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Section I. The Zoning Map and the Record Book of Lot Classifications which are a part of the Zoning Ordinance of the City of Warwick are hereby amended by changing the classification of the following described premises from Light Industrial (LI) to Residential A-7 with waivers, restrictions, conditions and stipulations.
Lots 48 and 50 on Assessor's Plat 244 as said plat appeared in the Tax Assessor's office on December 31, 2017 is hereby changed from Light Industrial to Residential A-7 with the following waivers, restrictions, conditions and stipulations. The Lot is set forth in the legal description and on the map attached hereto as Exhibit A.
Lot 50 (Proposed Lot 1): lot area, lot frontage, lot width.
Lot 48 (Proposed Lot 2): lot area, lot frontage, lot width and the existing front setback.
Lot 48 (Proposed Lot 3): lot area, lot frontage, lot width, front setback.
2. That the Applicant shall provide verbiage to be included on the recorded deeds for the newly created and rezoned parcels 1, 2 and 3, (formerly Assessor's Plat 244, Assessor's Lots 48 and 50) stating that said parcels were rezoned to residential from industrial and as such are subject to all of the nuisances associated with said abutting industrial district.
Section II. The Clerk of the Zoning Board of Review is hereby authorized and directed to cause said changes to be made on the Zoning Map and the Record Book of Lot Classifications.
Section III. This Ordinance shall take effect upon passage and publication as prescribed by law.


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Mayor of South Carolina's capital says he would back Michael Bloomberg
By Ben Mitchell
Bloomberg apologizes for stop-and-frisk
Columbia, South Carolina Mayor Stephen K. Benjamin says he would endorse Michael Bloomberg for president and serve as campaign co-chair should the former New York City mayor enter the race.
Benjamin, the former president of the U.S. Conference of Mayors, is a high-profile figure in the crucial early primary state and a coveted ally in the increasingly crowded Democratic primary.
In an interview with CBS News on Sunday, Benjamin called Bloomberg "a great mentor to mayors all across the country."
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"I've encouraged the mayor to run," Benjamin said. "It's a process he's going through with himself and I'm sure through prayer and consideration with his closest advisers. But I think he'd be an excellent president."
Benjamin was in attendance at Sunday's service at the Christian Cultural Center in Brooklyn where Bloomberg apologized for the NYPD's controversial "stop-and-frisk" program – a tactic Bloomberg fiercely defending during and after his mayoral tenure. As recently as March, Bloomberg derided the idea of going on an "apology tour" as part of a potential presidential bid.
But in front of a mostly-black congregation of New Yorkers, Bloomberg told the crowd he "got something really important really wrong."
"We eroded what we had worked so hard to build: trust. Trust between police and communities, trust between you and me. And the erosion of that trust bothered me deeply. And it still bothers me," Bloomberg said. "But I can't change history. However, today, I want you to know that I realize back then I was wrong, and I'm sorry."
Benjamin, an African American mayor in a state where black voters make up more than half of all Democratic voters, says he thinks Bloomberg's mea culpa is "a step in the right direction."
"There's still some serious and legitimate concerns. So, understanding that the first stop is genuine contrition, sharing the fact that he got it wrong, and I'm a big believer that there's strength in humility and being able to come to an audience that's felt the pain over time and sharing that very directly," Benjamin told CBS News.
Although Bloomberg was elected New York's mayor three times, his aggressive approach to policing alienated some communities of color. The stop-and-frisk policy he championed gave police broad leeway to search civilians for contraband, and the vast majority of those stopped were Latino or African American, according to civil liberties groups.
Bloomberg, one of world's richest men, would have near-infinite financial resources to fall back on should he mount a run for the presidency. And Benjamin said there's "absolutely" enough time for Bloomberg to break through in the crowded Democratic field.
"Everyone knows the Bloomberg name. It's synonymous with success. Some people don't know he was a great Horatio Alger story, worked his way up from the bottom and built something significant. Or he's this great, rich guy who got rid of smoking in restaurants and the rest of the world followed and he's worked to take guns off the street.He's the poster boy for fighting against climate change" Benjamin said.
"I think it's incumbent upon Mike Bloomberg to get out there, get into communities, make sure people know him and understand exactly what kind of president he can be. He can do a great job."
First published on November 18, 2019 / 4:05 PM

redpajama_set_name: RedPajamaCommonCrawl


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text:
Q: Angular 7 - innerHTML - rendering HTML tags from DB I am creating a documentation tool, where you have the possibility to write a document (in contenteditable elements), where you can insert diferent kind of boxes and so on with a formatted style ( classnames ).
It is saved to mongoDB on upload, but when I am rendering the documents from the DB by innerHTML, the styles are only rendered on the elements in case I have the css definition on the TAG, and not on a CLASS.
For example
Works:
code {
 color: red;
}

Does not work:
.jcl-code {
 color: red;
}

I have the viewEncapsulation.None settled, and also made a safeHtml pipe to skip sanitizing.
<p class="card-body" innerHTML="doc[currentId].body | safeHtml">

Can you please give me some hints why it doesn't work with classes?
Many thanks!

A: you need to add :host ::ng-deep to your class
so :host ::ng-deep .jcl-code {...} as the necessary classes are not added automatically to HTML added via [innerHTML].
for more details and information about ::ng-deep and it's usage check https://stackoverflow.com/a/36265072/606104

redpajama_set_name: RedPajamaStackExchange


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I should know by now that the moment I decide to truly break away from this blog, that I will have a big rush of inspiration and be more eager to write than ever. (Yep, it happens every time.) But this time around, I'm going to be sure to follow-through with my desire to keep things a bit simpler.
I'm working on my layout a bit, trying to make it feel more like home again.
I've also made the decision to not renew my contract with my current blog ad network. Come July, I'll have more control over the content that is featured as sponsorship. I went back and forth with the whole blog ad thing, and decided that if I kept it simple and offered a handful of spaces to feature small businesses, blogs, and Etsy shops, that it wouldn't feel like a bother (and hopefully won't come across as though I'm doing it just for a paycheck each month—although, as we all know, every little bit helps in this day and age!).
I'm no longer going to promote my posts on any social media, because I think that will help me write what I want to write, when and how I want to write it, without hesitation. It probably sounds weird, but this really makes me want to blog again. It's so much less about promoting myself, trying to get pageviews, hoping for retweets and more subscribers. I'll write, and at this point the posts will stay here and here alone.
Things may change later on, but for now I'm just going to stay away from other social media. I never thought I'd be able to stray from my beloved Twitter, but since I don't even turn on my computer every day, and I'm very much without a phone that does anything remotely fancy, I've found that checking it on a regular basis is so difficult. (In the dark ages, I remain.) I'll probably pop on here and there, but given how much time I have for things, it probably won't be all too often.
I'm hoping to rekindle some friendships through these small changes, and hopefully take time to write about a lot that has been on my heart lately.
As always, thank you to those who have taken the time to read my ramblings of the past, and to those who continue to follow along in the future. You're all gems.
I read your post from yesterday and identified with it so much-- I too feel a bit lost when it comes to blogging these days.
It's great that you're taking steps to make your blog, and your life, what you want it to be.
I will be keep reading your blog, not matter how often you write it!
By the way, I'm with you on the not fancy phone. I still haven't got one, and no knows when I ever will!
And love your new picture of yourself too!
This sounds so great, and I'm looking forward to what you'll write here!
Love love your blog lady!
I have missed you blogging and am excited to see what is in store for your blog, girl!
Still reading! Keep 'em comin'!
I've hit a life and blogging block lately, and I know how you feel. Big hug, friend. I haven't been around in the online world as much as I'd like.
so glad to hear it! i will definitely be interested in sponsoring when you switch things up.
I absolutely love your blog and adore the you that I know from it. Keep on being you and writing what's in your heart. I love coming to your blog because I can relate to most things and because you come across as completely real and genuine.
So much of this post and your last post have been what I've been thinking about lately as well. I think you're on the right track with your simplify idea.
I wish I was good at staying away from social media. I get so sucked in. I like what you said about not promoting yourself because that isn't what it's really about!


