text:
package org.itadaki.bobbin.peer.protocol;

/**
 * Constants used in the peer protocol
 */
public class PeerProtocolConstants {

	/**
	 * The maximum length of a piece request - 128K
	 */
	public static final int MAXIMUM_PIECE_LENGTH = 131072;

	/**
	 * The maximum length of a protocol message (after its length header)<br>
	 * Large enough for the largest possible "piece" message.
	 */
	public static final int MAXIMUM_MESSAGE_LENGTH = MAXIMUM_PIECE_LENGTH + 9;

	/**
	 * The length used when requesting piece blocks
	 */
	public static final int BLOCK_LENGTH = 16384;

	/**
	 * The maximum length allowed for requests from remote peers
	 */
	public static final int MAXIMUM_BLOCK_LENGTH = 32768;

	/**
	 * The maximum number of pending requests to a single remote peer
	 */
	public static final int MAXIMUM_OUTBOUND_REQUESTS = 30;

	/**
	 * The maximum number of pending requests a single remote peer may have before we start
	 * ignoring some
	 */
	public static final int MAXIMUM_INBOUND_REQUESTS = 250;

	/**
	 * The number of seconds of outbound data inactivity after which a keepalive should be sent
	 */
	public static final int KEEPALIVE_INTERVAL = 120;

	/**
	 * The number of seconds of inbound data inactivity after which the connection should be
	 * considered for termination
	 */
	public static final int IDLE_INTERVAL = 240;

	/**
	 * The number of pieces a peer may report beneath which allowed fast pieces should be allocated
	 */
	public static final int ALLOWED_FAST_THRESHOLD = 10;

	/**
	 * The maximum simultaneous number of remote piece suggestions, including through both Allowed
	 * Fast and Suggest Piece messages that are honoured before additional suggestions are dropped
	 */
	public static final int MAXIMUM_SUGGESTED_PIECES = 64;

	/* Basic protocol messages */

	/**
	 * A "choke" message
	 */
	public static final byte MESSAGE_TYPE_CHOKE = 0;

	/**
	 * An "unchoke" message
	 */
	public static final byte MESSAGE_TYPE_UNCHOKE = 1;

	/**
	 * An "interested" message
	 */
	public static final byte MESSAGE_TYPE_INTERESTED = 2;

	/**
	 * A "not interested" message
	 */
	public static final byte MESSAGE_TYPE_NOT_INTERESTED = 3;

	/**
	 * A "have" message
	 */
	public static final byte MESSAGE_TYPE_HAVE = 4;

	/**
	 * A "bitfield" message
	 */
	public static final byte MESSAGE_TYPE_BITFIELD = 5;

	/**
	 * A "request" message
	 */
	public static final byte MESSAGE_TYPE_REQUEST = 6;

	/**
	 * A "piece" message
	 */
	public static final byte MESSAGE_TYPE_PIECE = 7;

	/**
	 * A "cancel" message
	 */
	public static final byte MESSAGE_TYPE_CANCEL = 8;

	/* DHT extension messages */

	/**
	 * A "DHT port" message
	 */
	public static final byte MESSAGE_TYPE_DHT_PORT = 9;

	/* Fast extension messages */

	/**
	 * A "suggest piece" message
	 */
	public static final byte MESSAGE_TYPE_SUGGEST_PIECE = 13;

	/**
	 * A "have all" message
	 */
	public static final byte MESSAGE_TYPE_HAVE_ALL = 14;

	/**
	 * A "have none" message
	 */
	public static final byte MESSAGE_TYPE_HAVE_NONE = 15;

	/**
	 * A "reject request" message
	 */
	public static final byte MESSAGE_TYPE_REJECT_REQUEST = 16;

	/**
	 * An "allowed fast" message
	 */
	public static final byte MESSAGE_TYPE_ALLOWED_FAST = 17;

	/* Extension protocol messages */

	/**
	 * An "extended" message
	 */
	public static final byte MESSAGE_TYPE_EXTENDED = 20;

	/* Extended messages. These are the identifiers we ask the remote peer to use */

	/**
	 * BEP 0009 Extension for Peers to Send Metadata Files
	 */
	public static final byte EXTENDED_MESSAGE_TYPE_PEER_METADATA = 1;

	/**
	 * BEP 0030 Merkle hash torrent extension
	 */
	public static final byte EXTENDED_MESSAGE_TYPE_MERKLE = 2;

	/**
	 * Elastic extension
	 */
	public static final byte EXTENDED_MESSAGE_TYPE_ELASTIC = 3;

	/**
	 * Resource extension
	 */
	public static final byte EXTENDED_MESSAGE_TYPE_RESOURCE = 4;

	/**
	 * The first available custom extended message
	 */
	public static final byte EXTENDED_MESSAGE_TYPE_CUSTOM = 5;

	/* Elastic extension message subtypes */

	/**
	 * Elastic signature message
	 */
	public static final byte ELASTIC_MESSAGE_TYPE_SIGNATURE = 0;

	/**
	 * Elastic piece message
	 */
	public static final byte ELASTIC_MESSAGE_TYPE_PIECE = 1;

	/**
	 * Elastic bitfield message
	 */
	public static final byte ELASTIC_MESSAGE_TYPE_BITFIELD = 2;

	/* Resource extension message subtypes */

	/**
	 * Resource directory message
	 */
	public static final byte RESOURCE_MESSAGE_TYPE_DIRECTORY = 0;

	/**
	 * Resource transfer message
	 */
	public static final byte RESOURCE_MESSAGE_TYPE_TRANSFER = 1;

	/**
	 * Resource subscribe message
	 */
	public static final byte RESOURCE_MESSAGE_TYPE_SUBSCRIBE = 2;

	/* Extension protocol identifiers */

	/**
	 * Peer exchange extension
	 */
	public static final String EXTENSION_PEER_EXCHANGE = "ut_pex";

	/**
	 * BEP 0009 metadata extension
	 */
	public static final String EXTENSION_PEER_METADATA = "ut_metadata";

	/**
	 * BEP 0028 tracker exchange extension
	 */
	public static final String EXTENSION_TRACKER_EXCHANGE = "lt_tex";

	/**
	 * BEP 0030 Merkle extension
	 */
	public static final String EXTENSION_MERKLE = "Tr_hashpiece";

	/**
	 * Elastic extension
	 */
	public static final String EXTENSION_ELASTIC = "bo_elastic";

	/**
	 * Resource extension
	 */
	public static final String EXTENSION_RESOURCE = "bo_resource";

	/**
	 * Not instantiable
	 */
	private PeerProtocolConstants() { }

}

redpajama_set_name: RedPajamaGithub


text:
The Lorax (also known as Dr. Seuss' The Lorax) is a 2012 American 3D computer-animated musical fantasy comedy film produced by Illumination Entertainment and distributed by Universal Pictures. The second screen adaptation of Dr. Seuss' 1971 children's book of the same name following the 1972 animated television special, the film was directed by Chris Renaud, co-directed by Kyle Balda (in his feature directorial debut), and produced by Chris Meledandri and Janet Healy, with Ken Daurio, Cinco Paul, and Seuss' widow Audrey Geisel serving as executive producers. Paul and Daurio also wrote the film's screenplay. The film stars the voices of Danny DeVito, Ed Helms, Zac Efron, Taylor Swift, Rob Riggle, Jenny Slate, and Betty White. It builds on the book by expanding the story of the Lorax and Ted, the previously unnamed boy who visits the Once-ler.

The Lorax had its world premiere at Universal Studios in Hollywood on February 19, 2012, and was theatrically released in the United States by Universal Pictures on March 2. It received mixed reviews from critics who praised its animation, musical score, and voice acting but criticized its characters and story. It also received backlash for its marketing, noting its contradictions to the book's message. The film grossed $349 million worldwide on a $70 million budget.

Plot

Twelve-year-old Ted Wiggins lives in Thneedville, a walled city where all vegetation is artificial. Ted is infatuated with a teenage girl named Audrey and decides to impress her with a "real tree". His grandmother, Norma, tells him about the Once-ler, who knows what happened to the trees. Ted leaves Thneedville and discovers that the outside world is a barren, contaminated wasteland. He finds the Once-ler, who agrees to tell Ted the story of the trees over multiple visits. The next time he leaves town, Ted encounters Thneedville's greedy mayor, Aloysius O'Hare, whose company sells bottled oxygen. Explaining that trees and the oxygen they produce pose a threat to his business, O'Hare intimidates Ted to stay in town, but Ted continues to visit the Once-ler.

The Once-ler recounts how, as a young inventor, he arrived in a lush forest of Truffula Trees. Upon chopping down a tree, he was confronted by the Lorax, the self-proclaimed "guardian of the forest." After attempting to force the Once-ler out, the Lorax made him promise not to cut down any more trees. The Once-ler used the Truffula fibers to create the "Thneed", a knitted garment with numerous uses, which became a major success. He harvested the Truffula tufts in a sustainable manner until his unscrupulous relatives persuaded him to resume cutting down trees to speed up production, leading to large profits, but also deforestation and pollution. After the final Truffula tree fell, the Once-ler was ruined and abandoned by his family. With the region uninhabitable, the Lorax sent the native animals away and vanished into the sky, leaving behind a pile of rocks etched with the word "Unless".

The Once-ler gives Ted the last Truffula seed and tells him to plant it and make others care about trees. Ted returns home to plant the seed, but is spotted by O'Hare's city-wide surveillance system. Enlisting the help of Audrey and his family, Ted flees to the center of town with the seed. O'Hare rallies the citizens against Ted, claiming that trees are dangerous and filthy. Ted uses a bulldozer to knock down a section of the city wall, revealing the environmental desolation outside. Inspired by Ted's conviction, the crowd turns on O'Hare, whose henchmen banish him, and the seed is finally planted.

As time passes, the land begins to recover. New trees sprout, animals start to return, and the Once-ler reunites with the Lorax. The film ends with a quote from Dr. Seuss: "Unless someone like you cares a whole awful lot, nothing is going to get better. It's not".

