering to investigating the data to big data algorithms and digitalisation, the next era could be the crowd-sourcing of maritime data from those in the know.
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Broncos fire coach Vic Fangio after 7-10 season
in NFL News, Sports
DENVER (UPI) — The Denver Broncos fired coach Vic Fangio on Sunday after a 7-10 season, the team announced. "This morning, [general manager] George Paton and I informed Vic of the decision to part ways with him as head coach of the Denver Broncos," Broncos president and CEO Joe Ellis said in a statement. "For the last three seasons, Vic put his heart and soul into coaching the Broncos. I want to thank Coach Fangio for giving his maximum effort to our organization since the day he was hired." Ellis said Paton will "have full authority" to pick the Broncos next coach. "Looking ahead, there's a lot of work to be done for us to take the next step," Paton said. "Winning is not easy, and we're going to embrace the opportunity to improve in every single area of our operation.
Former Denver Broncos head coach Vic Fangio posted a 19-30 record in three seasons with the franchise. TERRY SCHMITT/UPI FILE PHOTO
"Our search to find the next head coach of the Broncos will be a comprehensive, collaborative process. We're approaching it with an open mind and look forward to spending time with some outstanding candidates." Fangio, 63, posted a 19-30 record in his three seasons with the AFC West franchise. He was hired in 2019 to replace fired coach Vance Joseph. Joseph lasted two seasons in Denver. The Broncos won their first three games this season, but then lost four consecutive games. They also ended the season with four consecutive losses, including a 28-24 loss to the Kansas City Chiefs on Saturday in Denver. "It was an honor and privilege to serve as head coach of the Denver Broncos," Fangio said. "I want to thank John Elway and Joe Ellis for giving me the opportunity to be part of this storied franchise and special community when they hired me three seasons ago. "Over the past year, I am grateful to have been able to work with George Paton, one of — in my opinion — our league's best general managers. Broncos fans, you have a great one in George. The Broncos defense allowed the third-fewest points per game this season. The Broncos offense ranked 22nd in points per game. "The foundation is in place for this team to accomplish great things," Fangio said. "The future is bright for the Denver Broncos, and I wish the organization nothing but the best." Reporting by Alex Butler
Tags: Denver Broncosfootball newsGeorge PatonJoe EllisJohn ElwayKansas City ChiefsNFL newssports newsVance JosephVic Fangio


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During the last two decades, a revolutionary scientific new age, based on the capacity to observe, characterize, manipulate and organize matter in the nanometric scale, is appearing. In this scale, physics, chemistry, materials science, computational theory, and engineering converge towards the same theoretical principles and experimental findings that are basically governed by the laws of the Quantum Mechanics. Nanotechnology involves these interdisciplinary knowledge areas and methodologies in order to study, manufacture and characterize functional structures with dimensions of tens of nanometers.
The five year-old NanoSpain network aims to agglutinate and coordinate the efforts made in the field of the Nanotechnology by Spanish groups from universities, research institutes and companies. Moreover, this network has tried to help the government institutions in defining potential actions and plans referring to this area. Currently the NanoSpain network, comprising 151 Spanish groups with near 1000 researchers in total, is one of the widest Spanish scientific networks.
As a direct and most effective way to enhance the interaction between our network members, a first network meeting was organised in San Sebastian (2004) with around 210 participants registered. Due to this success, the network decided organising its second meeting in Barcelona (March 14-17, 2005) with a similar format.
Its objective was also to facilitate the dissemination of knowledge and promote interdisciplinary discussions among the different NanoSpain groups. In order to organise the various sessions and to select contributions, the meeting was structured in the following thematic lines, but interactions among them were promoted:
1. Advanced Nanofabrication Methods
2. NanoBiotechnology
3. NanoMaterials
4. NanoChemistry
5. NanoElectronics / Molecular Electronics
6. Scanning Probe Microscopies (SPM)
7. Scientific infrastructures and Scientific Parks
8. Simulation at the nanoscale
Invited Speakers:
-Markus Antonietti (Max Planck Institute of Colloids and Interfaces, Germany)
-Martin Bennink (MESA+ Institute for Nanotechnology, Netherlands)
-Heinrich Hofmann (EPFL, Switzerland)
-Lars Montelius (University of Lund - Nanometer Consortium, Sweden)
-Miquel Salmeron (Lawrence Berkeley University, USA)
-Frank Scheffold (University of Fribourg, Switzerland)
-Jose-Luis Viviente (European Commission - NMP, Belgium)
Working Groups (WG) were also organised to enhance information flow between network partners and in particular:
-Exchange information of current work in specific research areas
-Solve particular technological problems
-Look for areas of common ground between different technologies
-Provide contributions to specific reports
The following WG were organised:
1. Molecular Electronics (Coordinators: Julio Gomez & Pablo Ordejon)
2. NanoBiotechnology (Coordinator: Josep Samitier)
3. NanoFabrication (Coordinators: Francesc Perez-Murano & Fernando Briones)
Another objective of this meeting was to permit considering the situation of Nanotechnology in our country, as well as in reaching conclusions concerning the future of the NanoSpain network, in order to guarantee its continuity by means of concrete proposals and a renovation of its structures.
The organisation would like to acknowledge all the participants and contributors.
© Phantoms Foundation 2005


text:
Q: How to filter an array without losing data? I have a function to filter an array of todos. The array is filtered correctly but when I type some thing else it removes other array elements and doesn't go back.
I've seen a few solutions, but they say "you have to write code in the render function" and I don't use this method because I render the array elsewhere with the help of props. filteredTodos has all local storage data.
How can I filter this data without losing data?
// *** Form.js ***
  const filterTodos = (e) => {
    const filtTod = filteredTodos.filter((todo) => {
      return todo.text.toLowerCase().indexOf(e.target.value.toLowerCase()) !== -1
    });
    setFilteredTodos([...filtTod]);
  };

// it's my render place *** TodoList.js ***
return (

        {filteredTodos.map((todo) => {
          return (
            <Todo
            id={todo.id}
            key={todo.id}
            text={todo.text}
            completed={todo.completed}
            setTodos={setTodos}
            todos={todos}
          />
          )
        })}

  );

const [inputText, setInputText] = useState("");
  const [todos, setTodos] = useState([]); // Todos is all array items.
  const [status, setStatus] = useState("all");
  const [filteredTodos, setFilteredTodos] = useState([]); // the state is for my filter list

A: The idea with filtering data like an array of todos is to maintain a consistent "reference" or "source" array that represents all of the todos that exist in your app. This reference array may change when the user adds or removes a todo item, and may be persisted to the backend (or local storage, in your case) in some capacity or other. This array is the source of truth.
When a user enters a search/filtering term, filter on the reference/source array of all todos every time rather than the already-filtered result set.
In your code, todos represents the source array and filteredTodos represents the results of a single search. By using filteredTodos.filter, the results either keep diminishing after each filtering query, or there never were any results to work with to begin with -- either way, it's incorrect.
Think of filteredTodos as a temporary snapshot of todos used to show a subset view of todos to match the user's search term.
The fix is to use todos.filter rather than filteredTodos.filter so that you're always searching on the full data set.