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package eu.tripledframework.eventstore.infrastructure;

import java.lang.annotation.Annotation;
import java.lang.reflect.Constructor;
import java.lang.reflect.InvocationTargetException;
import java.lang.reflect.Method;
import java.util.ArrayList;
import java.util.Arrays;
import java.util.Collection;
import java.util.List;
import java.util.Set;
import java.util.stream.Collectors;

import org.apache.commons.jxpath.JXPathContext;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;

import eu.tripledframework.eventstore.domain.ConstructionAware;
import eu.tripledframework.eventstore.domain.DomainEvent;
import eu.tripledframework.eventstore.domain.ObjectConstructor;
import eu.tripledframework.eventstore.domain.annotation.ConstructionHandler;
import eu.tripledframework.eventstore.domain.annotation.EP;

/**
 * A Class which is capable of reconstructing  objects using events.
 * <p>
 * This class will use reflection and the {@link ConstructionHandler} annotation to construct an object
 * using events.
 */
public class ReflectionObjectConstructor<T> implements ObjectConstructor<T> {

  private static final Logger LOGGER = LoggerFactory.getLogger(ReflectionObjectConstructor.class);

  private Class<T> targetClass;

  public ReflectionObjectConstructor(Class<T> targetClass) {
    this.targetClass = targetClass;
  }

  @Override
  public T construct(Collection<DomainEvent> events) {
    if (events == null || events.isEmpty()) {
      return null;
    }

    DomainEvent firstEvent = events.stream().findFirst().get();
    T instance = createInstance(firstEvent);
    LOGGER.debug("Created new {} with event {}", instance.getClass().getSimpleName(), firstEvent);

    events.stream()
        .skip(1)
        .forEach(p -> applyDomainEvent(instance, p));

    invokePostConstructIfNeeded(instance);

    return instance;
  }

  @Override
  public T applyDomainEvents(T instance, Collection<DomainEvent> events) {
    if (events == null || events.isEmpty()) {
      return instance;
    }
    events.forEach(event -> applyDomainEvent(instance, event));

    invokePostConstructIfNeeded(instance);

    return instance;
  }

  private T createInstance(DomainEvent event) {
    Constructor constructor = getEventHandlerConstructor(event);
    if (constructor == null) {
      throw new AggregateRootReconstructionException(
          String.format("Could not find a suitable constructor for event %s", event));
    }
    try {
      constructor.setAccessible(true);
      Object[] parameters = getParametersValues(constructor.getParameterAnnotations(), event);
      return (T) constructor.newInstance(parameters);
    } catch (InstantiationException | IllegalAccessException | InvocationTargetException e) {
      throw new AggregateRootReconstructionException(
          String.format("Could not create object using constructor %s", constructor), e);
    }
  }

  private void applyDomainEvent(T instance, DomainEvent event) {
    Method method = getEventHandlerMethods(event);
    if (method == null) {
      throw new AggregateRootReconstructionException(
          String.format("Could not find a suitable method for event %s", event));
    }
    try {
      method.setAccessible(true);
      Object[] parameters = getParametersValues(method.getParameterAnnotations(), event);
      method.invoke(instance, parameters);
      LOGGER.debug("Applied {}", event);
    } catch (IllegalAccessException | InvocationTargetException e) {
      throw new AggregateRootReconstructionException(
          String.format("Could not apply event %s to instance %s", event, instance), e);
    }
  }

  private Method getEventHandlerMethods(DomainEvent event) {
    Set<Method> methods = Arrays.stream(targetClass.getMethods())
        .filter(constructor -> constructor.isAnnotationPresent(ConstructionHandler.class))
        .collect(Collectors.toSet());
    for (Method method : methods) {
      ConstructionHandler annotation = method.getAnnotation(ConstructionHandler.class);
      if (annotation.value().equals(event.getClass())) {
        return method;
      }
    }
    return null;
  }

  private Constructor getEventHandlerConstructor(DomainEvent event) {
    Set<Constructor> constructors = Arrays.stream(targetClass.getConstructors())
        .filter(contructor -> contructor.isAnnotationPresent(ConstructionHandler.class))
        .collect(Collectors.toSet());
    for (Constructor constructor : constructors) {
      ConstructionHandler constructionHandlerAnnotation =
          (ConstructionHandler) constructor.getAnnotation(ConstructionHandler.class);
      if (constructionHandlerAnnotation.value().equals(event.getClass())) {
        return constructor;
      }
    }
    return null;
  }

  private Object[] getParametersValues(Annotation[][] parameterAnnotations, DomainEvent event) {
    List<Object> params = new ArrayList<>();

    for (Annotation[] annotations : parameterAnnotations) {
      for (Annotation annotation : annotations) {
        if (annotation.annotationType().equals(EP.class)) {
          EP eventParam = (EP) annotation;
          params.add(getValue(eventParam.value(), event));
        }
      }
    }
    return params.toArray(new Object[params.size()]);
  }

  private void invokePostConstructIfNeeded(T instance) {
    // Invoke the postConstruct on the object if it's ConstructionAware.
    if (instance instanceof ConstructionAware) {
      ((ConstructionAware) instance).postConstruct();
    }
  }

  private Object getValue(String expr, DomainEvent event) {
    JXPathContext context = JXPathContext.newContext(event);
    return context.getValue(expr);
  }
}

redpajama_set_name: RedPajamaGithub


text:
/*
 * DO NOT EDIT.  THIS FILE IS GENERATED FROM e:/builds/moz2_slave/rel-m-rel-xr-w32-bld/build/dom/interfaces/html/nsIDOMHTMLLIElement.idl
 */