Cast
 Danny DeVito as The Lorax, a mystical orange furry creature with a yellow moustache, who both protects the truffula forest and acts as a voice of reason
 Ed Helms as The Once-ler, a reclusive old man and former inventor
 Zac Efron as Ted Wiggins, an idealistic 12-year-old boy He is named after the author of the book, Dr. Seuss (Theodor Geisel)
 Taylor Swift as Audrey, Ted's love interest She is named after Audrey Geisel, Dr. Seuss's wife
 Rob Riggle as Aloysius O'Hare, the diminutive and greedy mayor of Thneedville and head of the "O'Hare Air" company that supplies fresh air to Thneedville residents
 Jenny Slate as Mrs. Wiggins, Ted's neurotic mother and Grammy Norma's daughter
 Betty White as Grammy Norma, Ted's wise-cracking grandmother and Mrs. Wiggins's mother
 Nasim Pedrad as Isabella, the Once-ler's mother
 Stephen Tobolowsky as Uncle Ubb, the Once-ler's uncle
 Elmarie Wendel as Aunt Grizelda, the Once-ler's aunt. This was Wendel's final film role before her death on July 21, 2018
 Danny Cooksey as Brett and Chet, the Once-ler's twin brothers
 Joel Swetow as the 1st Marketing Guy
 Michael Beattie as the 2nd Marketing Guy
 Dave B. Mitchell as the 1st Commercial Guy
 Dempsey Pappion as the 2nd Commercial Guy
 Chris Renaud as assorted forest animals

Production
The film is the fourth feature film based on a book by Dr. Seuss, the second fully computer-animated adaptation (the first one being Horton Hears a Who!), and the first to be released in 3D. The Lorax was also Illumination's first film presented in IMAX 3D (known as "IMAX Tree-D" in publicity for the film). The idea for the film was initiated by Audrey Geisel, Dr. Seuss's wife, who had an established partnership with Chris Meledandri, the producer of the film, from a collaboration on Horton Hears a Who!. Geisel approached Meledandri when he launched Illumination Entertainment, saying "This is the one I want to do next". The film was officially announced in July 2009, with Meledandri attached as the producer and Geisel as the executive producer. Chris Renaud and Kyle Balda were announced as the director and co-director of the film, while Cinco Paul and Ken Daurio, the duo who wrote the script for Horton Hears a Who!, were set to write the screenplay. In 2010, Danny DeVito was cast as the voice of Lorax character.

The film was fully produced at the French studio Illumination Mac Guff, which was the animation department of Mac Guff, acquired by Illumination Entertainment in the summer of 2011. DeVito reprised his role in five different languages, including the original English audio, and also for the Russian, German, Italian, Catalan/Valencian, Castillan Spanish and Latin Spanish dub editions, learning his lines phonetically. Universal added an environmental message to the film's website after a fourth-grade class in Brookline, Massachusetts, launched a successful petition through Change.org.

Release
The film was released on March 2, 2012, in the United States and Canada. It was later released on July 27 in the United Kingdom. It was also the first film to feature the current Universal Pictures logo, with a rearranged version of the fanfare, originally composed by Jerry Goldsmith and arranged by Brian Tyler, as part of the studio's 100th anniversary.

Marketing controversy
Despite the original Lorax being made as a critique of capitalism and pollution, Mazda used the likeness of The Loraxs setting and characters in an advertisement for their CX-5 SUV. This was seen by some as the complete opposite of the work's original meaning. In response, Stephanie Sperber, president of Universal partnerships and licensing, said Universal chose to partner with the Mazda CX-5 because it is "a really good choice for consumers to make who may not have the luxury or the money to buy electric or buy hybrid. It's a way to take the better environmental choice to everyone."

The film has also been used to sell Seventh Generation disposable diapers. In total, Illumination Entertainment struck more than 70 different product integration deals for the film, including IHOP, Whole Foods and the United States Environmental Protection Agency.

Home media
The film was released on DVD and Blu-ray Disc on August 7, 2012.

Mini-movies
Three mini-movies were released on the Lorax Blu-ray/DVD Combo Pack on August 7, 2012: Serenade, Wagon Ho!, and Forces of Nature.

Serenade
Lou wants to impress a girl Barbaloot, but he has some competition.

Wagon Ho!
Barbaloots Pipsqueak and Lou take the Once-ler's wagon without his permission for a joyride.

Forces of Nature
The Lorax makes Pipsqueak an "Honorary Lorax" and they team up to try to scare the Once-ler.

Video game
Blockdot created a mobile puzzle game based on the film, titled Truffula Shuffula. The game was released on February 1, 2012, for iOS and Android platforms.

Reception

Critical response
On review aggregator Rotten Tomatoes, The Lorax holds an approval rating of  based on  reviews, with an average rating of . The site's critical consensus reads, "Dr. Seuss' The Lorax is cute and funny enough but the moral simplicity of the book gets lost with the zany Hollywood production values." On Metacritic, the film achieved a score of 46 out of 100 based on reviews from 30 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.

New York magazine film critic David Edelstein on NPR's All Things Considered strongly objected to the film, arguing that the Hollywood animation and writing formulas washed out the spirit of the book. He wrote that this kind of animated feature was wrong for the source material. Demonstrating how the book's text was used in the film in this excerpt from the review, Edelstein discusses Audrey describing the truffula trees to Ted:

The film also garnered some positive reviews from critics such as Richard Roeper, who called it a "solid piece of family entertainment". Roger Moore of the Pittsburgh Tribune called the film "a feast of bright, Seuss colors, and wonderful Seuss design", and supported its environmentalist message.

Box office
The film grossed $214.4 million in North America, and $134.8 million in other countries, for a worldwide total of $349.2 million.

The film topped the North American box office with $17.5 million on its opening day (Friday, March 2, 2012). During the weekend, it grossed $70.2 million, easily beating the other new nationwide release, Project X ($21 million), and all other films. This was the biggest opening for an Illumination Entertainment film, and for a feature film adaptation of a book by Dr. Seuss, as well as the second-largest for an environmentalist film. It also scored the third-best debut for a film opening in March, and the eighth-best of all time for an animated film. The Lorax stayed at No. 1 the following weekend, dropping 45% to $38.8 million and beating all new nationwide releases, including Disney's John Carter (second place).

On April 11, 2012, it became the first animated film in nearly a year to gross more than $200 million in North America, since Walt Disney Animation Studios' Tangled.

Music

The soundtrack for the film was composed by John Powell, who had previously composed the score for Horton Hears a Who! (2008), and the songs were written by Cinco Paul. There were two soundtrack albums released for the film. One being Powell's film score and the other being the original songs written by Powell and Paul performed by various artists. Original songs written for the film include "Thneedville", "This is the Place", "Everybody Needs a Thneed", "How Bad Can I Be?", and "Let It Grow".

See also
 List of films based on Dr. Seuss books

References

External links

2012 films
2012 3D films
2012 computer-animated films
2010s American animated films
2010s fantasy comedy films
2010s musical comedy films
American children's animated comedy films
American children's animated fantasy films
American children's animated musical films
American computer-animated films
American fantasy comedy films
American musical comedy films
American musical fantasy films
American dystopian films
Animated films based on children's books
Advertising and marketing controversies in film
Environmental films
Fictional endangered and extinct species
Films based on works by Dr. Seuss
American nonlinear narrative films
Illumination (company) animated films
IMAX films
Universal Pictures animated films
Universal Pictures films
Animated films about bears
Animated films about birds
Animated films about families
Animated films about fish
Animated films about friendship
Films about trees
Films scored by John Powell
Films set in forests
Films directed by Chris Renaud
Films with screenplays by Cinco Paul and Ken Daurio
3D animated films
2012 animated films
2010s musical fantasy films
2012 comedy films
Films produced by Chris Meledandri
Films produced by Janet Healy
2010s English-language films
Films about mother–son relationships

redpajama_set_name: RedPajamaWikipedia


Kemerid is part of an approach that seeks for the development of the land and for the employment. Since it was created, 4 new jobs were created and maintained and the objective for 2020 is to create 10 more.
All agro-industry by-products used to elaborate our oils come from french suppliers and if possible regional suppliers. The objective is to develop a local sector that enhance agricultural resources.
Our products are elaborated in order to be the least harmful for the fauna and flora.
Kemerid wishes to become part of a process that seek to enhance industrial crop for more valuable products than bio-fuel. The final objective is to propose a sustainable and accessible alternative for petrochemistry in the industry.