redpajama_set_name: RedPajamaStackExchange


Davenport Florida is a small town neighbor of Disney World, home to many vacation homes and rentals.
Just off the beaten path, south of Disney, Davenport has remained mostly unchanged by the impact of world size tourism to the north. The rapid expansion of Disney along with thousands of acres of farmland has drawn dozens of new subdivisions to the area.
Although the city of Davenport has permanent residents, it has more vacation home owners because of the close proximity to Disney.
The golf communities in Davenport are Highlands Reserve, Providence, Champions Gate, Southern Dunes, and Dell Webb Orlando.


text:
package de.uniulm.omi.cloudiator.sword.domain;

import java.util.Set;

/**
 * Created by daniel on 01.07.16.
 */
public interface SecurityGroup extends Resource {

  Set<SecurityGroupRule> rules();

}

redpajama_set_name: RedPajamaGithub


text:
Composition: Francesco FILIDEI / Oscar BIANCHI
6th ed: Alberto POSADAS
5th ed: Philippe HUREL
4th ed: J. M. LÓPEZ LÓPEZ
3rd ed: Raphaël CENDO
2nd ed: Hèctor PARRA
1st ed: Martin MATALON
3rd edition_Season '19/'20
Barcelona Modern
Barcelona Modern International Composition Course
Demian LUNA, artistic and pedagogical director
Argentine composer born in Córdoba. He studied musical composition and piano at the School of Arts of the National University of Córdoba, Argentina. In 2002, he traveled to Barcelona to study Perfection and Musical Specialization in Composition and Instrumentation at the Higher Conservatory of Music of the Liceu, as a student of the Catalan composer Benet Casablancas. Later he expanded his training with Martin Matalon, in the CRR93 of Aubervilliers-Paris. He has attended as an active student in numerous master classes and composition courses given by prestigious musicians, among others: Jonathan Harvey, G. Aperghis, B. Ferneyhough, F. Cerha, Kaija Saariaho, Luis De Pablo, Cristóbal Halffter, Héctor Parra , Alberto Posadas, Martín Matalón, César Camarero, Giacomo Manzoni, Franco Donatoni, Arditti Quartet (Workshop).
His works have received several awards and distinctions: "2nd Vocal Composition Contest Friends of the Liceo" (Barcelona), "Francisco Guerrero Marín" Prize of the XIX Young Composers contest, granted by the CDMC and the Author Foundation, "V contest Musici Mojanesi 2009" (Treviso, Italy), "Incentive to the creation of symphonic works 2010" granted by the Author Foundation and the AEOS (Spanish Association of Symphonic Orchestras), "Grant for the Creation 2010" of the National Council of Culture and Arts (CONCA) and the Generalitat of Catalonia, "Trinac 2010" and "Trinac 2012" (National Tribune of Composers) Argentina.
He has received commissions from the Junta de Andalucía, Private Foundation of the Auditorium and The Orchestra, Contemporary Music Festival of Barcelona Nous Sons, Student Residence of Madrid, Malaga Philharmonic Orchestra, Author-AEOS Foundation, National Council of Culture and Arts-Generalitat of Catalonia, Valencian Institute of Music, Ensems Festival, Mixtur Festival, among others.
In 2012 is selected to represent Argentina in the "World Music Days 2012" in Belgium, organized by the International Society for Contemporary Music (ISCM).
His music has been performed in prestigious halls: Auditorium of the Liceu Conservatory (Barcelona), Ateneu Barcelonès, Auditorium 400 of the Reina Sofía National Art Center Museum (Madrid), L'Auditori (Barcelona), Student Residence (Madrid) , Palau de la Música de Valencia, Großer Saal Akademie für Tonkunst (Darmstadt, Germany), Auditorium Professional Council of Economic Sciences (Buenos Aires, Argentina), Auditorium of the Conservatory of Perpignan (France), Palau de la Música Catalana, Palau de las Artes de Valencia, Teatro Cervantes (Málaga), or the Arnold Schönberg Center (Vienna).
He has composed music for solo instruments, vocal, chamber and symphonic music.
Since 2013 he is the artistic and pedagogical director of the Barcelona Modern Ensemble, and director of the Barcelona Modern International Composition Course and the Barcelona Modern Festival.
Since 2016 he is professor of composition and theory at the Conservatorio Superior de Música del Liceo.
www.demianluna.com
Carolina SANTIAGO MARTÍNEZ, co-coordinator
Classical and Contemporary Music Pianist, Carolina Santiago combines her concert soloist career with chamber and new music at concert halls in all Europe such as the Kasteel d'Ursell (Brussels), L'Auditori of Barcelona, the Catalonian Parliament, the Marcel Hastir's Atelier (Brussels) or the Royal College of Music of Stockholm (Sweden).
Nowadays, Carolina Santiago is studying the European Master Degree in Contemporary Music CoPeCo, held between 2020 and 2022 in Tallinn (Estonia), Stockholm (Sweden), Lyon (France) and Hamburg (Germany). In addition, she is doing a PhD in Artistic Research in Music at the University of Aveiro (Portugal) with Luca Chiantore -with the scholarship granted by the Spanish Society of Artists, Performers and Executors- and she complements it with the Advanced Chamber Music Course at the Orpheus Instituut (Ghent, Belgium) with Syntagma Piano Duo.
Carolina Santiago has studied Master and Bachelor Degree of Music in Piano Performance at the Liceu Conservatory (Barcelona) with Albert Attenelle, and she has won prizes and scholarships such as the Música Clásica Emprende 2020 scholarship in Madrid, II Prize at Piano Meeting 2018 (Ourense, Spain), Corhyund Prize at the Piano Córdoba Competition, AIE scholarship for the Manuel de Falla course (2016, Granada) with Galina Eguiazarova, the Yamaha Scholarship awarded by the VI Barcelona Piano Academy 2017 to the best Spanish pianist, the Conservatori del Liceu's scholarship for Master Degree 2017-2018 and the AIE 2018-21 Scholarship for her PhD studies.
In the field of contemporary music, she is the pianist of the Barcelona Modern Ensemble and coordinator of the International Composition Course Barcelona Modern (Institut Français Barcelona), and she has premiered works for piano solo and ensemble as well as with Syntagma Piano Duo. Carolina Santiago has worked with many renowned composers such as Brian Ferneyhough, Philippe Hurel, José Manuel López López, Alberto Posadas, etc. She has participated at the Voix Nouvelles Académie 2020 (Royaumont, Paris), Sound Plasma Festival 2020 in Tallinn (Estonia), the Internationales Musikinstitut Darmstadt 2018 (Germany), the Stockholm's Aurora Music Festival 2019 and she has been specialised in extended techniques for piano with Ricardo Descalzo.
She has received classes from great pianists like Josep Colom, Pilar Valero, Christopher Elton, Aquiles delle Vigne, Jacques Rouvier, M. Wladowski, Marta Gulyàs, Mark Knoop and others. Her passion for chamber music has led her to improve herself in that field with strings and piano groups and piano duets with Vesko Stambolov and Catherine Ordronneau. In 2019 she published her first CD edited by the AAMY.
Since 2017, Carolina Santiago has been devoting all her artistic activity to performing concerts in venues all over the world, with different solo and chamber music projects of classical and contemporary music.
Irene GREGORI, co-coordinator
Irene Gregori (Canet de Mar, 1982) began playing the piano at age 3 until she finished her middle conservatory studies. After a break in which she dedicated herself to other professional facets, in 2006 she formed the rock band "The Peals" in which she sang, played the guitar and composed her own songs, recording an album in January 2011. At the end of That same year he returned to undertake her musical studies to study the higher degree in the specialty of composition at the Conservatory of Music of the Liceu de Barcelona where she graduated in 2018.
In the 2017-18 academic year, she was chosen as an active participant in the Barcelona Modern International Composition Course where she worked with Jose Manuel López López and the ensemble BCN216, which premiered at the Sala Phonos "Worms of Light", a work for clarinet bass, cello and piano, composed throughout the course.
She has attended Masterclasses of George Benjamin, Hector Parra, Raphael Cendo, Luca Francesconi, Jose Manuel Lopez Lopez, among others.
In 2017 she premiered "Camino hacia la dolorosa orilla" for flute and guitar at the Picasso Museum in Barcelona, and "La petite mort" for Saxo, piano and voice as the opening of the Erotic Salon of Barcelona in 2017. In 2018 it premiered at the Iklectik Art Lab of London her "Study for viola", within the framework of a project of the Royal Academy of Music. At the Conservatorio del Liceo she premiered "Dying like flies" for octet and "Ossa Sonore" for chamber orchestra.
Since 2018 she is co-coordinator of the International Composition Curs and the Barcelona Modern Festival.
Daniel MUÑOZ-OSORIO, co-coordinator
Born in Barcelona, in 1987. Studies Piano at Professional Music Conservatory of Badalona and at Superior Music Conservatory Liceu of Barcelona with Michel Wagemans. Subsequently learns Composition there with Benet Casablancas and also at the Universität für Musik und darstellende Kunst Graz with Beat Furrer. Currently he studies Master Composition at the Hochschule für Musik Carl Maria von Weber Dresden with Mark Andre, Stefan Prins and Manos Tsangaris.
He receives composition lessons from Tristan Murail, Stefano Gervasoni, Hèctor Parra, José Manuel López López, Dmitri Kourliandski, Carola Bauckholt, Agustí Charles and Jorge Sánchez-Chiong, among others. He participates in music festivals and concert series such as Impuls Ensemble&Composers Academy for Contemporary Music Graz, Open Cube (IEM Graz), Festival New Horizons Tilburg, Festival Mixtur Barcelona, Festival Barcelona Modern, and International Music Festival Tarragona.
He is awarded Honourable Mention Young Composers Award Fundación SGAE-CNDM 2016, Special Award Composition by Conservatory Liceu 2017, First Prize Noosa ISAM 2018 and Förderpreis der Leipzigmusikstiftung 2021. His music is performed in Spain, Germany, United Kingdom, Austria and the Netherlands.
Among his future projects there are collaborations with the Dresden Sinfonietta and the Arditti quartet.
Institut Français-Barcelona
Fundació Phonos-Upf
L'Auditori
Teatre Akadèmia
composicio@barcelona-modern.com
festival@barcelona-modern.com
ensemble@barcelona-modern.com
Facebook: Curs de Composició BM
Festival Barcelona Modern
Barcelona Modern Ensemble
Youtube: Barcelona Modern Ensemble
Copyright © Barcelona Modern. All Rights Reserved.