#ifndef __gen_nsIDOMHTMLLIElement_h__
#define __gen_nsIDOMHTMLLIElement_h__

#ifndef __gen_nsIDOMHTMLElement_h__
#include "nsIDOMHTMLElement.h"
#endif

/* For IDL files that don't want to include root IDL files. */
#ifndef NS_NO_VTABLE
#define NS_NO_VTABLE
#endif

/* starting interface:    nsIDOMHTMLLIElement */
#define NS_IDOMHTMLLIELEMENT_IID_STR "cb9bbac6-3198-4159-9ee9-262eef35f265"

#define NS_IDOMHTMLLIELEMENT_IID \
  {0xcb9bbac6, 0x3198, 0x4159, \
    { 0x9e, 0xe9, 0x26, 0x2e, 0xef, 0x35, 0xf2, 0x65 }}

class NS_NO_VTABLE NS_SCRIPTABLE nsIDOMHTMLLIElement : public nsIDOMHTMLElement {
 public:

  NS_DECLARE_STATIC_IID_ACCESSOR(NS_IDOMHTMLLIELEMENT_IID)

  /* attribute DOMString type; */
  NS_SCRIPTABLE NS_IMETHOD GetType(nsAString & aType) = 0;
  NS_SCRIPTABLE NS_IMETHOD SetType(const nsAString & aType) = 0;

  /* attribute long value; */
  NS_SCRIPTABLE NS_IMETHOD GetValue(PRInt32 *aValue) = 0;
  NS_SCRIPTABLE NS_IMETHOD SetValue(PRInt32 aValue) = 0;

};

  NS_DEFINE_STATIC_IID_ACCESSOR(nsIDOMHTMLLIElement, NS_IDOMHTMLLIELEMENT_IID)

/* Use this macro when declaring classes that implement this interface. */
#define NS_DECL_NSIDOMHTMLLIELEMENT \
  NS_SCRIPTABLE NS_IMETHOD GetType(nsAString & aType); \
  NS_SCRIPTABLE NS_IMETHOD SetType(const nsAString & aType); \
  NS_SCRIPTABLE NS_IMETHOD GetValue(PRInt32 *aValue); \
  NS_SCRIPTABLE NS_IMETHOD SetValue(PRInt32 aValue);

/* Use this macro to declare functions that forward the behavior of this interface to another object. */
#define NS_FORWARD_NSIDOMHTMLLIELEMENT(_to) \
  NS_SCRIPTABLE NS_IMETHOD GetType(nsAString & aType) { return _to GetType(aType); } \
  NS_SCRIPTABLE NS_IMETHOD SetType(const nsAString & aType) { return _to SetType(aType); } \
  NS_SCRIPTABLE NS_IMETHOD GetValue(PRInt32 *aValue) { return _to GetValue(aValue); } \
  NS_SCRIPTABLE NS_IMETHOD SetValue(PRInt32 aValue) { return _to SetValue(aValue); }

/* Use this macro to declare functions that forward the behavior of this interface to another object in a safe way. */
#define NS_FORWARD_SAFE_NSIDOMHTMLLIELEMENT(_to) \
  NS_SCRIPTABLE NS_IMETHOD GetType(nsAString & aType) { return !_to ? NS_ERROR_NULL_POINTER : _to->GetType(aType); } \
  NS_SCRIPTABLE NS_IMETHOD SetType(const nsAString & aType) { return !_to ? NS_ERROR_NULL_POINTER : _to->SetType(aType); } \
  NS_SCRIPTABLE NS_IMETHOD GetValue(PRInt32 *aValue) { return !_to ? NS_ERROR_NULL_POINTER : _to->GetValue(aValue); } \
  NS_SCRIPTABLE NS_IMETHOD SetValue(PRInt32 aValue) { return !_to ? NS_ERROR_NULL_POINTER : _to->SetValue(aValue); }

#if 0
/* Use the code below as a template for the implementation class for this interface. */

/* Header file */
class nsDOMHTMLLIElement : public nsIDOMHTMLLIElement
{
public:
  NS_DECL_ISUPPORTS
  NS_DECL_NSIDOMHTMLLIELEMENT

  nsDOMHTMLLIElement();

private:
  ~nsDOMHTMLLIElement();

protected:
  /* additional members */
};

/* Implementation file */
NS_IMPL_ISUPPORTS1(nsDOMHTMLLIElement, nsIDOMHTMLLIElement)

nsDOMHTMLLIElement::nsDOMHTMLLIElement()
{
  /* member initializers and constructor code */
}

nsDOMHTMLLIElement::~nsDOMHTMLLIElement()
{
  /* destructor code */
}

/* attribute DOMString type; */
NS_IMETHODIMP nsDOMHTMLLIElement::GetType(nsAString & aType)
{
    return NS_ERROR_NOT_IMPLEMENTED;
}
NS_IMETHODIMP nsDOMHTMLLIElement::SetType(const nsAString & aType)
{
    return NS_ERROR_NOT_IMPLEMENTED;
}

/* attribute long value; */
NS_IMETHODIMP nsDOMHTMLLIElement::GetValue(PRInt32 *aValue)
{
    return NS_ERROR_NOT_IMPLEMENTED;
}
NS_IMETHODIMP nsDOMHTMLLIElement::SetValue(PRInt32 aValue)
{
    return NS_ERROR_NOT_IMPLEMENTED;
}