text:
Grandma Sophia's Cookies
Your Favorite Music & Culture Blog
"It's like an exorcism" Gabe 'Nandez Details the Self-Produced 'Grove EP' and The Internal Work of Creation
Josh Ramos September 28, 2020 September 29, 2020 Culture, DIY, hip-hop, Interview, Music, New York City
Gabe 'Nandez and I are both running slightly late to our interview at Bryant Park. When he texts me, "Not OD late or no shit like that. just a lil" I was drafting some version of the same statement in our message thread. Like for many others during the COVID-19 pandemic, time has become a provocative concept acting wildly different from person to person. For Gabe and I, however, we remained in sync between our lateness and fondness for tea, which was our squashed original plan before time got the best of us.
After first seeing Gabe perform last year at Zombie House for his album release party for his full-length debut Diplomacy, with an audience that included Jeff Weiss of Passion of the Weiss and Alphonse Pierre, it was apparent that Gabe was a rising talent. Performing an energetic set of gritty dark bars reminiscent of Wu Tang with the consciousness lean of A Tribe Called Quest, the introspective and reflective nature of Gabe's music gave him the sensibility of an old soul.
Over the past year, Gabe's artistic style has slowly adjusted. Following a big chop of his loccs, as quarantine rolled around Gabe began to perform online with a guitar in hand. This artistic centering can be found all over the self-produced, guitar heavy new Grove EP. According to Gabe this has been as long time coming as he explains, "I have been playing guitar since before I rapped and I always wanted to bridge the gap."
The 6 track, 17 minute EP builds on Gabe's lyrical dexterity and adds catchy and singable choruses. On the album opener "Noose" Gabe nonchalantly rhymes, "I'm just going to the store like I'm going to the morgue." This bleak outlook is strewn throughout the project, but never becomes a pity party. Still, over a trap heavy snare, Gabe admits, "so much I've been shown," thankful for the journey. It makes sense for someone with a life mantra entrenched by Hindu and Buddhist belief systems.
On "Breed" Gabe flexes his multilingual skills, rapping in his first language of French. It's on this track his international flair and varied musical style become prevalent. Like the city he is based out of, Gabe's melting pot mentality does not simply fall into his spiritual life, but plays out in his musical output as well. With his New York City hustler mentality on full-display Gabe notes that "I guess we got a fucking problem. I guess I'ma have to solve it," on EP closer "Problems".
Surrounded by the ever present hustle of Midtown Manhattan, Gabe and I connect beyond just our love of tea, to Buddhist mentality, and transitioning from the loccs lifestyle when they no longer speak to us. Check out the transcription below of our interview that covered Travie McCoy, sober life, growing up biracial, and haters and biters.
GSC: Who are you and how do you identify?
Gabe 'Nandez: Gabe… 'Nandez. I identify as me I guess, which you know is obviously a combination of a lot of things, but that's what I would say. I would identify as me.
GSC: The album begins with a line that you've been depressed for 170 years. You also mention having past lives on the project. How has Hinduism or karmic life cycles influenced your music and lifestyle?
Gabe 'Nandez: Yeah, man. Shout out to Hinduism. I've been really tapped into the Vedas and the Bhagavad Gita and just Hindu literature since high school. Definitely a big influence just life was. It definitely seeps into my music. I definitely believe in reincarnation for sure, so yeah man, Dharma, you know, the path and shit and Karmic cycles. I've seen cycles close so clearly before. I've read and then seen so it's not just theory for me. It's an experience as well. Shout out to Hinduism and Buddhism.
GSC: Hindui and Buddhism had a huge influence on me in high school and then I went to a private Jesuit school which is Catholic, but Jesuits are really intellectual so you gotta study, you already know this Catholic shit so you gotta learn this Islam, Judaism, Buddhism, Hinduism, you gotta learn everything else. And that really made me think this Abrahamic shit is whack. All these other World Religion concepts are much less oppressive towards people which is huge for me.
Gabe 'Nandez: I feel that. It's less rigid in structure. Well it's rigid, but I hear what you're saying.
GSC: It's not like a patriarchal hierarchy to how it runs.
Gabe 'Nandez: Outside of like the Hindus have the caste system, which is odeeeeee. You know that's not really mentioned in the spiritual aspect of it. That's just some human shit.
GSC: I was at the album release party for your full-length project Diplomacy last year. How is this new project Grove an evolution or continuation in your style?
Gabe 'Nandez: This is the first project where I produced all of this shit with guitar and produced all of the tracks. I would say sonically that's the main thing. Thematically Diplomacy was like hard as fuck to make, not that this project wasn't, but Diplomoacy I was on my Reasonable Doubt shit. I was trying to condense my life.
GSC: Because your dad worked at the UN right? So like your whole lifestyle and traveling and dealing with different types of people.
Gabe 'Nandez: All the shit that happened from day 0 to 25 so I learned a lot about not just making an album obviously because it was my first full-length, but the hardest thing I think about making an album like that is not necessarily writing the songs, but doing the inner work that comes from being able to write those songs as a person. Forget music, you know. That's hard.
GSC: What made you decide to produce this one by yourself?
Gabe 'Nandez: I wanted to showcase the guitar. I kinda started with Diplomacy. There was like one track that I produced. Basically tryna bridge that gap in those two worlds.
GSC: Are you ever going to drop an acoustic guitar album?
Gabe 'Nandez: Probably at some point.
GSC: When did you start recording the new one?
Gabe 'Nandez: I wrote it twice. I started writing it a year ago. I started in August 2019 and then halfway through coming off of my last record because I went so deep with it I guess, and I guess this kind of goes back to the other question: how did Diplomacy lead into this one. I just got some bars off after that. That first draft I rapped about not surface level shit, but kinda. I didn't go as deep as I should. I think people, I don't know that I owe anybody anything, but it didn't make sense with the work that I do. It was like, "okay this is not deep enough," so then I wrote the second part. I was listening back to it and I was like, "bro this is vapid. There's no meaning here," so I had to go back in and do more internal work. That's when I realized what the fuck this shit is all about. It's like an exorcism. It's what this music shit for me. I gotta get all this shit out and this is the way I do it I guess.
GSC: You detail your recreational drug usage on "Noose". How have substances influenced your music? Do you have a favorite substance?
Gabe 'Nandez: I mean I don't do drugs anymore. I've been sober for 4 years so I'm talking about it in hindsight for four years. Four years and a few days. August 31st.
GSC: Congrats, man.
Gabe 'Nandez: Thank you. Drugs are drugs. I'm not here jacking that drugs are a bad thing. Drugs are drugs. Drugs were bad for me.
GSC: Fashion wise you're definitely ahead of the game and you're starting to make that known on wax including bragging you designed fits for others. Where did that desire to name your influence on your peers come from?
Gabe 'Nandez: Since I can remember people have been biting my fucking style. Since I was like a teenager. I'm a Leo. I have leadership qualities. I heard this quote once. I also put it on my last album, "first they laugh, then they copy". I remember wearing tight pants in 2000 and like I don't know cause I was on my skater shit. Stylistically I remember whether it was tight pants or dreads, but rocking that shit before it was cool in that capsule cause fashion is cyclical and in the 80s they were doing that shit. Funny cause I've always been in the perspective of, when I was growing my dreads out in high school people said I looked like a bum, and now everybody, everybody, everybody has them, you know what I'm saying?
GSC: Is that why you cut them?
Gabe 'Nandez: No, I cut them because it was just time. I sat on that shit for a year because I had those for like 11 years. I never thought I would cut them and then for a year it just wasn't me anymore, but yeah that is just about people imitating. They say imitation is a form of flattery and that's just been a pattern in my life.
Gabe 'Nandez – Crow
GSC: One line that stood out to me was "I'm just going to the store like I'm going to the morgue". As a Black Puerto Rican myself, I definitely can relate to the paranoia of an everyday move being my last one. How has the racial uprising affected your very identity based music?
Gabe 'Nandez: When the George Floyd shit happened that kinda fucked me up because I been like, I don't wanna say I'm a victim, but I experienced police brutality. This time it hit different because… I don't know, it just hit different. You know what it was this time? It was that back to back shit. It was a lot. Back to back during a pandemic. It was just a lot.
GSC: You've criticized fake revolutionaries on social media. What do you think makes a real revolutionary?
Gabe 'Nandez: Definitely someone who is revolutionary in their actions with people. Not someone who is revolutionary on social media for profit. Definitely not them. I don't claim to be a revolutionary so I'm not going to set the guidelines for what that should be. Only what it's not because I see a lot of fake. I see a lot of armchair revolutionary shit which I think is dangerous. Don't get me wrong. I'm not tryna say it's all displaced. I think it's good that people are expressing that they are angry, but I think that the work it's going to take for real change to happen is so immense. And people have died for this shit in a lot of ways that people are still suffering from and fighting for so I just think it's dangerous when something as serious as "social justice" is compartmentalized as some shit you can kinda just hashtag. I feel like I see a lot of shit in social media that I don't see in real life. That's all I'm tryna get at.
GSC: There's a lot of Twitter threads that people think will defeat oppression.
Gabe 'Nandez: Yeah a lot of just "lemme tweet some shit".
GSC: Yeah, if i retweet this I can go on with my life. I've done my work for the day.
Gabe 'Nandez: Yeah, I can get some likes. That shit is dangerous. If you wanna clout chase and post your ass I don't know. Clout chase with some clout chasing shit that's cool. Where people are fucked up from the ghetto, I'm not from the ghetto, but people are getting locked up. Don't play with that. That's not a joke. That's real life. Where are the lines? Where the fuck are the lines? I can't tell anymore.
GSC: You've lived in Palestine, Montreal, and other international cities. Which is your favorite and why?
Gabe 'Nandez: I don't know if I have a favorite but my time in Tanzania. You know what it's like being thirteen to fifteen just discovering shit. That's already such a special time period so being able to experience that and experience that in the backdrop of East Africa, that's gotta be the strongest 3 years of my life because it was discovering shit the way adolescence is. I'd say it's my favorite experience. I don't know if it's my favorite place. I can't really make the call, but that's my favorite part of life.
GSC: What does masculinity mean to you?
Gabe 'Nandez: *laughs* Damn, shit. Shit. I'm scared to answer this. Imma start with it's broad. I don't know if I have a definition. I feel like I maybe giving off the vibe cause I have a beard, but I don't know. People might think I might have a rigid definition, but I'm so open. I think if you're transexual and you own that shit it's bad ass. That's masculine. If you're gay that's masculine, but I do think being honest. To me that's being masculine, being honest. To me that's masculine. I never thought about that. That's my answer. Being honest.
GSC: You might not say you are a revolutionary, but that's some radical shit.
Gabe 'Nandez: Jidhaist.
GSC: There's all different types of radicals. I gotta ask, why the gold teeth?
Gabe 'Nandez: I always wanted a fucking pair man. They're just sick. I just like them.
GSC: And would you ever do a full grill?
Gabe 'Nandez: I don't think so because this is a little rare. The two and the one. That's game shit. That's what I like about this. It's not allowed. Shout out to full grills, but nah I wouldn't.
GSC: When did you get your gauges?
Gabe 'Nandez: I got my ear pierced when I was 16. And then I started stretching it out automatically. I haven't worn them in a bit actually. I just have one.
GSC: What's a bit?
Gabe 'Nandez: I took them in and out. I was rocking them in 2017 and I took them out again in 2017.
GSC: Was that inspired by Gym Class Heroes, Fall Out Boy type shit?
Gabe 'Nandez: No, shout out to Travis McCoy.
GSC: He opened a lot of doors for a lot of people. Look at him and then look at Uzi Vert.
Gabe 'Nandez: Yeah, that's what I'm saying. When he was doing it I was kinda dressing like that and people were like, "are you gay or shit?"
GSC: People were like, "are you a fucking weirdo?" Same shit for me.
Gabe 'Nandez: Yeah, there you go. It's about that. Not being a sheep, being a wolf. When you're a wolf people gravitate towards you and they don't know why. Sometimes you're an outcast cause you're weird and they can't deal with it.
But I wanted to stretch my ear because there's a tribe in East Africa. The Maasai in Tanzania and Kenya and they stretch their ears and I always wanted to stretch my ears because it just looked sick. They weren't my main inspiration. To me it was like Buddha had stretched ears, but I did it because I wanted to. Intrinsically it's weird how life works. I do shit because I just feel the need to and then sometimes the meaning is revealed after, but I just did it out of gut which is just what I do with everything. To my chagrin and to my benefit. I'm very impulsive. Extremely impulsive.
GSC: You call yourself a mutt and mixed breed. As a multi-racial person myself, I can definitely relate. How has being multi-racial defined how you move throughout society?
Gabe 'Nandez: Being of mixed background is interesting. It affects your psyche. I mean you can relate from the jump. Where do I not just identify as, I'm a Black man. Like when you asked me how I identify I identify as me. No matter how I identify society is going to be like this is what you are. Like when you are mixed but kinda look kinda Black or Latino or whatever you're just Black. But then I don't know. Shit is tricky.
GSC: This project has a lot of dark lyrical content. How have you been taking care of your mental health during the COVID pandemic and racial uprising?
Gabe 'Nandez: I've had serious mental health struggles for a long time and with the pandemic and just being cooped up has added…I'll just say I've had a lot of breakthroughs on my mental health recently, like medically, but I been taking care of it as much as I can. It's a process.
Follow Gabe on IG and Twitter and go stream Grove EP on Spotify, Apple, and SoundCloud. Peep his video for "Eightball" below.
Gabe 'Nandez – Eightball
DIY, Gabe 'Nandez, Grove EP, hip-hop, New Rochelle
Previous In Conversation: Plan's Cody Almond Talks Indianapolis, Fatherhood, & Their Excellent Upcoming EP, No Swiming
Next Gone Trippin': On Finding Your Breaking Point
Published by Josh Ramos
writer | performer | educator | resident therapist	View all posts by Josh Ramos