text:
President Trump celebrates launch of Space Command
by: Lucas Wright
Posted: Aug 29, 2019 / 03:13 PM PDT / Updated: Aug 29, 2019 / 03:27 PM PDT
WASHINGTON, D.C. (KLAS) — U.S. Space Command is taking a "giant leap" from under another agency, as the White House looks to protect U.S. interests in outer space.
Space Command is an effort to reorganize and boost the U.S. military's tech capabilities in outer space. It's existed before but dissolved more than a decade ago.
General Jay Raymond currently leads what's known as Air Force Space Command, and he'll be the first commander of U.S. Space Command.
Under SPACECOM, the military says 87 units will work to provide everything from missile warnings to satellite-based navigation for troops in the field.
Space Command is different from the president's push for a new military branch called Space Force. That requires congressional approval.
U.S. Space Command will temporarily be headquartered at Peterson Air Force Base in Colorado Springs.
Peterson Air Force Base and 5 other locations in Colorado, Alabama, and California are in the running to become the permanent home of U.S. Space Command.
More National News Stories
(AP) — Players from two teams at the center of baseball's sign-stealing scandal faced their fans on Saturday for the first time since the Houston Astros and Boston Red Sox ousted their managers amid the fallout from the investigation into Houston's elaborate scheme.
The Astros and Red Sox held their annual fan fests on Saturday, and instead of discussing preparations for the season, players from both teams were left to answer questions about the cheating that resulted in both teams' managers being fired.
Sunday is National Popcorn Day
(CNN) — Pop 'em if you got 'em! Today is National Popcorn Day.
January 19th celebrates all the different ways the corn-based treat can be enjoyed. Savory or sweet, caramelized, buttered or plain, you can even toss it with chocolate and nuts or mold it into a ball. It all counts.
SAN JUAN, Puerto Rico (AP) — People in a southern Puerto Rico city discovered a warehouse filled with water, cots and other unused emergency supplies, then set off a social media uproar Saturday when they broke in to retrieve goods as the area struggles to recover from a strong earthquake.
With anger spreading in the U.S. territory after video of the event in Ponce appeared on Facebook, Gov. Wanda Vázquez quickly fired the director of the island's emergency management agency.


A hundred and thousand Muslims all around the world starts their spiritual journey to Saudi Arabia, not just for Hajj or Umrah but also for visiting historically significant landmarks of Makkah and Madinah. Mostly Muslims visit Saudi Arabia with the intention of Hajj which is the fifth pillar of Islam. Irrespective of the caste, creed, race, color, culture, status and language Hajj brings all faithful servants of Allah swt together. As you can see all Muslims have worn same Ihram which depicts equality and all circle around the Holy Kaabah together during tawaaf without any discrimination.
Different steps of Hajj have different historical background. The pilgrims walk between Safa and Marwa in the memory of Hazrat Hajrah who ran in the search of water for her baby Hazrat Ismail. By the will of God, Zamzam sprouted and this water is still quenching the thirst of millions of worshippers until today. The Tawaaf around the Kaabah gives the concept to the believer that he should circle around Allah swt. In Hadith, it is mentioned that if Hajj is performed with its all rituals and pure intention then its reward is none other than Jannah.


From 7 September onwards, acclaimed Belgian artist Rinus Van de Velde (°1983, Leuven, lives and works in Antwerp) is presenting new works at Antwerp's Tim Van Laere Gallery. Van de Velde is one of the leading figures of the Belgian contemporary art scene. Over the past few years, he has built a strikingly coherent oeuvre, mainly consisting of monumental, narrative charcoal drawings. Although these drawings still play a prominent role in his work, Van de Velde evolves increasingly towards a 'total artist', creating a tension between fiction and reality by the use of different media.
This exhibition is Van de Velde's fourth solo exhibition in the gallery and his first Belgian exhibition after his successful expo at the S.M.A.K. in 2016. Instead of relying on his previous success, Van de Velde wishes to walk new ways and to experiment with forms, compositions, styles and content. Here, Van de Velde creates his own universe by means of drawings, sculptures, decorative elements and ceramics. He was inspired by 'Prisoners of the Sun', a volume of The Adventures of Tintin, the comics series by Belgian cartoonist Hergé. The simple plot and the surrealist compositions of this adventure story serve as the basis for a fragmentary interpretation in which one of the artist's alter egos, the abstract expressionist artist Robert Rino, is being kidnapped by a collector. While the artist is forced to produce work, his two assistants are trying to rescue him. Van de Velde's work blends reality and fantasy, creating a complex world in which documentation and fiction, reproduction and reconstruction intrinsically tie together.
Van de Velde's loose but virtuoso drawing style is immediately recognizable. The drawings are direct and the subtle modulations of black, white and grey give them a painterly look. But underneath, there are many layers to be discovered: a careful composition and structure, numerous references to the art world, a sharp irony, a visual intelligence and an enormous imagination. In addition, Van de Velde uses in these new works a more independent composition that tends towards the abstract.
All of these elements have an impact on the viewer's perception. Van de Velde may suggest a narrative structure, however these works are more autonomous and can be viewed separate from each other. The viewer is thus directly challenged to imagine the larger story of which Van de Velde's stories seem to be but snapshots. The fragmentary character of the images and texts proves that Van de Velde is willing to take risks with this exhibition. Coincidence and spontaneity are playing a role again.