/* End of implementation class template. */
#endif

#endif /* __gen_nsIDOMHTMLLIElement_h__ */


text:
Why New Market Tax Credits Matter: Three Success Stories
November 9, 2017 November 9, 2017 ~ Jenny Hsu
New Markets Tax Credits (NMTC) help localities build stronger neighborhoods by investing in housing, schools, and other vital projects that are targeted at helping low-income communities. Between 2003 and 2015, $42 billion in direct NMTC authority has generated almost $80 billion in capital for local businesses and revitalization projects. NMTC investment has resulted in the creation or retention of over 750,000 jobs, and the financing of over 178 million square feet (sq. ft.) of commercial real estate and almost 14,000 affordable housing units. NMTCs are a proven and effective tool for generating private-sector investments in communities in need. This is one in a series of articles that show how public housing authorities (PHAs) and community development agencies have successfully used federal tax credits and tax-exempt bonds to build and/or preserve public housing and affordable housing and to increase the sustainability of communities.
Norfolk Redevelopment and Housing Authority: Hampton Roads Ventures
In 2008, the Norfolk Redevelopment and Housing Authority (NRHA) became the nation's first and only redevelopment and/or housing authority to win an allocation of NMTC. Following a rigorous and competitive application and review process, NRHA received a $15 million allocation and then – as required by the U.S. Treasury Department – created an affiliate community development entity (CDE) called Hampton Roads Ventures (HRV), LLC to manage the allocation and to collaborate with private-sector investors. Today, HRV has been awarded six allocations of NMTC that total $260 million and is an investment firm that specializes in attracting private-sector capital into pioneering economic community developments located in emerging domestic areas, including lower income urban and rural communities.
East St. Louis Housing Authority: Jazz @ Walter Circle
Developed by Hampton Roads Ventures in partnership with the East St. Louis Housing Authority (ESLHA) and others, the East St. Louis development called Jazz @ Walter Circle is the first project to combine public housing funds with New Market Tax Credits. Completed in 2012, this 100,000 sq. ft. hi-tech senior facility offers over 70 senior living units and cultural activities. The facilities include a locally owned greengrocer, credit union, wellness center, commercial kitchen, community center, and roof and terrace gardening/farming initiative. The project was made possible by $17 million in NMTCs and various public/private partnerships that further generated the financial resources needed for the development. The ESLHA collaborated with HUD, City of East St Louis, Eco Jazz, Inc., NFP (an ESLHA affiliate), Dudley Ventures, and HRV.
District of Columbia Housing Authority: Canal Park
In 2008, the District of Columbia Housing Authority (DCHA) created a non-profit subsidiary called DC Housing Enterprises (DCHE), which is one of the few PHA organizations certified as a CDE. DCHE is able to originate NMTCs by providing tax credits to investors in return for equity investments in businesses that serve low-income communities. Since 2009, DCHE has received $83 million in NMTC allocations and invested over $450 million in community-oriented real estate and business sector capital that contributes to DCHA's broader mission of creating stronger communities for all residents, especially those with low incomes.
The Canal Park mixed-use/mix-income sustainable community project, which was completed in 2012, received DCHE's very first investment of NMTCs. Located in DCHA's fifth HOPE VI Arthur Capper and Carrollsburg public housing communities, the project's NMTC allocation helped to develop the LEED Gold Certified eco-friendly and art-filled community park that serves as a "front yard" to Capitol Quarter, a new 323-townhome neighborhood that was being redeveloped as a part of DCHA's HOPE VI project. The Office of the DC Deputy Mayor for Planning and Economic Development invested $135 million, DCHA provided $3.9 million equity and allocated $13.5 million in NMTCs.
Questions or comments about this article? Please email Georgi Banna at gbanna@nahro.org. If you are a PHA/CD agency and would like to share your own LIHTC, Project Activity Bonds (PAB) or NMTC success story, contact Sylvia Gimenez at sgimenez@nahro.org.
Posted in Advocacy, Affordable Housing, Community Development, Legislation, Public Housing	CDECommunity Developmentcommunity revitalizationeconomic growthHousing authoritiesNMTCRedevelopmentredevelopment agenciestax creditsTax reform
< Previous Why the 4% LIHTC Matters: Walla Walla Housing Authority
Next > Why the 4% LIHTC Matters: Knoxville Community Development Corporation


Yesterday, I went to Dave and Joyce's wedding. Almost everyone there was Korean, which wasn't too surprising, since they are both Korean. A few other people were there from CVS as well. The food was decent and the reception was tolerable. The single women waiting to catch the bouquet were quite attractive.
Afterwards, I went home and watched the unrated version of Cursed, and then the director's cut of Sin City. I am trying to stay awake to keep my sleeping schedule on track, but it is difficult.


text:
Møns kommun (danska: Møn Kommune) var en kommun i före detta amtet Storstrøms amt i Danmark. Kommunen hade 11 731 invånare (2004) och en yta på 237,12 km². Stege var centralort.

Kommunen slogs 2007 samman med Langebæks kommun, Præstø kommun och Vordingborgs kommun till Vordingborgs kommun.

Se även
Møn

Tidigare kommuner i Danmark
Vordingborgs kommun

redpajama_set_name: RedPajamaWikipedia


text:
Q: Google Places API concatenate search string with MySQL response I'm trying to create a Google Places URL that can be reused and concatenated with a response from my database.. Not getting this to work and have been trying for a couple of days with no luck! If I echo out the both strings, from PHP on to my web page and copy&paste it, both addresses generate the same Google Places result, but when I print the JSON decoded response I get UNKNOW_ERROR from Google..
This is what I have been trying to use. The first and the second $googlePlacesAPI contains the exact same URL, just that one is concatenated and the other is "hard coded".
$googlePlacesAPI =  "https://maps.googleapis.com/maps/api/place/textsearch/json?query=" .
$BarName. "+" . $BarCity . "&sensor=false&types=bar|night_club&key=" . $mySuperSecretKey;

$googlePlacesAPI = "https://maps.googleapis.com/maps/api/place/textsearch/json?query=" .
$BarName. "+" ."Göteborg". "&sensor=false&types=bar|night_club&key=" . $mySuperSecretKey;

To get the value of $BarCity I use this piece of code (before creating the $googlePlacesAPI variable):
$row = mysqli_fetch_array(mysqli_query($con, "SELECT * FROM City WHERE ID = $CityID"));
mysqli_close($con);

$BarCity = $row['CityName'];

EDIT:
This is how I decode the answer:
$placesSearch = json_decode(file_get_contents($googlePlacesAPI));

A: You probably want to close the connection after you're done with $row:
$row = mysqli_fetch_array(mysqli_query($con, "SELECT * FROM City WHERE ID = $CityID"));
$BarCity = $row['CityName'];
mysqli_close($con);

See a sample of mysqli_fetch_array usage at http://nl3.php.net/mysqli_fetch_array#example-1728