redpajama_set_name: RedPajamaCommonCrawl


Josh Bickerstaff refuels on a day that was more suited for cricket than football.
EVERYONE loves it when a non-league club builds a vibrant, young team that promises much and provides an admirable example of bringing together players of potential on a modest budget. The problem is, unless the team is successful, its lifespan is very limited, for during the summer months, clubs with more money and higher status come circling like a wake of vultures waiting to pick the corpse of flesh.
It's sort of happened at Hitchin Town these past few months. Mark Burke constructed a squad that was young, energetic and full of footballing ideals. Two successive seasons of missing-out on promotion via the play-offs, no mean feat for a club that has rarely resided in the top six of any league it has played down the years, has left the Canaries' squad a little threadbare.
Hitchin's best players have flown the nest. It started with the departure of Jonny McNamara going to Hemel Hempstead a year ago – although he returned for a cameo loan spell – and since the play-off final was lost, Matt Lench (Slough), Kane Smith (Boreham Wood), Robbie Burns (retired temporarily) and Will Wright (Colchester United Under-23) have all left the club. Some of these were on contract, but there doesn't appear to have been any significant cash sums heading to Top Field, at least if there are such deals, they have been stamped "undisclosed".
Little wonder that the Canaries have started the season looking slightly transitional. Players like Lench and Smith, in particular, are hard to replace and given they exited with lapsed contracts, their value was never truly monetised. At one stage, people were talking in telephone numbers about the fee Smith might yield, but the transfer game is played by smart clubs that wait for contracts to expire and players to become unsettled. Smith, despite being courted by the likes of Ipswich, West Bromwich Albion and Watford, is playing in the National League with Boreham Wood – a step up, but hardly the Hawthorns or Portman Road.
Hitchin failed to win any of their first four games, with the most recent results being defeats at Banbury United and Biggleswade Town. After two promotion near-misses, question marks were raised – had the team peaked?, had the team broken-up?, what was the effect of two hard-to-take setbacks in the play-offs?. There were even fanciful rumours that Mark Burke and Adam Parker, who were absent on leave from the Biggleswade game, might be heading for Hungerford Town. Anyone who knows Burke at all will be aware there is only one club he ever wants to manage.
For the first time in a while, Burke and Parker face serious challenges – how to rebuild and motivate a new squad of players, and how to manage expectations after the club flew so close to the National League. They've brought in a gaggle of new faces, but at the moment, they need a significant acquisition to compensate for losing players like Smith and the mercurial and articulate Lench, whom I rated as Hitchin's best player by a distance. At the moment, there's no sign of like-for-like replacements for the club's talented players.
In their fifth game of the campaign, Hitchin played host to Royston Town, newly promoted from the Southern League Central Division. Playing clubs like Royston, Arlesey and Barton for league points has always made Hitchin feel a little uncomfortable. For decades, the Canaries were the senior club in the area and their neighbours were always considered "small fry". But football has a habit of changing the pecking order – witness the rise of Stevenage – and Royston are effectively the "new Arlesey", acquiring ambition as well as useful players. While Arlesey have experienced a downturn, Royston have emerged as the new pretenders, although they still lack support. Nevertheless, there were one or two Hitchin fans who found it difficult to comprehend that Royston Town are now playing in the Premier Division.
It was easy to see why Royston have shifted up a gear and joined Hitchin at Step Three level. Their team is quick-moving, physical and committed. Somebody from the club admitted they had found the Premier Division "surprisingly aggressive", but Royston looked as though they could look after themselves.
Hitchin had a couple of players who looked to be carrying excess weight and on a day when the Bank Holiday temperature hit the high 20s, it was an afternoon for sweaty brows and drink breaks. There were more than 500 people in the ground, a decent attendance for a school holiday game and signs that Hitchin have sustained the momentum in winning new fans.
In the second half, Royston had plenty of possession, but the Hitchin defence held firm. Dan Webb was impressive at the heart of the backline and Johnson had an excellent game. Of the new names, Trey Charles, a 23 year-old who has taken the long route to the Hitchin first team after departing the youth set-up and playing for an assortment of clubs, looked quick and purposeful. He could be an ideal replacement for Lench.
Hitchin held on to win 1-0. It was a case of function over form, but the overriding feeling was relief, the first win of the season. Their record for 2017-18 is now identical to last season, played five, won one, drawn two and lost two – and things didn't turn out too bad in 2016-17, did they?
Hitchin are indeed in transition, but they've been here before. When Burke and Parker took the helm in 2013, some people doubted whether they would make a success of things. Each campaign has been an improvement on the past, so don't be surprised if a new Hitchin team is not competing at the top end of the table come the end of April.
Very insightful and well researched article. But how can clubs playing at the same level as Hitchin Town sustain the wage bill that entices their best players to leave? The Canaries are based on a superb supporter base which is sustainable in the longer term, building strong foundations to match their ambitions. Other clubs are reliant on a one man money man or a small consortium of local business men savvy enough to avoid tax bills by pumping money in to a club. Upset one of them and everything tumbles like a house of cards.
Absolutely. I was involved with Hitchin for 20 years on the executive committee (until 2013), so I am aware of the financial structure of the club. We tried to run the club on a sustainable basis, so it is inevitable that they will always lose their best players. Thanks for your feedback.


text:
Q: How to connect sql server to android application? public class MainActivity extends Activity {

    @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(R.layout.activity_main);

        Button btn=(Button)findViewById(R.id.button1);

        btn.setOnClickListener(new OnClickListener() {

            @Override
            public void onClick(View v) {
                // TODO Auto-generated method stub
                connection();
            }
        });

    }

    public void connection(){
        try {

            Class.forName("net.sourceforge.jtds.jdbc.Driver").newInstance();

            Connection conn=DriverManager.getConnection("jdbc:jtds:sqlserver://Asus-PC/PJH.V1;","","");
            Log.w("Connection", "Error");

            Statement stat=conn.createStatement();
            ResultSet result=stat.executeQuery("SELECT * FROM Javher1");

            TextView tv=(TextView)findViewById(R.id.textView1);
            tv.setText(result.getString(1));
            conn.close();

        } catch (Exception e) {
            // TODO: handle exception
            Log.e("Error",e.getMessage());
            Toast.makeText(getApplicationContext(), "Error"+e.getMessage(), Toast.LENGTH_LONG).show();
        }

    }
}

I added a  jtds1.2.7-jar file to the library.
The code runs I get the following error:

Error:Unknown server host name 'Asus-PC'.

If anyone knows anything please help me!
Thanks in advance.

A: Never, ever, ever connect directly to databases directly from app. Hackers can easily get hold of all your database, steal all your data and wipe the db clean...!
You should use a web service. Your app should only only only be communicating to the service, not to the database directly...
Don't blindly follow any tutorials that says so, its a very big security issue.

A: After 2 days of struggle.. finally i am able to connect my android app via MS SQL database..
Have a look it might help you too.
1

The very first thing that you have to do is to go to the link https://sourceforge.net/projects/jtds/ and download the drivers to connect the app through  ms sql.
Download jtds-1.3.1-dist.zip (551.2 kB) zip file and unzip it to find the jar folder inside it   (jtds-1.3.1.jar).

2

Next step is to open your android  studio and create a new project. (Blank activity).
Now open the Root Explorer(ALT+1)
From the tab displaying android at the  top left, select the project module from the drop down list.

You can see the name of your project at the top. Right click this and add new directory. Paste the  above jar file (unzipped from dist folder) to the folder.
Now add the jar file as a  module in your project. Right click on the project directory and  click on the option add module.
Browse the folder name where you have added the jar file( in above step) and allow the gradle to sync properly.

It's time to now add this lib to your android studio project as a dependency.
For this right click again on the project name tab and  move to open module configurations (almost the last option).

It opens a window showing project. Move to the app dir (left hand side last tab) and click the + icon
ADD DEPENDENCY
(as a  module)
Click it  will show the module you just created. Now add this.
It will automatically compile and add the dependency in the gradle file.

3

You are almost done now.
Just copy the code as your main activity.
package com.example.administrator.testsqlserver;

 import android.os.Bundle;
 import android.os.StrictMode;
 import android.support.design.widget.FloatingActionButton;
 import android.support.design.widget.Snackbar;
 import android.support.v7.app.AppCompatActivity;
 import android.support.v7.widget.Toolbar;
 import android.util.Log;
 import android.view.View;
 import android.view.Menu;
 import android.view.MenuItem;
 import android.widget.EditText;
 import android.widget.Toast;

 import java.sql.Connection;
 import java.sql.DriverManager;
 import java.sql.ResultSet;
 import java.sql.Statement;
 import net.sourceforge.jtds.jdbc.*;

 public class MainActivity extends AppCompatActivity {

@Override
protected void onCreate(Bundle savedInstanceState) {
    super.onCreate(savedInstanceState);
    setContentView(R.layout.activity_main);
    if (android.os.Build.VERSION.SDK_INT > 9) {
        StrictMode.ThreadPolicy policy = new   StrictMode.ThreadPolicy.Builder().permitAll().build();
        StrictMode.setThreadPolicy(policy);
    }}

public void Connect(View v)
{
    EditText editText=(EditText)findViewById(R.id.editText);
    String code = editText.getText().toString();
    Log.i("Android"," MySQL Connect Example.");
    Connection conn = null;
    try {
        String driver = "net.sourceforge.jtds.jdbc.Driver";
        Class.forName(driver).newInstance();
  //test = com.microsoft.sqlserver.jdbc.SQLServerDriver.class;
        String connString = "jdbc:jtds:sqlserver://yourip :1433/your      db;encrypt=fasle;user=username;password=password;";
        String username = "your username";
        String password = "your password";
        conn = DriverManager.getConnection(connString,username,password);
        Log.w("Connection","open");
        Statement stmt = conn.createStatement();
        Toast.makeText(MainActivity.this, "This works", Toast.LENGTH_SHORT).show();
        ResultSet reset = stmt.executeQuery("SELECT NAME FROM tablename ;");

        while(reset.next()){

           String ans= reset.getString(1);
            Toast.makeText(MainActivity.this,ans,      Toast.LENGTH_SHORT).show();

        }

        conn.close();

    } catch (Exception e)
    {
        Log.w("Error connection","" + e.getMessage());
        e.printStackTrace();
    }
}

}.