I love these insights into what truly makes genius. When we are focused only on thinking in one way, looking only from one perspective, standing only in our own shoes, and considering life from within the confines of a particular belief system, our creative and innovative abilities become more and more stifled. We create the same things over and over, only have one basic set of opinions, and only know how to do things the same way we have done them in the past.
Yet if we are willing to turn the searchlight of our perspective, everything looks different. New awareness is available, new insights arise, new understanding unfolds, and creative juices begin flowing in new ways. Ritual and routine can, at their best, create grounding and structure. Yet the moment that they become mindlessly habitual without us being clearly conscious about what we are doing, how we are doing it, why we are doing it, and what is happening or unfolding as a result, they become traps.
Today, focus on turning the searchlight. Go stand in a different place. Put on someone else's shoes and see the world or a circumstance from their perspective. Embody the energy of the circumstance and see what it has to tell you. See how many different perspectives you can find and approach your day "inhabitually." Practice thinking and perceiving in new ways and watch your genius unfold.


text:
Tuesday, 20 March, 2007 by jsr
You write on the
floor with a magic
marker.--More--
-----+------
|..........|
|..@.......|
####-..........|
@ "Let's see, even I should be able to draw a diagonal line."
You see here an
ebony wand'Saruman!' he cried, and his voice grew in power and authority.
NetHack may be freely redistributed.  See license for details..
@ "Rings shouldn't be much harder."
|../.......|
|...=!@....|
@ "It's relaxing to explore my creative side for once, but I could never be another da Vinci or Durer."
You feel more
confident in your
drawing ability!
|.@...[[).$|
+%./?%..^.)|
|`.%=!!+..*|
####-._]....(*.|
@ "On the other hand, don't they always say practice makes perfect?"
Kernigh
Did he draw an @?
Nice! That'd be cool.
A Crazy Hermit
First comment: 9 March, 2007
Is this going to be a special ue of the magic markerThe pen is mightier than the sword.
[ Richelieu, by Edward Bulwer-Lytton ]
NetHack may be freely redistributed. See license for details. for a special role, the Magic Artist? You'd be able to #invoke a Magic MarkerThe pen is mightier than the sword.
NetHack may be freely redistributed. See license for details. to draw, and #wield it as a weapon. Add Potions of Ink for you to dip your marker in for refills, and...
Is this going to be a special use of the magic markerThe pen is mightier than the sword.
Dargor
is hax fag "DuDz" going to come and steel everything tomorrow?
So, when's he getting good enough to start drawing tame dragons and stuff? Boy, I'd like that to be possible in the game.
First comment: 24 October, 2006
Cool idea, but would unbalance the game I think. Would make it far to easy to beat the game ;)
The writing style here is very reminiscent of Dion's strips...
SQLGuru
It wouldn't throw the balance off any more than a wand of'Saruman!' he cried, and his voice grew in power and authority.
NetHack may be freely redistributed. See license for details. wishing does......magic markers have charges, just make different things take different charges.....and besides, it isn't like he's drawing a particular wand'Saruman!' he cried, and his voice grew in power and authority.
NetHack may be freely redistributed. See license for details.....just a random wand'Saruman!' he cried, and his voice grew in power and authority.
NetHack may be freely redistributed. See license for details.. It's more like kicking a sink or something. I think it's a GREAT idea.
Cursed magic markers - everything you draw is cursed not friendly
normal magic markers - everything is not cursed normal behavior
blessed magic markers - everything is blessed / tame
First comment: 7 December, 2005
Random only insofar as it's whichever wand'Saruman!' he cried, and his voice grew in power and authority.
NetHack may be freely redistributed. See license for details. in that particular game is black. I got the impression that he was drawing black things all the time.
Gamer_2k4
What if it's already implemented? What if there IS a hidden "drawing" skill?
What if there IS a source code you can look at and instantly prove that there is no hidden "drawing" skill?


text:
Greek banks still burdened by problem loans, Fitch says
Greek banks remain burdened by large problem loan portfolios, despite boosting capital and progress with their integration and restructuring plans, Fitch Ratings has said.
"This means that EU-wide stress tests could reveal additional capital shortfalls, especially if on-going restructuring measures are not fully incorporated," Fitch said in a statement carried by Reuters on Wednesday.
Bellow is the rest of the statement:
"The four large Greek banks – National Bank of Greece (NBG), Piraeus, Eurobank and Alpha – raised substantial capital through two rounds of recapitalizations from both public and private sources. Capital will also benefit from recent deferred tax asset (DTA) changes, which allow for conversions of DTAs into actual tax credits from the state. This follows similar actions in other southern European countries and aligns tax treatment of impairment provisions better with practices in northern European banks.
However, changing practice at a time when bank earnings are weak means that the realization of tax credits is likely to be some time away and may not be straightforward. The large amounts of unreserved problem loans leave the four major banks' balance sheets vulnerable to developments in an improving but still very weak economy.
Problem loans (impaired plus unimpaired 90 days past due) are high, at between 29.7 percent for the lowest, NBG, and 45.6 percentage for the highest, Alpha, at end-2013. Meanwhile, reserve coverage is low, below 47 percent at the same date.
The property market continues to trend downwards, potentially further depressing collateral valuations. Further de-risking envisaged in banks' restructuring plans, including downsizing of foreign operations and sales of non-core domestic assets, would support capital.
The ECB's comprehensive assessment could reveal further capital needs for Greek banks, especially if potential benefits from on-going restructuring measures are not fully incorporated. Our base-case is that banks will fill any gaps privately, as was the case in 1H14 following the Bank of Greece's stress test exercise, rather than tapping the Hellenic Financial Stability Fund, which still has in excess of EUR11bn available.
Given the banks' already very low ratings of 'B-', we do not anticipate any ratings actions following the comprehensive assessment results. But should any material capital shortfalls emerge from the asset quality review that we believe cannot realistically be addressed in the short term through restructuring measures, there may be negative rating actions.
Tackling legacy problem loans remains the primary challenge for these banks. Banks' recovery units have been internally enhanced, in part explaining the lower new problem loan formation in 1H14. Credit weakening is likely to continue, but more slowly as the economy has bottomed out and is set to slowly recover.
We forecast GDP growth of 0.5 percent in 2014 and 2.5 percent in 2015. Mortgage foreclosure bans were partially lifted early this year. Remaining restrictions could be lifted soon as part of plans to reinforce private debt resolution regimes. These measures should assist with arrears recoveries, although they may involve forbearance and repossessions that could drive further provisioning. Greek banks' profit generation will remain heavily challenged by high impairments. Returns will remain weak, despite lower deposit spreads and efficiency gains from the restructurings." [Reuters]