text:
Category Archives: A Night in With Audrey Hepburn
Book Review: A Night in With Audrey Hepburn by Lucy Holliday
Posted by bookishjen in A Night in With Audrey Hepburn, Audrey Hepburn, Book Reviews, Books, Celebrities, Comedy, Family, Fiction, Film, Friendship, Humor, Inspiration, Internet, Love, Lucy Holliday, Performing Arts, Romance, Sex, Technology, Uncategorized
What girl, raised on fairy tales and classic movies, hasn't dreamed of having her own fairy godmother? Jeepers, I'm a grown woman and I could use a fairy godmother. And I can't think of a better fairy godmother than Audrey Hepburn. She would advise me on fashion, love, work and making our world a better place. And now that I think of it, Miss Hepburn did guide me on those things. I just wish I could have met her.
Fortunately, Libby Lomax is going to do just that—meet Audrey Hepburn. And not does she meet Audrey Hepburn; Libby meets her as one of the most iconic film roles ever—Holly Golightly, in the novel A Night in With Audrey Hepburn by British author Lucy Holliday.
To say struggling actress Libby Lomax is having a bad day is an understatement. After years being an extra on TV shows and movies, Libby finally gets her big break saying a smattering of lines in a science fiction TV series. While wearing her TV character's alien costume, Libby accidentally lights herself on fire, singeing off some of her hair. And if this workplace faux pas isn't humiliating enough, she lights her hair on fire in front of the shows bad boy star, Dillon O'Hara.
The powers that be sack Libby at once, and she goes home to her tiny apartment to shed a few tears and lick her wounds. While contemplating her sad state of affairs while sitting on an ugly couch given to her by her best bud Olly (more on him later) Libby pops in the classic movie Breakfast Tiffany featuring the wonderful Audrey Hepburn as Holly Golightly.
Well, guess how pops up next to Libby outfitted in her best Holly Golightly chic? Yes, Audrey Hepburn!
Is Libby going mad? Is she hallucinating?
Well, does it matter? The wonderful Audrey Hepburn is sitting right next our flummoxed heroine. So shouldn't Libby converse with her and get some finely-honed insight on men, mothers and making a career?
Did I mention mother? Oh, yes, Libby's mother, a stage mother to end all stage mothers and one who puts the P in pushy. Libby's very own Mama Rose has been pushing both her daughters, Libby and Cass, to become huge stars. Whereas, Libby has her struggles and can barely get past the extra stage, high maintenance Cass is getting more parts and more success. This doesn't do much for Libby's self-esteem.
As for Libby's father, the sperm donor? Well, he ran out ages ago, fancies himself as a notable writer, and ignores his daddy duties to Libby and Cass. Sadly, enough, Audrey's own father ran out on her when she was very young.
To keep herself busy, Libby is making a necklace for her friend's upcoming wedding. This particular necklace has been inspired by a beautiful necklace Audrey wears in Breakfast at Tiffany's. Audrey finds this necklace and is positively enchanted with Libby's talent. Audrey also discovers Libby's iPad, which she charmingly calls a "lovely padlet" (note to self, adopt the phrase "lovely padlet"). Audrey also discovers the Internet, most notably Twitter.
Before you can sing a bar from "Moon River" Audrey starts a Twitter account for Libby to showcase her jewelry making skills (unbeknownst to Libby). It isn't long before Libby's Twitter is gaining many followers. And many followers want to buy this talented lady's work.
At first Libby is confused. Audrey let's the honey-colored Cat out of the bag, and tells Libby she has set up the Twitter account and encourages her to embrace her skills and talents and start a career as a jewelry designer. Battered and bruised from her non-existent acting career, Libby is initially hesitant. But thanks to Audrey's loving guidance, encouragement and savvy, Libby begins to believe in herself and treasure her talents.
She also learns to stand up for herself when it comes to her mother, sister, father and other jerk who might come in her path.
But wait? Am I missing something? A certain Dillon O'Hara, the A-list hottie Libby tried to flirt with to fire-fried results? Seems Dillon is actually quite smitten with Libby, which is quite a shock considering the gossip pages show mostly himsquiring models with pneumatic breasts. Will Libby and Dillon hook up? Well, that is a secret that I have up my Givenchy (okay, H & M) sleeve.
Libby goes from strength to strength, but also faces some hurdles (including a truly mortifying moment at a high-end spa), which shows up on YouTube. Is this humiliation one she can survive and ultimately thrive?
Initially, A Night in With Audrey Hepburn started a bit slow, but soon it gained steam. Lucy Holliday writes with a down-to-earth, appealing, and warm voice. And you can tell she's a big fan of Audrey Hepburn fan, which as a huge Audrey fan myself, I greatly appreciated.
What I also liked was a hint of mystery at the end. Though Libby is over the moon when it comes to Dillon, I detected a bit of a spark between her and Olly even though they are in the friendzone. Perhaps we'll find out in the sequel to A Night in With Marilyn Monroe what happens with both of these fellows and how they relate to Libby. Yes. Lucy Holliday has a whole series of Libby Lomax bonding with the best of Hollywood's Golden Age, and I hope they are just as fun to read as A Night in With Audrey Hepburn.
In Audrey Hepburn's other classic film Sabrina, she states, "Paris is always a good idea." I'd like to say "Audrey Hepburn is always a good idea."


While Pat McCrory privately took the Governor's oath of office behind closed doors, locked inside the State Capitol away from the public, McCrory's Puppet Master was sworn in at a public ceremony as North Carolina's new Shadow Governor and the state's real chief executive, last weekend.
Click here to watch video of Art Pope's coronation.
Learn more about Art Pope's empire at www.ArtPopeExposed.com.


text:
Sodexo and Houston Museum of Natural Science Offer New Dining Experience for Museum Patrons
.@SodexoUSA + Houston Museum of Natural Science offer new dining experience http://bit.ly/2vGhp7t
GAITHERSBURG, Md., August 14, 2018 /3BL Media/ - Sodexo, a food services and facilities management company committed to improving Quality of Life, will begin service at the Houston Museum of Natural Science (HMNS) in November. The partnership will bring a variety of new dining options for museum patrons, including a café marketplace, a food truck with seasonal and local offerings, and a new burger concept supported by self-order kiosks and online ordering.
"We are thrilled to work with the Houston Museum of Natural Science to bring our shared vision of providing healthy and sustainable food options to life," said Moses DeBord, vice president, Sodexo Sports & Leisure. "We will offer a wide variety for guests from artisan inspired dishes, quick service dining, and local favorites from our food truck."
Sodexo's approach to meeting consumer needs is one that includes listening for what is required to have the best culinary experience and finding ways to creatively implement them.
"We are looking forward to the beginning of a great partnership with Sodexo that will provide new culinary experiences for our guests, community and museum staff," said Stephen Sachnik, CFO, Houston Museum of Natural Science.
Sodexo has enjoyed a longstanding relationship with the Houston community. The company will continue to support area businesses, vendors, and organizations.
Sodexo Sports & Leisure is a premier provider to cultural destinations and event venues around the world and in the U.S. including The Jules Verne restaurant at the Eiffel Tower, the Museum of Science and Industry in Chicago, Smithsonian's National Zoo, and the California Academy of Sciences.
About Houston Museum of Natural Science
The Houston Museum of Natural Science—one of the nation's most heavily attended museums—is a centerpiece of the Houston Museum District. With four floors of permanent exhibit halls, and the Wortham Giant Screen Theatre, Cockrell Butterfly Center, Burke Baker Planetarium, and George Observatory, and as host to world-class and ever-changing touring exhibitions, the Museum has something to delight every age group. With such diverse and extraordinary offerings, a trip to the Houston Museum of Natural Science, located at 5555 Hermann Park Drive in the heart of the Museum District, is always an adventure.
About Sodexo North America
Sodexo North America is part of a global, Fortune 500 company with a presence in 80 countries. Sodexo is a leading provider of integrated food, facilities management and other services that enhance organizational performance, contribute to local communities and improve quality of life for millions of customers in corporate, education, healthcare, senior living, sports and leisure, government and other environments daily. The company employs 150,000 people at 13,000 sites in all 50 U.S. states and Canada and indirectly supports tens of thousands of additional jobs through its annual purchases of $9.2 billion in goods and services from small to large American businesses. Sodexo is committed to supporting diversity and inclusion and safety, while upholding the highest standards of corporate responsibility and ethical business conduct. In support of local communities across the U.S., the Sodexo Stop Hunger Foundation has contributed close to $32 million over the past 20 years to help feed children in America impacted by hunger. To learn more about Sodexo, visit SodexoUSA.com, SodexoInsights.com and connect with us on Facebook, Instagram, LinkedIn, Twitter and YouTube.
Dasha Ross-Smith
Sodexo, Inc.
dasha.ross-smith@sodexo.com
Good Health and Well-Being
OTC:SDXAY
Houston Museum of Natural Science
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Sodexo Partners With Saladworks to Bring Healthy, Fast Casual to Universities in the U.S.
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Mar 11, 2019 11:00 AM ET