A: replace the computer name('Asus-PC') to ip-address
are you run in emulator try this 10.0.2.2
That's not efficient code please use web service to access the databse.
http://sochinda.wordpress.com/2011/05/27/connecting-to-net-web-service-from-android/
http://www.codeproject.com/Articles/304302/Calling-Asp-Net-Webservice-ASMX-From-an-Android-Ap

A: I've already done it this way but it's very inefficient.
As the other comments have mentioned use a webservice instead, you shouldn't be saving your DB credentials on your device.
For this to work, you need to do two things, firstly,
    StrictMode.ThreadPolicy policy = new StrictMode.ThreadPolicy.Builder().permitAll().build();

    StrictMode.setThreadPolicy(policy);

You will also have to change the PC name you have entered to the LAN IP if you're on the same network or the the public IP address if you're connecting over the internet.
Also, if you're not on the same network as the server then you will also have to enable port forwarding on the router that is connected to your server.
WARNING: The port will always show as closed until you start a database engine on SQL Server with the name as the IP address of the computer which has the database.

A: the best way to connect your android application to a database is to build a rest api that can communicate with the data base and answer your requests . but if your like me and just testing out with android development you can read the article below to help you out
https://medium.com/@nahomdesta61/connect-android-application-to-database-71975ce87b4a

redpajama_set_name: RedPajamaStackExchange


According to census data in the year 2000 there were 9,200 housing units in Affton. This represents a 0.5% decline from 9,243 in 1990.
Of those housing units, 9,200 were located in either urbanized areas or urban clusters, and none were located in what is classified as a rural area.
Homeownership rate in Affton is about 79.7%. Affton's vacancy rate, including seasonal lodging, is about 2.8%. Average household size is 2.33 people.
The majority of houses, apartments or condos in Affton were built after 1957.


Browse some of the most commonly asked questions of us!
How do I try BMX before becoming a member?
How much will my BMXA membership cost?
Am I still considered a Sprocket Rocket when I turn 8 years old? What happens to my Sprocket Rocket membership?
Does my membership come with insurance coverage?
If I am a member of Mountain Bike Australia or Cycling Australia, am I entitled to any discounts with my BMXA membership?
Once I am a member, how do I login to my BMXA profile?
I've lost my membership card, where can I get a new one?
Can I get a refund on my Membership/Event Entry?
How do I change/transfer BMX Clubs?
Which events should I enter?
Where can I find event results?
How do I organise my race plate number?
What colour race plate should I use?
Do I need a transponder?
I want to enter an event overseas, what should I do?
What do I need to do to race overseas?
What is the difference between a Cruiser and 20" bike?
I have been medically suspended, how do I get back on track?
Do you have a newsletter for updates?
I would like to see highlights of the national series, where can I find them?
Where can I buy a race plate?
We have an introductory participation program named 'Ride In2BMX'. Throughout the year clubs across the country hold these days to open the sport up to new members.
To learn more about Ride In2BMX, click here.
Of course, if you want to get on track and ride, you can visit your local club anytime, become a member and begin! To become a member – Click here!
BMX is a fun and inclusive sport for everyone. Find your local club here.
Any 20 inch or 24 inch (cruiser) BMX bike will be fine. Remove any mudguards, chain guards, kick-stand, pegs and reflectors, for the safety of yourself and other riders.
Ensure that there are no sharp edges on your handlebars (i.e. No torn grips with exposed metal) or pedals, etc. You need a rear hand brake that works. Before riding an official at your club will check your bike and help with any minor adjustments.
NOTE: Transponders are the timing chip used in BMX competitions. You can learn more by CLICKING HERE.
LONG PANTS or track pants that are fitted at the ankle are acceptable to race in.
LONG SLEEVE TOP or Race Jersey that is fitted at the wrist.
Any type of GLOVES that have complete hand and finger protection.
A full face HELMET that covers the ears. Some clubs have a spare that you can borrow. Mini wheelers and attendees at Ride in2 BMX events can wear a non-full faced Australia Standards approved helmet.
You must wear fully enclosed SHOES to protect your feet.
To find out where your local is, check out the link below!
Please Click Here to find your Local!
The cost of memberships with BMXA vary. When purchasing your licence there is a national fee, state fee and club fee. Memberships for those in Queensland also have a zone fee.
Service/Credit Card Fees also apply.
Click here to view the range of BMXA memberships which you can sign up for.
From the 1st of January each year, Sprocket Rockets who are turning 8-years-old in the upcoming year, will automatically move from Sprocket Rocket membership to an Open membership.
For example: If you're born in November, you would be racing in the 8-year-old's class (or above – as per the current BMXA Rulebook) from January 1 of the year you are turning 8. Therefore the Sprocket Rocket classes would no longer be offered to you when entering events.
Cycling Australia and Mountain Bike Australia members are able to obtain an "MTBA/CA Upgrade" membership with BMX Australia.
Under the membership tab in the top menu of this website, select login/join. Then type in your membership number and password.
If you follow the above steps, you will be able to manage your membership using the menu across the top of the page.
IF YOU HAVE FORGOTTEN YOUR PASSWORD: There is an option for those that may have forgotten their passwords to retrieve them on the login page. Type your "Membership No" and "Email Address" and click on "Submit".
An email will be sent to your email address with a link to create a new password to login to your account. The link is valid for 15 minutes.
If you do not receive an email to create a new password, your email address does not match the email address on file at BMX Australia, or if you have any issues – please contact the BMX Australia membership team on membership@bmxaustralia.com.au. We will need to know the member's name, date of birth, email address and which club you are part of.
To obtain a replacement card, please download the 'BMX Australia APP" and login using your BMXA membership number and password. Your BMXA Virtual Licence will be available.
Please note- Transfer applications may take up to 14 days and BMXA cannot guarantee your transfer will be processed in time for you to renew your membership before expiry should you transfer before renewal.
If you have any questions/issues, please contact the BMX Australia Office – membership@bmxaustralia.com.auor 02 9008 1300.
Click Here to login with your BMXA membership number and password.
"All Available" events will show up for all levels. There are tools available to filter events to find what you are looking for.
Once you have filtered your events, the table will show of available events you may enter.
Select the event you wish to enter, and then click on "Enter".
Scroll down and read all the important information for the event selected. Then Select the class you wish to enter. The only classes you will be able to enter are those that your membership type allows.
Preferred Race Plate Number – the number you wish to race with for this event. Please note you may not always receive this number and the option is to note your preference only.
Transponder ID – All riders entering BMX Australia events require a transponder. A transponder is used to time the races/events. For other events run by states, zones and clubs, please check the event organiser's requirements.
Bike Size – Please select your Bike Size you are racing for that particular class. The main options available are 20-inch and Cruiser. This is generally noted in the class name of the event you are entering.
Click 'Register' once you have selected your classes for this event.
Please carefully read the event declaration and event details prior to going to continuing to the payment gateway for your event. Fill out the required Fields and proceed with payment once this is done.
A receipt will be sent to the email address listed on your BMXA profile.
BMX Australia has a range of events, which start from Clubbies to Opens, to Series, State and National events.
We also have results available on the BMX Australia APP. Simply click on the tab "Event Results".
If you are a member of the above states, please speak to your Club's Registrar or a Committee Member to select a race plate number within your club.
In South Australia, please email racenumbers@bmxsa.com.au with your name, BMXA Member Number and club name. You will be sent a copy of the list of all available numbers in SA. Please send back your top preferences and BMXSA will confirm your allocated number.
In VIC and WA, your BMXA member profile will be updated with your allocated race plate number within 1-2 weeks of joining BMX Australia. Please contact BMX Victoria or BMX Western Australia if your profile has not been updated.
For contact details of State Associations, please Click Here.
To find out which Race Plate colour and the colour numbers, please Click Here.
For events within Australia, transponders are required for National events. Riders CANNOT hire transponders from BMXA for these events. To purchase a transponder, please click here.
What is a transponder? Do I need one? Where can I buy one?
BMX racing can be fast paced and finishes can be extremely close. Transponders times riders competing in a race to the millisecond and determines finishing places.
For BMX Australia events, these are required and cannot be hired. State, Zone and Club events may have hire options and you should check with your event organiser.
Find out information on the event, normally there is a website associated to that particular event and it should provide information on how to enter.
If an event is run by UCI – event entries will need to go through BMX Australia. Please email – events@bmxaustralia.com.au for more information.
If an event is run by USA BMX – a membership application form will need to be filled out and completed. Please email membership@bmxaustralia.com.au to obtain the current form.
For any other countries, please contact the event organiser and request further information if there is no information provided on their website.
If you have any issues, please email – events@bmxaustralia.com.au for more information.
If you are racing at an International event, you may be required to hold an International Licence (UCI Licence).
Submit your completed application to Cycling Australia at least ONE MONTH PRIOR to departure from Australia or the date of your first event (whichever is earlier). Urgent applications (required within 5 business days) will attract a Cycling Australia Priority Processing Fee.
It will take approximately four weeks to process your licence application and get your International Licence.
You can help minimise processing time by ensuring that when you lodge your application, you have provided all the information and documentation required. Please note that if all the information or documentation is not provided, your application cannot be processed.
Email the completed form to: membership@cycling.org.au Please remember that all licences expire on the 31 December in each year.
BMX Australia also offers our members an 'international add on' component to their existing membership which provides insurance coverage at an international event. Included is sports injury and travel insurance coverage at race meetings outside of Australia.
Bicycles with 20" wheels in diameter may be raced only in standard categories. Cruisers may be raced only in Cruiser categories.
With the exception below, all bicycles used in the standard 20" type must be equipped with matching wheels that are nominally 20" in diameter.
In summary – the difference is in the wheel sizing, and both categories are normally offered within National, State and Club events.
If you have been medically suspended, a medical clearance certificate will need to be supplied to BMX Australia – membership@bmxaustralia.com.au.
We sure do! BMX Australia has a weekly newsletter called 'The Dirt' and provides our members on important news, events and exciting things within the BMXA Community.
To become a BMX Australia Coach, please Click Here.
To become a BMX Australia Official, please Click Here.
BMX Australia have a Youtube Channel which provides the world a variety of great footage from National Championships to National Series Rounds, to Interviews and many other great BMXA footage!
SEAL Custom BMX Race Plates is the official supplier for BMX Australia's race plates. CLICK HERE to grab your race plate or design your own custom BMX race plate.
Yellow: Men/boys open age classes of 8 years old and above.
Orange: Sprocket riders/boys and girls of ages 7 and below.
Blue: Women/Girls open age classes of 8 years old and above.
Red: Any gender, competing on a 24 inch wheel size bike.
Purple: Mini Wheelers/ kids competing on a balance/walking bike without pedals.
Green: Riders competing in the novice class age classes.
Note: If you are a 4-month member, please purchase the race plate colour applicable to the age of your membership. For example if you are over 8-years, purchase an open colour race plate.