Product prices and availability are accurate as of 2019-04-18 12:59:18 UTC and are subject to change. Any price and availability information displayed on http://www.amazon.com/ at the time of purchase will apply to the purchase of this product.
Author Bookstand is proud to offer Reign of Light by Bookstand Publishing. Bookstand Publishing offers books by the best indie authors throughout North America and the world. Bookstand Publishing is dedicated to offering original content to a broad audience and promoting great authors, literacy, and freedom of expression. Reign of Light has generated a lot of interest and excitement and we think it would be an excellent addition to your library.
This is the story of a man and his people. In an age when persecution over religious differences was the norm in Western Europe, he gave the Jews of Europe safe haven and freedom to practice their religion. In an age when cruelty rather than kindness was common practice, he instituted laws for the protection of women and serfs. In a country where law itself was what the local strongman decreed, he brought the light of learning and hope. Warning: This book is more than just a time machine. Not only will it take you back seven centuries; while there, you will learn honor, valor, loyalty, despair and enduring love. You will learn to respect the past. You may also find hope for the future.


text:
How It's Made: Promotional Water Polo Balls
by Gary E. Custom-Sports Author
Though it perhaps doesn't always get the recognition it deserves, water polo is one of the toughest sports in the world. Branded water polo balls are a unique idea because throughout the game, players hold the ball up as though it's a trophy. This means your brand will be particularly prominent during a match. We thought it would be a good idea to give you a bit of an insight into just how these balls come to be.
Believe it or not, water polo balls actually used to be made out of leather. As we all know, leather absorbs water, so this was not the best of ideas. After years of playing with a ball which became wet, heavy and slippery during a game, a more appropriate ball was developed. 1936 was the all important year of change, when James Smith developed the water polo ball used today. Essentially, this is a two-piece ball made of rubber. Lets go into more detail about the modern water polo ball.
Water Polo Balls made of leather were perhaps not the best idea
Inflatable Bladder
The first piece of today's two-piece water polo ball is the rubber inflatable bladder. This is similar to the core of a Promotional Volleyball. The rubber core of a water polo ball enables the ball to remain light and therefore easier to handle. It is within this rubber core that the air of a pumped up water polo ball remain, with the rubber allowing for maximum air retention.
Rubber exterior
The outer layer of a volleyball is also made of rubber – logically, a waterproof material. This is stuck to the rubber core by a sticky, mesh like material. The compact construction of these layers ensures no water is able to enter into the inner core of the ball. This allows for maximum performance throughout the course of a game. The exterior material also has a textured grip, to enable better ball handling by players. The official Olympic ball, made by Mikasa, is predominantly yellow. Yellow has been the colour of a regulation volleyball for almost 100 years, and most believe this is due to its high visibility.
The official men's water polo ball is around 71 centimetres in circumference, while for women it is 67 centimetres. On average, it weighs between 0.4 and 0.45 kilograms. Though the regulation volleyball is yellow, various leagues use different coloured balls, from green, to red, or blue.
advertising, branded, Disrupt., HIM, how its made, promotional, water polo, water polo balls
About Gary E. Custom-Sports Author
Top 15 Winter Promotional Giveaways
Brand All-stars: Top Sports Sponsors
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Sep 15, 2014. If you haven't checked your auto insurance coverage in more than a year, review it now. See Also — Hail Damage and Your Car Insurance.
Minnesota Commerce Department offers tips on insurance & storm. – Jul 6, 2016. Whether your vehicle was damaged by hail, a fallen tree or flooding, your. Check your "Minnesota Insurance Identification Card" or call your.
Storm damage to your vehicle may be covered by your auto insurance. Whether your vehicle was damaged by hail or a fallen tree, your loss may be covered as long as you selected "Comprehensive" or "Othe.
Ms Murphy was the first witness for the disaster insurance component of the inquiry and was speaking about her experiences af.
Where you live can also impact your hurricane insurance needs. Across most of the U.S., a standard home insurance policy will.
He would also check out the auto insurance coverage available through his Visa credit card. He'd carefully photograph the car.
Does insurance cover hail damage to your car, house?. If you've suffered glass damage due to hail, check with your insurance agent about glass coverage.
May 23, 2016. Advice for insurance claims, finding contractors and avoiding rip-offs. estimates that 120 of the 150 cars on the lot were damaged by hail. Baty has. Check the contractor's record with the Better Business Bureau at bbb.org.
Jul 20, 2016. What to do if your car is damaged by hail. Contact your insurance provider and check to see if hail damage is covered by your policy. You can.
I have filed an insurance claim for Hail damage for roof. I got a check for Roof Repair cost – Deductible – Depreciation adjustment. If your car is involved in a collision, and the damage is $1000, and the insurance company.
Tips on Starting Insurance Claim Process Following Storms – Storm damage to your vehicle may be covered by your auto insurance. Whether your vehicle was damaged by hail or a fallen tree, your loss may be covered as long as you selected "Comprehensive" or "Othe.
The insurance company has verified the damage and found 3000$ as. Check your homeowner's or renter's policy, if you have such coverage.