text:
Family's anger after postmortem shows young dad was killed by ruptured spleen which doctors failed to spot
EXCLUSIVE: A young dad who died hours after a fall on a football pitch – despite being seen twice by doctors – had a ruptured spleen.
Kevan Christie
A YOUNG dad who died hours after a fall on a football pitch – despite being seen twice by doctors – had a ruptured spleen.
Craig Davidson, 28, was sent home with painkillers by the first doctor, while the second diagnosed a panic attack and gave him tranquillisers.
But his death certificate shows he died of abdominal bleeding due to a ruptured spleen.
Yesterday, his distraught mum Dorothy, 51, who found him lying dead on her kitchen floor on Sunday, said: "They've killed my son."
She added: "The anger I felt when I saw Craig's death certificate was overwhelming.
"My sister is a staff nurse and she told me Craig was showing the classic signs of a ruptured spleen.
"It will give you severe abdominal pain on your left side going into your neck and shoulder – that's exactly what Craig was telling the doctors. They failed to spot it twice.
"Craig should have had an emergency operation to remove his spleen. He would have made a full recovery and got on with his life as normal.
"Now I've lost a son and his kids have lost their dad – all because of the medical staff.
"How the second doctor thought Craig was having a panic attack when he was actually dying from the bleeding caused by his ruptured spleen is beyond belief."
The car sprayer from Dundee went to the city's Ninewells Hospital after falling heavily while playing for Tayside Fire Brigade FC on Saturday.
He complained of a sore stomach and said the pain was going into his neck and shoulders but was sent home with painkillers.
During the night, his condition worsened and he began vomiting.
A doctor – who arrived three hours after Craig's family phoned NHS24 – diagnosed a panic attack. But just hours later, the young dad was dead.
A doctor told the Record: "The symptoms would fit in with a ruptured spleen and the treatment is to remove the spleen as it cannot be repaired.
"You would go on to have a full recovery but would have to stay on medication for the rest of your life to guard against infection."
Craig had two sons, Joshua, four, and Riley, one.
Last night, their mum Amy Buist, 21, said: "I'm so angry.
"It's a total joke – my kids' dad should still be here.
"I blame the second doctor. What was he thinking giving Craig a jag for a panic attack when he was clearly dying?
"That's some panic attack where you're struggling to breathe, being violently sick and in excruciating pain.
"Dorothy says she's going to take her fight for answers all the way and I agree. We have to do it for Craig."
Dorothy added: "I'm seeking legal advice and I'm looking to sue the NHS for medical negligence.
"My boy would be alive today if the doctors had done their jobs properly.
"I've always trusted the NHS but they've let my family down in the worst way imaginable."
NHS Tayside's medical director Dr Andrew Russell said: "We are launching an immediate and urgent investigation into the circumstances of Mr Davidson's death.
"I will be contacting his family personally to discuss the investigation with them and offer any support."
Craig's teammates are said to be devastated and have asked for their match on Saturday to be postponed.


What do Breivik and his atrocities tell about multiculturalism in Europe? Has the mass murder weakened the European far-right parties? Or are they gaining even more support among the public? How should Europeans express their fear of change and what policies should be re-examined to encourage mutual respect and understanding? CrossTalking with Rachel Marsden, Roger Griffin and Mohammed Shafiq.


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Rahamim Talbi International Games and Goals
A Hebrew version of this file is available here.
Born:            17/5/1943
Position:        forward
Games:           32 according to FIFA
46 according to IFA
Goals:            4 according to FIFA
Age First Game:  22 yr  27 d  (13/06/1965)
Age Last Game:   30 yr  11 d  (28/05/1973)
Career Duration:  7 yr 349 d
All matches are friendlies unless stated otherwise.
No.  Date       Opponent              Venue       Result   Competition
1.  13/06/1965 Bulgaria              Away         0-4     World Cup 1966 Qualifying
2.  10/11/1965 Belgium               Away         0-5     World Cup 1966 Qualifying
3.  21/11/1965 Bulgaria              Home         1-2     World Cup 1966 Qualifying
4.  08/05/1966 Finland               Away         3-0
5.  15/06/1966 Uruguay               Home         1-2
6.  12/10/1966 Yugoslavia            Home         1-3
7.  26/10/1966 Denmark               Away         1-3
8.  03/12/1966 Poland                Home         0-0
9.  07/12/1966 Romania               Home         1-2
10.  14/02/1968 Switzerland           Home         2-1
11.  19/02/1968 Sweden                Home         0-3
12.  12/05/1968 Hong Kong             Iran         6-1     Asian Nations Cup 1968
13.  14/05/1968 Burma                 Iran         0-1     Asian Nations Cup 1968
14.  17/05/1968 Taiwan                Iran         4-1     Asian Nations Cup 1968
15.  19/05/1968 Iran                  Away         1-2     Asian Nations Cup 1968
16.  10/09/1968 Northern Ireland      Home         2-3
17.  15/09/1968 USA                   Away         3-3
18.  25/09/1968 USA                   Home         4-0
19.  12/03/1969 Greece                Home         3-3
20.  23/04/1969 Austria               Home         1-1
21.  25/08/1969 Greece                Away         3-1
22.  28/09/1969 New Zealand           Home         4-0     World Cup 1970 Qualifying
24.  04/12/1969 Australia             Home         1-0     World Cup 1970 Qualifying
25.  14/12/1969 Australia             Away         1-1     World Cup 1970 Qualifying
26.  02/06/1970 Uruguay               Mexico       0-2     World Cup 1970
28.  20/02/1973 Argentina             Home         1-1
29.  21/05/1973 Thailand              South Korea  6-0     World Cup 1974 Qualifying
30.  23/05/1973 South Korea           Away         0-0     World Cup 1974 Qualifying
31.  26/05/1973 Japan                 South Korea  1-0 aet World Cup 1974 Qualifying
32.  28/05/1973 South Korea           Away         0-1 aet World Cup 1974 Qualifying
Rahamim Talbi also played in the following games which have been recognized
as offical games by IFA but not by FIFA:
1.  06/04/1966 Finland               Home         7-1
2.  19/10/1966 Netherlands U-23      Away         1-4
3.  22/10/1966 Switzerland B         Away         0-4
4.  16/05/1967 Scotland XI           Home         1-2
5.  07/09/1967 Netherlands Olympic   Away         2-1
6.  17/03/1968 Ceylon                Home         7-0     Olympics 1968 Qualifying
8.  13/10/1968 Ghana                 Mexico       5-3     Olympics 1968
9.  15/10/1968 El Salvador           Mexico       3-1     Olympics 1968
10.  17/10/1968 Hungary Olympic       Mexico       0-2     Olympics 1968
11.  28/05/1969 Greece U-23           Away         3-1
12.  02/09/1969 West Germany Amateurs Away         1-1
13.  14/01/1970 Romania Olympic       Home         0-1
2.  10/09/1968 Northern Ireland      Home         2-3
3.  12/03/1969 Greece                Home         3-3
4.  25/08/1969 Greece                Away         3-1
Rahamim Talbi also scored the following goals in games which have been recognized
6.  28/05/1969 Greece U-23           Away         3-1
Prepared and maintained by Jean-Michel Cazal and Yaniv Bleicher for the Rec.Sport.Soccer Statistics Foundation
Authors: Jean-Michel Cazal (Jean-Michel.Cazal@wanadoo.fr) and Yaniv Bleicher (yanivbl@hotmail.com)
(C) Copyright Jean-Michel Cazal, Yaniv Bleicher and RSSSF 2002/2011
You are free to copy this document in whole or part provided that proper acknowledgement is given to the authors. All rights reserved.