text:
MLS names 2014 All-Star Fan XI
July 16, 2014 by US Soccer Players
MLS announced the 2014 All-Star Fan XI on Wednesday, the fan selections to start in a 343 lineup to play Bayern Munich on August 6th in Portland, Oregon (9:30pm ET – ESPN2). Eight members of the USMNT 2014 World Cup squad made the All-Star Fan XI, along with USMNT veteran Landon Donovan and Red Bulls forward Thierry Henry and Seattle's Obafemi Martins.
These selections are not binding on MLS All-Star coach Caleb Porter, who can pick different starting players and does not necessarily have to include these players in the squad. Porter selects 20 players for the game day roster along with two commissioner's picks. However, these 11 players count as part of the 32 players selected as All-Stars under the terms of the MLS Collective Bargaining Agreement.
Bayern Munich arrives in the United States on July 30th. They play Liga MX club Chivas at Red Bull Arena on July 31st. They travel to Portland on August 2nd with a public training session on August 5th, the day before the 2014 MLS All-Star game.
2014 MLS All-Star Fan XI
GK:Nick Rimando (Real Salt Lake)
DEF:Matt Besler (Sporting Kansas City), Omar Gonzalez (LA Galaxy), DeAndre Yedlin (Seattle Sounders FC)
MID: Kyle Beckerman (Real Salt Lake), Michael Bradley (Toronto FC), Clint Dempsey (Seattle Sounders FC), Graham Zusi (Sporting Kansas City)
FOR: Landon Donovan (LA Galaxy), Thierry Henry (New York Red Bulls), Obafemi Martins (Seattle Sounders FC)
Filed Under: MLS, Soccer News Tagged With: 2014 MLS Season


text:
IDPH reports 12,542 new coronavirus cases, 125 additional deaths
COVID-19 hospitalizations slightly decrease in Illinois
By John Sahly
December 01, 2020 at 12:15 pm CST
The Illinois Department of Public Health Mobile Testing Team are conducting free COVID-19 testing at the Bureau County Fairgrounds in Princeton. You can get a test today or Friday from 8a.m.-4p.m. No cost is required and no appointment is needed. The team requires you to wear a mask and bring your insuurance card if you have one. (Scott Anderson)
The Illinois Department of Public Health reported 12,542 new confirmed and probable cases of COVID-19 and 125 additional deaths Tuesday.
The seven-day rolling average of Illinois' positivity rate increased to 10.4%. The state received the results of 116,081 COVID-19 tests in the 24 hours leading up to Tuesday afternoon.
Illinois has seen 738,846 cases of the virus, and 12,403 people have died. The state has conducted 10,614,079 tests since the start of the pandemic.
As of late Monday, Illinois had 5,835 COVID-19 patients in the hospital, a decrease of 14 patients over the previous day. Of those hospitalizations, 1,195 were in intensive care units, and 721 were on ventilators.
Regional update: Currently, all 11 of the state's health regions are under additional mitigation measures from the IDPH, and as of Nov. 20, all 11 regions are under Tier 3 mitigations.
Regional data from the IDPH remains on a three-day lag.
The North Suburban region (McHenry and Lake counties) has seen zero consecutive days under 12% for its positivity rate. The region's positivity rate decreased to 12.7%. Currently, 19.2% of medical/surgical beds are available and 24.6% of ICU beds.
The region has 11 consecutive days over the 20% threshold for ICU bed availability, and one day under the 20% threshold for medical/surgical bed availability.
The Lake/McHenry region has a rolling, seven-day average of 343 COVID-19 patients in the hospital, and that number has decreased for seven of the past 10 days.
Within this region, McHenry County's seven-day positivity rate average decreased to 15.9%. Lake County, which does about two-thirds of the testing in the region, is reporting a rolling average of 11.6%.
Finally, within the Lake/McHenry region, there are 44 available, staffed ICU beds out of 187 total, an increase of four from Monday.
The West Suburban region (DuPage and Kane counties) has seen zero consecutive days under 12%. The region's positivity rate decreased to 12.7%. Currently, 18.8% of medical/surgical beds are available and 26.6% of ICU beds.
The region has five consecutive days over the 20% threshold for ICU bed availability, and one day under the 20% threshold for medical/surgical bed availability.
The Kane/DuPage region has a rolling, seven-day average of 645 COVID-19 patients in the hospital. Hospitalizations have decreased eight out of the past 10 days in this region.
Within this region, Kane County's seven-day positivity average is at 15.0%, and DuPage County is at 11.7%.
Finally, within the DuPage/Kane region, there are 98 available, staffed ICU beds out of 344 total, an increase of 16 from Monday.
The South Suburban region (Will and Kankakee counties) has seen zero consecutive days under 12%. The region's positivity rate increased to 17.0%. Currently, 19.2% of medical/surgical beds are available and 19.5% of ICU beds.
The region has one day under the 20% threshold for ICU bed availability, and one day under the 20% threshold for medical/surgical bed availability.
The Will/Kankakee region has a rolling, seven-day average of 352 COVID-19 patients in the hospital. Hospitalizations have decreased six out of the past 10 days in this region.
Finally, within the Will/Kankakee region, there are 31 available, staffed ICU beds out of 162 total, a decrease of four from Monday.
The North region (Boone, Carroll, DeKalb, Jo Daviess, Lee, Ogle, Stephenson, Whiteside and Winnebago counties) has seen zero consecutive days under 12%. The region's positivity rate decreased to 14.8%. Currently, 24.9% of medical/surgical beds are available and 22.0% of ICU beds.
The region has 11 consecutive days above the 20% threshold for ICU bed availability, and 11 consecutive days above the 20% threshold for medical/surgical bed availability.
Region 1 has a rolling, seven-day average of 256 COVID-19 patients in the hospital. Hospitalizations have decreased for 10 consecutive days.
Within this region, DeKalb County's positivity rate increased to 11.9%, Lee County's rate decreased to 18.4%, and Whiteside County's rate dropped to 14.8%.
Finally, within this region, there are 34 available, staffed ICU beds out of 179 total, a decrease of six from Monday.
The North-Central region (Bureau, Fulton, Grundy, Henderson, Henry, Kendall, Knox, La Salle, Livingston, Marshall, McDonough, McLean, Mercer, Peoria, Putnam, Rock Island, Stark, Tazewell, Warren and Woodford counties) has seen zero consecutive days under 12%. The region's positivity rate remained flat at 13.1%. Currently, 25.3% of medical/surgical beds are available and 20.5% of ICU beds.
The region has two days above the 20% threshold for ICU bed availability, and 11 consecutive days above the 20% threshold for medical/surgical bed availability.
Region 2 has a rolling, seven-day average of 497 COVID-19 patients in the hospital. Hospitalizations have decreased five out of the past 10 days in this region.
Within this region, La Salle county's seven-day positivity rate decreased to 12.0%.
Finally, within this region, there are 48 available, staffed ICU beds out of 257, a decrease of eight since Monday.
Chicago has seen three days under 12%. The region's positivity rate decreased to 11.5%. Currently, 22.7% of medical/surgical beds are available and 25.3% of ICU beds.
Chicago has a rolling, seven-day average of 1,258 COVID-19 patients in the hospital. Hospitalizations have increased five out of the past 10 days in this region.
Suburban Cook County has seen zero consecutive days under the 12%. The region's positivity rate decreased slightly to 12.4%. Currently, 23.1% of medical/surgical beds are available and 20.1% of ICU beds.
The region has four consecutive days over the 20% threshold for ICU bed availability, and 11 consecutive days above the 20% threshold for medical/surgical bed availability.
Suburban Cook County has a rolling, seven-day average of 1,578 COVID-19 patients in the hospital. Hospitalizations have decreased five out of the past 10 days in this region.
To see how other regions across the state are doing, see the full IDPH dashboard here.
Newly reported deaths include:
• Adams County: 1 male 70s, 1 female 80s
• Bureau County: 1 female 70s
• Carroll County: 1 male 80s
• Champaign County: 1 male 60s, 1 female 80s, 1 female 90s
• Clay County: 1 female 50s
• Cook County: 1 female 50s, 1 male 50s, 2 females 60s, 3 males 60s, 1 female 70s, 3 males 70s, 2 females 80s, 2 males 80s, 3 females 90, 1 male 90s, 1 female over 100
• DuPage County: 1 female 70s, 2 males 70s, 1 male 80s, 1 female 90s, 2 males 90s
• Effingham County: 1 male 90s
• Ford County: 1 female 60s
• Franklin County: 1 female 80s
• Fulton County: 1 male 80s
• Grundy County: 1 female 70s, 2 females 80s
• Hancock County: 1 female 90s
• Iroquois County: 1 male 90s
• Jo Daviess County: 1 female 70s
• Kane County: 1 male 70s, 1 female 90s, 1 male 90s
• Kankakee County: 1 female 80s
• Kendall County: 2 male 80s
• Knox County: 1 male 80s, 1 male 90s
• Lake County: 1 male 50s, 1 male 70s, 1 female 80s, 2 males 80s, 1 female 90s
• La Salle County: 1 female 70s, 1 female 80s, 1 male 80s
• Lee County: 1 female 80s
• Livingston County: 1 male 90s
• Macon County: 1 female 80s, 1 male 80s, 1 female 90s
• Macoupin County: 1 female 80s, 1 female 90s
• Madison County: 2 males 70s, 1 female 90s
• Marion County: 1 female 80s, 2 males 80
• McHenry County: 1 female 70s, 2 females 90s
• McLean County: 1 female 80s, 1 male 80s, 2 males 90s
• Mercer County: 1 female 90s
• Monroe County: 1 male 90s
• Morgan County: 1 female 60s, 2 females 90s
• Ogle County: 1 male 60s, 1 male 70s, 1 female 80s
• Peoria County: 1 male 60s
• Perry County: 1 female 70s, 2 females 80s, 3 females 90s
• Rock Island County: 1 male 60s, 2 females 90s
• Saline County: 1 male 70s, 1 male 80s
• Sangamon County: 1 female 50s, 1 male 80s, 2 females 90s
• St. Clair County: 1 female 70s, 1 male 70s, 1 female 80s
• Stark County: 1 female 80s
• Stephenson County: 1 male 50s
• Tazewell County: 1 male 70s
• Vermilion County: 1 male 60s, 1 female 90s
• Warren County: 1 male 70s, 1 female 90s
• White County: 1 male 60s
• Whiteside County: 1 male 70s, 1 female 90s, 1 male 90s
• Will County: 1 male 50s, 1 female 70s
• Winnebago County: 1 female 60s, 1 male 90s
• Woodford County: 1 female 70s
McHenry County reports 157 new cases of COVID-19, 8 additional deaths Friday
By Kelli Duncan
How does indoor dining reopen in Illinois?
Pritzker: Regions 1, 2, and 5 can all move forward to Tier 2; limited indoor dining can return in Tier 1
Here's where each health region in northern Illinois stands as of Friday for new cases and vaccine administration
McHenry County reports 118 new COVID-19 cases