text:
CBG vs CBD
March 23 2022 , by Vivimu Blog, 6 min reading time
The cannabis industry is absolutely booming. As legal restrictions surrounding the plant begin to loosen their grip, our knowledge of cannabinoids grows. Barriers which once prevented research are now being removed. People are finally waking up to the fact that there is more to cannabis than just THC—there's an entire spectrum to explore.
But where to start? There are dozens of cannabinoids available these days. The choice isn't easy. Many cannabinoids have totally unique effects, while others appear very similar. For instance, take CBD and CBG, two of the most common cannabinoids found in hemp. They share many of the same characteristics, and are enjoyed for many of the same reasons. Yet, there are still some key differences between CBD and CBG that set them apart.
In this article we'll go over the various differences between these two cannabinoids, as well as any other information you may need to help you decide whether CBD or CBG is right for you.
Cannabidiol (CBD) is a naturally occurring cannabinoid that is most abundant in Type II (1:1 CBD/THC) and Type III (CBD dominant) strains of cannabis. Despite the fact that CBD containing cannabis has been used by humans for thousands of years, it wasn't isolated until the early 1940's. From then on, legal restrictions kept CBD research moving at a snail's pace. Its chemical structure was only determined in 1963. Although CBD did gain limited recognition during the 80's and 90's, it has largely sat outside of the public eye, hidden away from non-researchers.
It wasn't until the 2018 Farm Bill that CBD was finally given the respect it deserves. The bill legalized hemp on the federal level in America, increasing the availability of CBD, CBG, and other hemp derived cannabinoids. Needless to say, the move was a massive success. CBD began popping up in smoke shops and storefronts all across the country. Many Americans got their first taste of legal cannabis through CBD and other hemp derived products. According to this Gallup poll from 2019, a whopping 14% of Americans admit to using CBD.
Reasons for using CBD vary greatly, but its potential for therapeutic use is widely recognized in the scientific community. There are even FDA approved CBD prescriptions, such as Epidolex, which are prescribed for the treatment of seizures associated with Lennox-Gastaut syndrome, Dravet syndrome, or tuberous sclerosis complex in people 1 year of age or older.
While CBD may center on the therapeutic, it is still a powerful cannabinoid in its own right. Users report it as having a calm, clear, and slightly sedating effect that that can be felt primarily in the body.
What is CBG?
Cannabigerol (CBG), or 'the mother of all cannabinoids,' was first synthesized in 1964. Produced during the blooming stages of the plant, it plays a vital role in the maturation of cannabinoids. Its acid form, CBGa, acts as the building block for cannabinoids like CBDa, CBCa, and THCa. This is possible due to specific plant enzymes that break down CBGa and 'guide it' towards the conversion of particular cannabinoids.
Unfortunately, this natural phenomenon also makes it hard to harvest CBG, as most of the CBGa is converted into other cannabinoids—similar to a ripening banana. As a workaround, farmers used to harvest their crops while the plants were still in their immature stages. Though Type IV (CBG dominant) flower has been recognized since 1987, available strains were often very low in CBG, containing around 1-2% CBG/CBGa. Thanks to advances in agricultural science, today's Type IV strains are pushing upwards of 15% CBG/CBGa, though breeders are working constantly to push the boundaries of their strains.
In terms of effects, CBG is comparable to CBD, with some twists. It's relaxing, but also has a focused, forward, almost stimulating feeling to it. It's more 'busy' than CBD, which makes it a very useful and productive cannabinoid to have on hand.
What is the difference between CBD and CBG?
While these cannabinoids may share many similarities, they have their differences as well. In simple pharmacological terms, CBD and CBG activate the neurons in your brain in distinctive and unique ways. This study, published by Psychopharmacology in 2011, looked into the effects of CBD and CBG (taken in conjunction) at the 5-HT1A serotonin receptor. They found that while CBD has a strong anti-emetic (anti-nausea) effect due to its affinity for 5-HT1A, it is at least partially negated by CBG, which acts as an antagonist at this same site, blocking the effects.
CBG also has a hyperphagic effect, meaning it acts as an appetite stimulant. Interestingly, this effect may be countered by CBD, which has been shown to inhibit hyperphagia induced by CB1 and 5-HT1A agonists. Though CBG is indeed a CB1 agonist, the study doesn't dig deep enough to reach any concrete conclusions on the relationship between CBD, CBG, and hyperphagia. It does however provide us with some insight into how two seemingly similar cannabinoids can have such drastically different effects.
This is further explained when we look at the mechanism of action for these two cannabinoids. CBG utilizes the CB1 and CB2 receptors, which are commonly used by other cannabinoids. Surprisingly, CBD doesn't utilize either of these receptors directly, but instead indirectly activates cannabinoid receptors through the TRPVR1 receptors (also known as the capsaicin and vanilloid receptors). Differences like these are what make cannabinoids special.
Are CBD and CBG psychoactive?
The answer to this question depends on who you ask. There are some who claim that CBD and CBG are not psychoactive, but this is usually said in reference to cannabinoids like THC, which have a strong intoxicating effect that can leave people feeling foggy.
By comparison, CBD and CBG are relatively clearheaded. They produce a slight perceptible change in awareness, but don't bog the mind and body down with a heavy handed 'high' that leaves you stoned or couch locked. The effects of CBD and CBG are smooth and easy to handle, and won't typically interfere with your day to day activities.
Should I try CBD or CBG?
You should try whichever cannabinoid you feel best fits your needs. The differences between CBD and CBG are both incredibly subtle, and instantly recognizable. If you're new to hemp derived cannabinoids, or cannabis in general, it may take some time before you find the product that's right for you. We believe that both CBD and CBG are valuable, worthwhile cannabinoids that are deserving of further exploration and research.


text:
#include <map>

#include "testing/gtest/include/gtest/gtest.h"
#include "webrtc/modules/rtp_rtcp/source/rtp_utility.h"
#include "webrtc/system_wrappers/interface/scoped_ptr.h"
#include "webrtc/test/rtp_file_reader.h"
#include "webrtc/test/testsupport/fileutils.h"

namespace webrtc {

class TestRtpFileReader : public ::testing::Test {
 public:
  void Init(const std::string& filename) {
    std::string filepath =
        test::ResourcePath("video_coding/" + filename, "rtp");
    rtp_packet_source_.reset(
        test::RtpFileReader::Create(test::RtpFileReader::kRtpDump, filepath));
    ASSERT_TRUE(rtp_packet_source_.get() != NULL);
  }

  int CountRtpPackets() {
    test::RtpFileReader::Packet packet;
    int c = 0;
    while (rtp_packet_source_->NextPacket(&packet))
      c++;
    return c;
  }

 private:
  scoped_ptr<test::RtpFileReader> rtp_packet_source_;
};

TEST_F(TestRtpFileReader, Test60Packets) {
  Init("pltype103");
  EXPECT_EQ(60, CountRtpPackets());
}

typedef std::map<uint32_t, int> PacketsPerSsrc;

class TestPcapFileReader : public ::testing::Test {
 public:
  void Init(const std::string& filename) {
    std::string filepath =
        test::ResourcePath("video_coding/" + filename, "pcap");
    rtp_packet_source_.reset(
        test::RtpFileReader::Create(test::RtpFileReader::kPcap, filepath));
    ASSERT_TRUE(rtp_packet_source_.get() != NULL);
  }

  int CountRtpPackets() {
    int c = 0;
    test::RtpFileReader::Packet packet;
    while (rtp_packet_source_->NextPacket(&packet))
      c++;
    return c;
  }

  PacketsPerSsrc CountRtpPacketsPerSsrc() {
    PacketsPerSsrc pps;
    test::RtpFileReader::Packet packet;
    while (rtp_packet_source_->NextPacket(&packet)) {
      RtpUtility::RtpHeaderParser rtp_header_parser(packet.data, packet.length);
      webrtc::RTPHeader header;
      if (!rtp_header_parser.RTCP() && rtp_header_parser.Parse(header, NULL)) {
        pps[header.ssrc]++;
      }
    }
    return pps;
  }

 private:
  scoped_ptr<test::RtpFileReader> rtp_packet_source_;
};

TEST_F(TestPcapFileReader, TestEthernetIIFrame) {
  Init("frame-ethernet-ii");
  EXPECT_EQ(368, CountRtpPackets());
}

TEST_F(TestPcapFileReader, TestLoopbackFrame) {
  Init("frame-loopback");
  EXPECT_EQ(491, CountRtpPackets());
}

TEST_F(TestPcapFileReader, TestTwoSsrc) {
  Init("ssrcs-2");
  PacketsPerSsrc pps = CountRtpPacketsPerSsrc();
  EXPECT_EQ(2UL, pps.size());
  EXPECT_EQ(370, pps[0x78d48f61]);
  EXPECT_EQ(60, pps[0xae94130b]);
}

TEST_F(TestPcapFileReader, TestThreeSsrc) {
  Init("ssrcs-3");
  PacketsPerSsrc pps = CountRtpPacketsPerSsrc();
  EXPECT_EQ(3UL, pps.size());
  EXPECT_EQ(162, pps[0x938c5eaa]);
  EXPECT_EQ(113, pps[0x59fe6ef0]);
  EXPECT_EQ(61, pps[0xed2bd2ac]);
}
}  // namespace webrtc