This weekend I saw something that really made me mad. I was watching ESPN and saw some talks about a college brawl. Everything seemed normal as a New Mexico State player threw the ball at a Utah Valley player in the closing seconds of the game. A normal player on player confrontation seemed likely but instead the crowd rushed the floor because of the win. The fans from the crowd then engaged in a fight with the New Mexico State players.
I really hate to see things like this because I feel like for most people the players are automatically in the wrong. The NCAA disciplined two of the players with suspensions but what about the fans? What happened to them? It feels like whenever a player and fan get into it the fan is always the right one. Its like the fans can't get disciplined.
I swear the NCAA forgets that these athletes are normal people like the rest of us. If a sworm of people come running at them ready to fight the odds are there hands are going to go up in order to defend themselves. I feel like athletes, especially college athletes should never be in a situation like that. As an athlete you shouldn't feel like your in a situation where you have to defend yourself from fans.
Others sports have banned this but for some reason in college basketball its still allowed. I feel as though its unsafe for everyone involved and should be put to rest. There are too many emotions on the floor right after the game ends for a bunch of people rushing the floor plus its just not safe anymore.


text:
Q: Do comments get stripped out of executable Objective-C if we have a lot of comments in our iOS app does it slow down the program or do they get stripped out during compilation ?

A: Comments are completely ignored by compilation (depending on compiler and language they are either removed completely or replaced by a single space) and won't affect your program in any way.
The same is true for most programming languages and most compilers (exceptions usually being special directives hidden inside comments).
Comments might slow down the compilation process in a very small way.
Your next question might be why replacing comments by a single space. Consider the following:
 NSString *token;
 NSString *to/* comment */ken;

The second one is invalid code since it will be translated to:
NSString *to ken;


Coming from a fine art photography background, the past several years of only working with the digital format has left me longing for a deeper connection to my true creative self.
Digital stops the creative process short and doesn't allow for the longer more drawn out tactile process that I love so much about photography.
This mirrors the current online social experience that I have where I don't get to see the person I am communicating with and the relationship is very brief and empty. I have spoken to many woman who have told me that social media tends to leave them sad and longing for a deeper connection so I wanted to create a project that could heal that for everyone involved and express that it's okay to choose solitude over empty connections.
In this new project I reach out to women who I originally met through social media. I ask them if they want to be photographed for a project and then take the time to get to know them in person as a photographer gets to know her subject. I make an image of them using digital or film then print it on Moab Moenkapi Kozo paper and proceed to paint the surface by hand with watercolors letting the water wash over the paper mixing with the archival inks. The Kozo paper reacts to the water which creates a beautiful patina to the final print.
When done, each one is a truly unique piece of art.