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I received a 100 page preview of this book from Netgalley and I CANNOT WAIT FOR THIS BOOK! I've read the YA book The Archived by Victoria Schwab and am anxiously awaiting the sequel, but this is the first Adult book she's written and I was immediately hooked from the first page.
The relationship between Victor and Eli fascinated me – they were friends/rivals/enemies and their character development was truly exceptional, making it easy to identify with parts of both characters. With the book alternating between the past and present, I'm anxious to see how their relationship evolves from one state to the next. It seems as if neither is black or white, but all the shades of gray in between.
The experiments Victor and Eli were involved in reminded me a little of the 80's movie, Flatliners – medical students pushing the limits and seeing how far they can go. The subject matter completely engaged me and it's obvious the author did her research.
The writing in Vicious in comparison to The Archived is a great deal more mature and intelligent and there were several 'quote-worthy' segments. The pacing was such that I had an extremely hard time putting down this book and would highly recommend it to anyone. Vicious is due to be released September 24, 2013 and you can bet I'll be parked on the B&N website impatiently waiting to download it!
I am, Bradley. I see so many books on other blogs that sound awesome and then get disappointed when they're only on Kindle. How about you?
Teri, sounds terrific! Not usually a genre I would pick, but if the author's character development is what you say it is, I need to read this book as a writer and see what she's doing. Thanks for a great review!
I don't think you'd be disappointed, Sherrey. We all need to step outside our comfort zone every now and then!
A great review by Teri Polen of V.E. Schwab's book, Vicious.


text:
Расселлвілл () — селище () в США, в окрузі Лоуренс штату Іллінойс. Населення — 94 особи (2010).

Географія
Расселлвілл розташований за координатами  (38.819776, -87.530010).  За даними Бюро перепису населення США в 2010 році селище мало площу 1,21 км², уся площа — суходіл.

Демографія

Згідно з переписом 2010 року, у селищі мешкали 94 особи в 46 домогосподарствах у складі 22 родин. Густота населення становила 78 осіб/км².  Було 63 помешкання (52/км²).

Расовий склад населення:

До двох чи більше рас належало 3,2 %. Частка іспаномовних становила 0,0 % від усіх жителів.

За віковим діапазоном населення розподілялося таким чином: 14,9 % — особи молодші 18 років, 62,8 % — особи у віці 18—64 років, 22,3 % — особи у віці 65 років та старші. Медіана віку мешканця становила 51,0 року. На 100 осіб жіночої статі у селищі припадало 123,8 чоловіків;  на 100 жінок у віці від 18 років та старших — 116,2 чоловіків також старших 18 років.

Середній дохід на одне домашнє господарство  становив  доларів США (медіана — ), а середній дохід на одну сім'ю —  доларів (медіана — ). За межею бідності перебувало 5,0 % осіб, у тому числі 0,0 % дітей у віці до 18 років та 13,3 % осіб у віці 65 років та старших.

Цивільне працевлаштоване населення становило 30 осіб. Основні галузі зайнятості: виробництво — 36,7 %, роздрібна торгівля — 20,0 %, освіта, охорона здоров'я та соціальна допомога — 13,3 %, мистецтво, розваги та відпочинок — 6,7 %.

Джерела

Селища Іллінойсу
Населені пункти округу Лоуренс (Іллінойс)


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text:
The North Andover High graduate Danielle "Donny" Fournier has a chance to help the Boston Renegades to a national title. ©Mitzi Vélez Lorenzana
North Andover's Fournier seeks WFA championship with Boston Renegades (Eagle Tribune)
Marisa Ingemi | Eagle Tribune
The first time Danielle Fournier took a big hit didn't come as a shock.
With a rugby background, the North Andover alum knew what was coming. Her experience as a marketing intern with the Boston Renegades also showed her what the Women's Football Alliance was all about.
Before this season, she took a shot trying to make the team. Now, she's headed to Atlanta with the rest of the squad looking to avenge last season's championship loss.
"I had interned when I was younger here," she said. "That was the first I heard of them and it caught my eye. I just didn't have the time to get there or the resources. This year I did. My only regret is I wish I signed earlier, but I guess this was a good year to sign on."
Fournier plays defensive line and hadn't played football at all until this season. She played rugby at the University of New Hampshire, where she graduated in 2014, after playing basketball and softball at North Andover. She currently serves as the Harvard University water polo operations assistant.
Football wasn't in her plans, and coming in raw had its challenges. But, with a backbone like the Renegades have, Fournier has taken it on.
"You lean on the veterans a little bit," she said. "They text me about film, things I can get better at. A lot of girls come from athletic backgrounds and transfer over those skills."
Playing defensive line has its similarities to rugby, also being a contact sport. But it's still a different game, and it's something many of the players in the WFA are up against without many chances to build a background in the sport before reaching the highest level.
"Other than their mindset, learning new techniques from them has been great," Fournier said. "Coming from rugby, the big difference is it's a bigger stage than I've been on. They really teach you how to stay focused during the season and not just for the one game."
The Renegades roster has mostly local talent, with athletes also coming from Lawrence and Methuen, such as star running back Angelica Pascual of Lawrence, who played basketball at Mount Holyoke College.
Most of the roster is back from last season, so this is a spot they're familiar with. Fournier has learned the sport on the fly, and also how to win.
That next learning experience just happens to be in a title game.
"Everyone is in a really competitive set," she said. "Me being a rookie, I don't have that background, but it's great to feed off of them. You see the veterans, like our quarterback and the girls on the D-line, they set a great example for us. The vibe is upbeat, but they know what we're going into so they're pretty serious."
The Renegades will face the LA Warriors in Atlanta on Saturday night looking to earn a national championship.
"We have to stay focused and communicate," Fournier said. "Whenever we do that we're pretty unstoppable. As long as we do that, I think we can make the result in our favor."
2018, Eagle Tribune, Marisa Ingemi
PrevPreviousCoaches talk preparation for Women's Football Alliance championship (USA Football)
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text:
Elisabeth Judson Shue  (* 6. Oktober 1963 in Wilmington, Delaware) ist eine US-amerikanische Schauspielerin, Filmproduzentin und Sängerin.

Leben und Karriere
Elisabeth Shue ist die Tochter der Bankerin Anne Brewster (* 1938) und des Rechtsanwalts und Immobilieninvestors James William Shue (1936–2013); als sie neun Jahre alt war, ließen sich ihre Eltern scheiden. Als einziges Mädchen unter vier Geschwistern wuchs sie in South Orange, New Jersey auf. Sie studierte zunächst Politikwissenschaften am Wellesley College. Ihr Bruder Andrew Shue ist ebenfalls Schauspieler.

Nach einigen ersten Auftritten in Werbespots während ihres Studiums sammelte Shue ihre ersten schauspielerischen Erfahrungen Anfang der 1980er Jahre in der Fernsehserie Die Gier nach Ruhm, wo sie an der Seite von Craig T. Nelson die Rolle der Jackie Sarnac spielte. In den 1980er Jahren war sie vornehmlich auf die Rolle des "netten Mädchens von nebenan" abonniert, was vor allem an ihrer Rolle in der Trilogie Zurück in die Zukunft lag, in deren zweitem und drittem Teil sie mitspielte. Erfolgreich gegen diesen Rollentypus ankämpfend, spielte sie 1995 die abgebrühte und zugleich zerbrechliche Prostituierte Sera in dem Drama Leaving Las Vegas. Ihre schauspielerische Leistung wurde unter anderem mit je einer Nominierung für den Oscar und den Golden Globe gewürdigt. Ihr Filmpartner Nicolas Cage erhielt den Oscar in der Kategorie Bester Hauptdarsteller, der Film erhielt überwiegend sehr gute bis exzellente Kritiken.

Neben ihrer Karriere als Schauspielerin verfolgte Shue auch weiterhin das Ziel, Anwältin zu werden. Sie setzte neben der schauspielerischen Tätigkeit ihr Studium in Harvard fort und schloss dieses im Jahr 2000 erfolgreich ab. Danach drehte sie nur noch unregelmäßig Filme. Im Jahr 2012 übernahm sie neben Jennifer Lawrence die Hauptrolle in Mark Tonderais Horror-Thriller House at the End of the Street. Im selben Jahr kehrte sie ins Fernsehen zurück und übernahm eine Hauptrolle in der Serie CSI: Vegas. Sie folgte dort auf Marg Helgenberger, welche die Serie nach zwölf Jahren verließ.

Seit 1994 ist Shue mit dem Produzenten und Regisseur Davis Guggenheim verheiratet. Das Paar hat einen Sohn und zwei Töchter.