Greg Owen closed with a 29 on his final nine holes Thursday.
Greg Owen started with a thud and finished with an impressive 63 and the outright lead at Hamilton G&CC. The Englishman opened with a double bogey and a bogey his first two holes before playing 10 under the rest of the way en route to a 63 and the clubhouse lead at the RBC Canadian Open ( click here to replay his round ). Owen made eight birdies and an eagle after the inauspicious start, closing in 29 to sit at 7 under after his opening round. It's the lowest score of Owen's career, bettering the 64 he shot in the second round of the 2009 Frys.com Open. I t also puts Owen on track for his best finish of the season. In 19 starts, Owen has just two top 10s. On the day, Owen hit 14 greens in regulation and took just 25 putts. His eagle came on the 542-yard fifth, where he reached the green in two then rolled in a 12-foot putt.


text:
« Lame Duck Legislative Session in Ohio | Main | O'Malley Should End State Death Sentences »
"Clemency Petition Filed Today: Execution of Scott Panetti Would 'Cross a Moral Line'," is a news release issued by attorneys and advocates for Scott Panetti. Here's the full text:
Today, dozens of prominent organizations and individuals from Texas and across the country called on the Texas Board of Pardons and Paroles and Governor Rick Perry to stop the December 3rd scheduled execution of Scott Panetti, a severely mentally ill man who has suffered from schizophrenia for more than 30 years.
Mr. Panetti, who represented himself at his capital trial wearing a cowboy costume, will be executed unless a commutation is granted or a court intervenes. Mr. Panetti has suffered from serious mental illness for over 30 years. He was hospitalized more than a dozen times for psychosis and delusions in the 14 years leading up to the crime for which he was convicted and sentenced to death. At his 1995 trial he attempted to call over 200 witnesses, including John F. Kennedy, the Pope, and Jesus Christ.
The commutation requests were submitted to the Texas Board of Pardons and Paroles and Governor Perry as part of a clemency petition filed by Mr. Panetti's attorneys this morning, which states: "The case of Scott Louis Panetti is a judicial disaster that has attracted national and international outrage – and for good reason. Evidence of his incompetency runs like a fissure through every proceeding in his case – from arraignment to execution…The execution of Scott Panetti would cross a moral line."
The clemency petition can be accessed here.
Letters urging clemency in Mr. Panetti's case come from several of the nation's and Texas' leading mental health organizations, including the American Psychiatric Association, Mental Health America and Disability Rights Texas; experts on mental health issues in the law; a former Texas Governor, state Attorneys General, U.S. Attorneys and others with experience in the criminal justice field; 50 Evangelical faith leaders, including Rev. Sam Rodriguez of the National Hispanic Christian Leadership Conference, Jay Sekulow of the American Center for Law and Justice, Lynn Hybels of the nationally prominent Willow Creek Church, Gabriel Salguero of the National Latino Evangelical Coalition and other faith leaders; Murder Victims Families for Reconciliation; and the American Bar Association, among others.
"As law enforcement and criminal justice professionals, we are deeply troubled that a capital sentence was the result of a trial where a man with schizophrenia represented himself, dressed in a costume," stated the letter signed by 30 prominent individuals, including former federal and state court judges and prosecutors, Department of Justice officials, parole board members, and other notable legal practitioners from Texas and across the country. "We come together from across the partisan and ideological divide and are united in our belief that, irrespective of whether we support or oppose the death penalty, this is not an appropriate case for execution."
The first time Mr. Panetti showed signs of being afflicted with a psychotic disorder was in 1978, over 14 years before he shaved his head and killed his in-laws, Amanda and Joseph Alvarado. During his multiple hospitalizations, doctors diagnosed him with chronic schizophrenia and schizoaffective disorder.
Detailed information about Mr. Panetti's medical history can be found in a mental illness timeline starting in 1978 that shows how Mr. Panetti's mental health degenerated over the years, including how in 1986, the Social Security Administration made a determination that Mr. Panetti was so disabled from schizophrenia that he was entitled to government benefits.
In 1986, Mr. Panetti first succumbed to the delusion that he was engaged in spiritual warfare with Satan. In an affidavit his first wife signed to have him involuntarily committed, she testified that he was obsessed with the idea that the devil was in the house. He engaged in a series of bizarre behaviors to exorcize his home, including burying his furniture in the backyard because he thought the devil was in the furniture.
"In his state of severe mental illness, Mr. Panetti should never have been permitted to represent himself at his capital trial," states the letter from leading national and Texas mental health organizations and experts. "…[T]he fact that he did not have counsel renders his conviction and sentencing even more problematic in light of the delusional nature of his illness."
In 2004, Texas tried to execute Mr. Panetti, but a federal judge court stayed the execution and the United States Supreme Court ultimately found the Fifth Circuit's standard for determining competency to be executed unconstitutional in Panetti v. Quarterman, 551 U.S. 930 (2007). Notwithstanding that decision, Texas continued to contest Mr. Panetti's competence to be executed. In 2013, the Fifth Circuit again found him competent to be executed – despite the District Court's findings that he has a severe mental illness and suffers from paranoid delusions.
On November 6, 2014, the trial court in Kerrville, Texas refused a request by Mr. Panetti's attorneys to withdraw or modify the execution date so that they would have a meaningful opportunity to contest his competency for execution
Mr. Panetti has not had a competency hearing in nearly seven years. He has a fixed delusion that his execution is being orchestrated by Satan, working through the State of Texas, to put an end to his preaching the Gospel of Jesus Christ.
"The execution of Scott Panetti would be a cruel injustice that would serve no constructive purpose whatsoever," states the letter signed by more than 50 notable Evangelical Christian faith leaders, including 20 from Texas. "When we inflict the harshest punishment on the severely mentally ill, whose culpability is greatly diminished by their debilitating conditions, we fail to respect their innate dignity as human beings."
A complete listing of the clemency letters and more information about Mr. Panetti's case, including legal documents, video footage, and more, can be accessed.
"When Texas Descends Into Hell: The Vulnerability of Scott Panetti," is by Rev. Jeff Hood, a Baptist Pastor.
On October 30, I woke up and walked into the bedroom of our three young children. Our oldest children are twin boys. Their little bodies were contorted around stuffed animals and producing loud snores. I watched them sleep for a little while. The room was still dark. I walked further in. Our youngest was curled up in a ball. I watched him sleep for a moment. Shuffling over to a rocker, I sat for a while and let my mind wonder in the twilight.
The previous day, the State of Texas surprisingly announced that it would execute Scott Panetti on December 3. I wondered what Scott looked like when he was the age of my children. I imagined a mother watching her child sleep and dreaming about all that he child might become. I can imagine that Scott's mother never thought her child would be a paranoid schizophrenic capable of killing his in-laws in front of his estranged wife and child. The more I sat and thought, the more I couldn't help but look to my own children and wonder if they would ever commit such a crime. Who can say? I can only know what I would do if they did. I would love them.
We descend into hell when we leave love behind. The State of Texas is quickly descending into the hell of a loveless decision.
Earlier coverage of Scott Panetti's case begins at the link.
All prior coverage is in the Scott Panetti category index. The Supreme Court established standards to assess whether severely mentally ill inmates are competent to be executed in a 1986 case, Ford v. Wainwright; more via Oyez. The Court revisited the ruling in 2007 in Panetti v. Quarterman is via Oyez.
Wednesday, 12 November 2014 at 11:17 AM in Blog Blawg, Clemency, Competency , Execution Date, Mental Illness, Religion, Scott Panetti, TX | Permalink
Tags: capital punishment, clemency, commutation, competency, competency to be executed, death penalty, execution date, Ford v. Wainwright, Gillespie County, hearing, Huffington Post, mental illness, Panetti v. Quarterman, post-conviction review, religion, Rev. Jeff Hood, Scott Panetti


From modern yet bohemian San Francisco, to the lively Los Angeles, and the rugged beauty of Yosemite National Park, you'll be spoiled for choice in the Golden State.
Sail from Barcelona and visit Nice (VILLEFRANCHE), Florence/Pisa (Livorno), Rome (Civitavecchia), Almafi Coast (Salerno), Venice (Overnight onboard), split and kotor.
Considered by many to be the premier snorkelling location in Hawaii, this comprehensive tour will fill you with awe and inspiration. See spectacular sea cliffs, enchanting waterfalls and timeless lava tubes whilst snorkelling over a stunning tropical reef.
Experience the wild beauty of Kauai's breathtaking Na Pali Coast on this thrilling day of sailing and snorkelling.
As you sail peacefully on the crystal clear waters, enjoy the history and legends of the ancient civilizations that once inhabited these verdant valleys and views of spectacular sea cliffs, enchanting waterfalls and timeless lava tubes will be revealed.
Enjoy the history and legends of the ancient civilizations that once inhabited these verdant valleys.
Look out for passing marine life like spinner dolphins, sea turtles and migrating humpback whales (December through April) before setting anchor at a tropical reef to snorkel and explore an underwater ecosystem.
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text:
Geoffrey Philip Simon (born 3 July 1946) is an Australian conductor resident in London.

Recordings
Geoffrey Simon was born on 3 July 1946 in Adelaide.  He was a student of Herbert von Karajan, Rudolf Kempe, Hans Swarowsky and Igor Markevitch, and a major prize-winner at the first John Player International Conductors' Award. He has made 45 recordings for a number of labels, combining familiar works with world premieres of rediscovered obscure works by Tchaikovsky, Respighi, Borodin, Mussorgsky, Smetana, Grainger, Debussy, Ravel, Saint-Saëns and Les Six.

For his own label, Cala Records, Geoffrey Simon has a series of records where he has brought together ensembles of single instruments—all violins, violas, cellos, double basses, horns, trumpets, trombones and harps—drawn from London's leading solo and orchestral musicians. The recordings have attracted interest among instrumentalists, composers and audiences worldwide.

Appearances
He has appeared in London with the London Philharmonic Orchestra, London Symphony Orchestra, Philharmonia Orchestra, Royal Philharmonic Orchestra, London Chamber Orchestra and English Chamber Orchestra.

Internationally, he has appeared with the American, Atlanta, City of Birmingham, Bournemouth, Fort Worth, Milwaukee, St Louis, Sapporo, Shanghai and Tokyo Metropolitan symphonies, the Israel, Moscow, Munich and New Japan Philharmonics, the Residentie Orchestra of The Hague, the six major Australian orchestras and Opera Australia.

Music directorships
His music directorships have included the Albany Symphony Orchestra (New York), the Sacramento Symphony (California) and the Orquestra Simfònica de Balears "Ciutat de Palma" (Majorca).

Previously he was Professor of Music and Conductor of the University of North Texas College of Music Symphony Orchestra in Denton, Texas.

He has conducted a Mahler cycle as Music Director of the Northwest Mahler Festival in Seattle. He is Classical Special Projects Consultant of Arts Global (London, New York and Montreux) and a jury member for Young Concert Artists (Paris, Leipzig and New York) and the Australian Music Foundation (London).

Awards and nominations

ARIA Music Awards
The ARIA Music Awards is an annual awards ceremony that recognises excellence, innovation, and achievement across all genres of Australian music. They commenced in 1987.

!
|-
| 1991
| Percy Grainger: Orchestral Works (with Melbourne Symphony Orchestra)
| Best Classical Album
|
|
|-

References

External links

Arts Global official website
Cala Records
Interview with Geoffrey Simon by Bruce Duffie, August 14, 1990

Australian conductors (music)
University of North Texas College of Music faculty
Living people
1946 births
People from Adelaide
21st-century conductors (music)

redpajama_set_name: RedPajamaWikipedia


Ledin - Skarpt Läge Deluxe is an event that takes place from Oct 19 - Oct 20, 2018 and may cause room availability issues or hotel rates to increase. Hotels in Linkoping are listed below. Search for cheap and discount hotel rates near the Ledin - Skarpt Läge Deluxe Linkoping, Sweden for individual or group travel. The Linkoping hotels and motels below is a general city directory and are not necessarily the recommended hotels for Ledin - Skarpt Läge Deluxe.


text:
Quentin Tarantino Casts Roman Polanski Role In 'Once Upon A Time In Hollywood'
Eventually it will become common knowledge that Quentin Tarantino has cast everyone he knows in Once Upon a Time in Hollywood. The cast for his big Manson-era film is not only huge but basically a who's who of today's top stars, and while the latest addition to the cast is pretty much unknown around these parts the role he's taking is of someone we are all quite familiar with.
According to THR, Tarantino has cast little-known actor Rafal Zawierucha in the role of controversial director Roman Polanski. It was inevitable this part would be filled as Polanski plays a key role in the film which takes place during the time of Sharon Tate's murder, not long after the two were married and she was pregnant with their child. Also joining the film are Buffy the Vampire Slayer actor and Emmy-winning Empire creator Danny Strong, plus The Handmaid Tale's Sydney Sweeney. They become part of a killer ensemble that includes Leonardo DiCaprio, Brad Pitt, Margot Robbie, Al Pacino, Kurt Russell, Timothy Olyphant, Burt Reynolds, Damian Lewis, and Dakota Fanning, Luke Perry, Lena Dunham, Tim Roth, Michael Madsen, and dozens more.
You can't open a Polanski film around here without it stirring things up due to his past transgressions, but hopefully just having him as a character in Tarantino's film won't make any waves.
Once Upon a Time in Hollywood opens July 26th 2019.


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text:
Die Wohnhäuser der Meierei in der Erbacher Straße 125 sind Bauwerke in Darmstadt.

Geschichte und Beschreibung
Die zwei kleinen Fachwerkhäuser – ein größeres Wohnhaus am Eingang zum Hof und ein kleineres im hinteren Bereich des Areals – haben ein reiches, gut erhaltenes Sichtfachwerk.
Die beiden Wohnhäuser stammen aus der Zeit um das Jahr 1900 und gehörten zur ehemaligen Großherzoglichen Hofmeierei, dem heutigen Hofgut Oberfeld.

Denkmalschutz
Die beiden Wohnhäuser der Meierei sind ein typisches Beispiel für den Fachwerkhausstil um das Jahr 1900 in Darmstadt.
Aus architektonischen und stadtgeschichtlichen Gründen sind die beiden Wohnhäuser ein Kulturdenkmal.

Literatur
 Günter Fries et al.: Stadt Darmstadt. (Denkmaltopographie Bundesrepublik Deutschland, Kulturdenkmäler in Hessen.) Vieweg Verlag, Braunschweig 1994, ISBN 3-528-06249-5, S. 368.

Kulturdenkmal in Darmstadt
Erbaut in den 1900er Jahren
Fachwerkhaus in Darmstadt