Filmografie (Auswahl)
 1984: Karate Kid (The Karate Kid)
 1986: Link – Der Butler (Link)
 1987: Die Nacht der Abenteuer (Adventures in Babysitting)
 1988: Cocktail
 1989: Zurück in die Zukunft II (Back to the Future Part II)
 1990: Zurück in die Zukunft III (Back to the Future Part III)
 1991: Lieblingsfeinde – Eine Seifenoper (Soapdish)
 1991: Die blonde Versuchung (The Marrying Man)
 1993: 4 himmlische Freunde (Heart and Souls)
 1993: Twenty Bucks – Geld stinkt nicht – oder doch? (Twenty Bucks)
 1994: Zwei Männer um Natalie (Radio Inside)
 1995: Leaving Las Vegas
 1996: Der große Stromausfall – Eine Stadt im Ausnahmezustand (Trigger Effect)
 1997: The Saint – Der Mann ohne Namen (The Saint)
 1997: Harry außer sich (Deconstructing Harry)
 1998: Palmetto – Dumme sterben nicht aus (Palmetto)
 1998: Cousine Bette (Cousin Bette)
 1999: Molly
 2000: Hollow Man – Unsichtbare Gefahr (Hollow Man)
 2002: Leo
 2004: Mysterious Skin – Unter die Haut (Mysterious Skin)
 2005: Hide and Seek – Du kannst dich nicht verstecken (Hide & Seek)
 2005: Dreamer – Ein Traum wird wahr (Dreamer: Inspired by a True Story)
 2007: First Born
 2007: Gracie
 2008: Hamlet 2
 2009: Don McKay
 2010: Waking Madison
 2010: Piranha 3D
 2012: Wie beim ersten Mal (Hope Springs)
 2012: Mavericks – Lebe deinen Traum (Chasing Mavericks)
 2012: House at the End of the Street
 2012–2015: CSI: Vegas (CSI: Crime Scene Investigation, Fernsehserie, 71 Folgen)
 2014: Behaving Badly – Brav sein war gestern (Behaving Badly)
 2017: Battle of the Sexes – Gegen jede Regel (Battle of the Sexes)
 2018: Death Wish
 2019–2020: The Boys (Fernsehserie, 9 Folgen)
 2020: Greyhound – Schlacht im Atlantik (Greyhound)
 2021: Cobra Kai (Fernsehserie, 2 Folgen)
 2021: On the Verge (Fernsehserie, 12 Folgen)
 2022: Super Pumped (Fernsehserie)

Auszeichnung und Nominierungen
 Nominierung für Saturn Award in der Kategorie Beste Schauspielerin für Link – Der Butler
 Chicago Film Critics Association Award in der Kategorie Beste Schauspielerin für Leaving Las Vegas
 Dallas-Fort Worth Film Critics Association Award in der Kategorie Beste Schauspielerin für Leaving Las Vegas
 Independent Spirit Award in der Kategorie Beste Schauspielerin für Leaving Las Vegas
 Los Angeles Film Critics Association Award in der Kategorie Beste Schauspielerin für Leaving Las Vegas
 National Society of Film Critics Award in der Kategorie Beste Schauspielerin für Leaving Las Vegas
 Nominierung für den Oscar in der Kategorie Beste Schauspielerin für Leaving Las Vegas
 Nominierung für BAFTA Award in der Kategorie Beste Schauspielerin für Leaving Las Vegas
 Nominierung für Chlotrudis Award in der Kategorie Beste Schauspielerin für Leaving Las Vegas
 Nominierung für Golden Globe Award in der Kategorie Beste Schauspielerin (Drama) für Leaving Las Vegas
 Nominierung für Screen Actors Guild Award in der Kategorie Beste Schauspielerin für Leaving Las Vegas

Literatur

Weblinks

 Elisabeth Shue bei Moviepilot

Einzelnachweise

Filmschauspieler
Filmproduzent
Sänger
US-Amerikaner
Geboren 1963
Frau


text:
Study: Transit Is Failing Non-White Night Shift Workers
Mass transit is a lifeline to opportunity for low income Americans. But most of them live in neighborhoods that are poorly served by buses and trains — especially at night.
By Kea Wilson
Source: Px Here via Creative Commons
Poor and non-White Americans have the fewest jobs available to them within a 30-minute transit commute of their homes — and getting to work on the third shift is even harder, a new study finds.
In a study of four U.S. cities, analysts at the Urban Institute located neighborhoods with the highest concentrations of jobs within a reasonable 30-minute public transit commute, as well as the neighborhoods where the highest proportion of l0w-wage workers live. But when they cross-referenced those two maps, the analysts found some serious mismatches between where people looking for work actually lived, and where people could find available jobs, especially without being forced to use a car to get their quickly — even when it looked, on paper, like a lot of poor neighborhoods were connected to major job centers by a frequent bus or train line.
And when the researchers controlled for how many unemployed people were actually competing for the handful of positions that could be reached on a short bus ride from their neighborhoods, the outlook got even bleaker.
In Lansing, Mich., for instance, roughly one third of neighborhoods had high levels of "spatial mismatch" — a rough shorthand for places where it's especially hard for a person who needs a job to get safe, affordable transportation to places where those jobs are actually located and companies are actually hiring.
It's a perfect illustration of why, "to some communities, particularly those who have been historically victimized by the transportation planning and decision-making process, the transportation system can be viewed as a weapon pointed directly at them," former Secretary of Transportation Anthony Foxx noted in the report.
An example of a "spatial mismatch" map of Lansing, Mich. In this map, some of the most impoverished areas of Lansing are shown to have the worst transit access to readily-available jobs.
As night falls, though, getting to work gets even tougher.
As transit frequency slows down after dark, the areas where predominantly low-wage workers tend to live have even less access to areas where lots of available third-shift jobs are concentrated — and a lot of those workers are clambering for a handful of off-peak positions. Check out these maps of the greater Baltimore area by day and by dark; while residents of neighborhoods in the dark-blue central core can generally access at least a few available job opportunities, folks in the suburbs are either cut off by transit, competing for scarce positions, or both.
For nighttime job-seekers in the Nashville metro, it gets even harder. There are almost no available jobs for a car-free workers in the Music City. There aren't that many options available during the day, either — especially if that worker lives on the outer fringes of the region where housing is most affordable.
Areas with little access to jobs via transit aren't just disproportionately low-income — they're also disproportionately non-white. And that's no accident: "Highway construction and ongoing urban renewal efforts from the 1930s to 1970s destroyed and displaced many Black neighborhoods, increasing segregation, isolation, crowding, and clustering of communities of color," the report says. "In the early 2000s, the gentrification and influx of high-income residents back into many city centers subsequently pushed many low-income residents into car-dependent suburbs."
That's especially true in communities like Seattle, where White residents have better access to opportunity via transit than any other demographic group. The researchers found that the average white Seattleite who finds herself on the job market is 6 percent more likely to live in a neighborhood that's connected to good opportunities than the average of all Seattleites period. Black and Hispanic Seattleites, by contrast, had a 2.5 percent greater rate of spatial mismatch than average.
In Baltimore, the disparity was steeper. In Lansing, where concentrations of White poverty are more than 35 percent higher than the national average, white residents actually had slightly less access to opportunity than Black, Hispanic, or other people of color besides Asians.
Of course, this study only accounts for some of the most easily quantifiable barriers to accessing quality jobs. Even if a non-white worker is willing to brave a two-hour bus ride to submit an application, and beats the odds to get an interview, she'll still likely be hampered by racist hiring practices and fluctuations in her specific job market itself. The Urban Institute's study focused only on spatial mismatches between employees and employers with available jobs, not the broader forms of structural discrimination that impact the hiring process — and it used data from before COVID-19 sent unemployment numbers in many industries into the stratosphere.
But just like structural racism and the pandemic, we can change our transportation and land use policies to knock down the barriers to opportunity for the disenfranchised – and the Urban Institute argues that we have a moral obligation to do it. And it's even more crucial that leaders remove those barriers in ways that the impacted communities demand, rather than imposing even more top-down transportation solutions that they may not necessarily want.
"Metro-area leaders should make transportation and land use decisions through deep and meaningful community engagement, consulting historically overlooked communities of color, immigrants, and low-income households long before policies are proposed and at every stage of decision-making after a policy's inception," the Urban Institute noted in the report. "Transportation policies can help reduce disparities in access to opportunity, but only if they are implemented with equity at the forefront."
Filed Under: Baltimore, Equity, Michigan, Nashville, Racial Equity, Seattle, Transit, Promoted
Study: Free Transit Helps Local Businesses
By Kea Wilson	| Nov 23, 2020
A new study finds that commuters with access to free public transportation don't drive any less — but they do take more leisure and shopping trips than those who have to pay their own fare, which could help provide local economies with the cash they need to provide a broader range of social services over time.
Confirmed: Sprawl and Bad Transit Increase Unemployment
By Angie Schmitt	| Oct 30, 2014
Since the 1960s and the earliest days of job sprawl, the theory of "spatial mismatch" — that low-income communities experience higher unemployment because they are isolated from employment centers — has shaped the way people think about urban form and social equity. But it's also been challenged. The research supporting spatial mismatch has suffered from some nagging […]
Decoding Trump's Racist 'War on Suburbs' Rhetoric
By Kea Wilson	| Aug 17, 2020
Trump claimed that an Obama housing rule was forcing communities to build high-density, low-income buildings in suburbia — or, as Trump put it, "mak[ing] sure there is no escape" from "the crime and chaos [found] in Democrat-run cities."
Brookings: Transit Access to Jobs Is the Missing Link
If you're a middle-income person living in the Philadelphia metro area, there's an 85 percent chance you live within three-quarters of a mile of a transit stop, and you probably have to wait about 12 minutes for a bus or train. But if you're looking for work, beware: only 20 percent of the jobs in the […]
Commuting Tips for the Incrementalist: Small Changes, Big Savings
By Tanya Snyder	| Jul 18, 2013
Rob Perks couldn't understand why his friend, Megan, drove to work every day instead of taking public transportation. She said driving was cheaper and more convenient, but Perks had almost an identical commute and he was pretty confident he was saving a lot by taking transit. A quick back-of-the-envelope calculation of all Megan's driving costs […]
Study: Car Traffic Might Stay Low Post-Vaccine
By Kea Wilson	| Aug 3, 2020
But if we don't act fast, they'll come back.