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Home › Posts › Art & Activism Quarterly › The View from Queens: An Interview with Artist Christine Wong Yap
The View from Queens: An Interview with Artist Christine Wong Yap
Posted on November 9, 2014 by Elizabeth Travelslight — No Comments ↓
Christine Wong Yap, Irrational Exuberance Flags, 2012–13, five flags and five sashes; flagpoles, bases; participation; flags: 48 x 48 up to 48 x 80 inches each, poles: 8 to 30 feet each. Supported by Lucas Artists Program at the Montalvo Arts Center.
I met Christine Wong Yap in the Summer of 1999 in Philadelphia at a heated July Fourth political rally in support of Mumia Abu Jamal. As two young Asian-American women navigating the East Coast with little more than a skateboard and backpack, we discovered an easy alliance and a lifelong friendship far from the cool grey San Francisco suburb of Daly City where we had coincidentally both grown up. Christine had just completed her BFA in Printmaking from the California College of Arts and Crafts and was emerging as a leading Bay Area community artist and activist, creating some of the most iconic murals and illustrations of the time. She could be spotted painting in a collaborative, interdisciplinary performance alongside Angela Davis and Crystos at "Women, Prisons, and Globalization" and on the cover of the popular New York City activist publication BLU magazine's issue No. 13, The Radical Pacific. Those who follow her current, largely conceptual, art practice may be unfamiliar with this early career.
For the Bay Area, the late-nineties were an urgent but optimistic time characterized by activist alliances forged in the face of California State Propositions 187 and 21 and a vibrant renaissance of queer and multicultural celebration. We prepped for the WTO protest in Seattle. We danced at La Peña Cultural Center and the Justice League. Apple's latest offering, the curvy candy-colored iMac G3 (complete with CRT) was driving the City's first dot-com fueled boom and ushering in a new era of fast digital prosperity, speculation, and displacement. The Bay Area was cash flush. The Internet was full of promise but free of advertising. Naïve to the future domination of Google, iTunes, and social media, we Asked Jeeves, made mixed tapes, and lost track of people. Friends were just friends.
A lot has changed in the time since Christine and I met: September 11th, the "War on Terror," "The Great Recession." As the Bay Area Society for Art & Activism takes shape and I reflect upon and explore the particular unions and intersections of art and activism in the Bay Area, I cannot help but wonder about Christine's perspective, her experiences and the view from Queens. I sat her down for an interview over email to take in the transformations over the last fifteen years and the development of her own art practice.
ET: Preparing for this interview unexpectedly re-opened this early time in our friendship in a lot of detail. What do you remember most about the late-nineties and where were you at personally with respect to art and activism?
I've been thinking about the nineties a lot lately… Fellow artist Val Britton mentioned The Punk Singer and we discussed where riot girl, feminism, and anti-corporate culture are today. It made me really proud to come of age in the 1990s, and have that ethos engrained in my identity.
CWY: My strongest memories from that period of activism are of short-lived but passionate collectives/community-based organizations like Underground Railroad, Mandela Arts Center and East Bay Institute of Urban Arts. Those are places where I learned mural-making, popular education pedagogy, and political education (especially juvenile and environmental justice issues). It was also where I connected with Oakland beyond art school, meeting residents and a community of talented, revolutionary people. And I learned about roles in the movement: cultural worker, activist, organizer… My artwork at the time was very figurative. I was contributing illustrations to support the youth movement, and leading mural and visual art workshops. I was also making fable-like woodblock prints on a signpress in my bedroom facing 580.
Actually, I've been thinking about the nineties a lot lately. It started earlier this year, during a Martha Rosler Culture Class book club meeting. Fellow artist Val Britton mentioned The Punk Singer and we discussed where riot girl, feminism, and anti-corporate culture are today. It made me really proud to come of age in the 1990s, and have that ethos engrained in my identity. When I was thinking about Facebook's artist residency program, I realized how being suspicious of corporate co-optation—a common attitude in the 90s—feels sadly anachronistic today.
The nineties were really formative for me as a person…. It's hard to explain today how liberating it was as a teen to discover 'zines—confessional, ranty, vulnerable, self-righteous, and empowering. It helped me feel like there was a way out of the suburbs (Daly City, its tract houses perfectly illustrating "conformity"), and it was through creativity, DIY, and an underground—a real alternative to mainstream culture. I also read a lot of kill-your-television type books, and learned to be critical of mass media and media consumption.
Christine Wong Yap, Untitled, 2008, site-specific window intervention: window film, gels, acetate, 9 x 7 feet / 2.7 x 2.1 m for Activist Imagination at Kearny Street Workshop, San Francisco, CA.
ET: At the time, it seemed that politics and activism were really central to your practice. How and why did that come about? Was it a natural extension of coming of age in the nineties?
CWY: I think I got interested in politics as a teen, but my work at that time was socially-oriented, with political overtones. Being involved with activism and cultural work at spaces like the East Bay Institute for Urban Arts exposed me to a lot of artists and art infused with politics, as well as a sense of urgency around the state of affairs around juvenile justice and criminal justice issues. And reading Adbusters, etc. So maybe yes, it was probably quite natural for me in that decade.
ET: From my own observation, I have sense that your art practice took a distinct turn during your MFA from 2005-2007. If so, what prompted the change and how would you describe the new tone of your work?
CWY: I went to grad school to make a change. After my BFA I did a lot of cultural work, working as an educator, and painting murals and doing illustrations for various causes. And then after six or seven years, I felt I had squeezed what I could creatively from my undergrad education, but I wasn't growing as an artist. I also felt that many of my artist-peers had moved away, and I wasn't connecting with the contemporary art I saw being exhibited; my BFA helped me appreciate art up until about 1965. I wanted to expand my knowledge of contemporary art, and start making new, different work. I needed the challenge.
Grad school helped me think about how form and content are interconnected, and gave me more grounding in contemporary art and discourse since 1965. I remember trying to make work that embodied my idea, rather than illustrating it. And I wanted to work in a way that was daringly straightforward in technique, to make it less about me, my skills, or self-expression, and more about the viewer. This helped me break away from being married to techniques like printmaking or painting, to more experimentally in diverse yet simple media, as I was becoming more invested in concept and experience.
ET: Will you say a little more about the conceptual content of your work since your MFA? You became strongly interested in humanistic psychology, the emotional and mental processes that sustain creativity like optimism and pessimism. I've observed how you have really honed your exploration of these concepts in your work for many years now, through a variety of materials. How and when did this come about as an area of interest? And do you see it as a continuation of your more overtly activist, community-based work?
I loved how intangible emotions such as pleasure could be quantified based on empirical research. It suited my interest in the paradox between idea and material, or language and meaning. I also enjoyed the irony of making spare, conceptual diagrams of such an elusive thing as happiness.
CWY: I started investigating optimism and pessimism using light and language as metaphors in 2005. Then I started studying happiness and positive psychology in 2009—I was on my first artist's residency—the Breathe residency at the Chinese Arts Centre (now the Centre for Chinese Contemporary Art) in Manchester, UK. It's a three month residency geared towards research and experimentation, so I read a lot of books, and one was Paul Martin's "Drugs, Sex and Chocolate: The Science of Pleasure." I loved how intangible emotions such as pleasure could be quantified based on empirical research. It suited my interest in the paradox between idea and material, or language and meaning. I also enjoyed the irony of making spare, conceptual diagrams of such an elusive thing as happiness. From there I dived into books by well-regarded positive psychologists like Mihaly Csikszentmihalyi, whose research into creativity and flow continues to be a source of inspiration.
I'm not sure if there is a creative or artistic connection between my work inspired by positive psychology and activist community-based work. I have a lot of respect for activists and organizers who dedicate their lives to effecting social change through political education, building a mass base, etc. I would offer that I'm realistic about that this psychology-related artwork operates on different levels—mostly personal and sometimes social, but probably not political.
Christine Wong Yap, Positive Signs #13, 2011, glitter and/or fluorescent pen, 8.5 × 11 in / 21.5 × 28 cm.
ET: I've often come away from your work with a experience of joyful liberation combined with strategic tools for creativity and community–both of which I find to be inherently political. Not overtly in the sense of grassroots community organizing or taking the streets with a banner, but subtly–on a deeper emotional and cognitive level. This arises in part from your wonderful skill with color and materials which are profoundly friendly and accessible as well as your choice of form and content, like your flags and diagrams for example (I suppose I'm thinking of Irrational Exuberance and Positive Signs) which seem to open a liberated emotional terrain on the one hand and provide a playful/mischievous schema for navigating fraught creative processes on the other. Personally, as an artist and an activist, I find your work powerfully supportive–not of any particular political position–but in helping me manage the psychological weight of undertaking creative endeavor, personal, political, or otherwise.
CWY: Actually, I just transcribed the conversation at the public forum accompanying The Eve Of…, and curator Andria Hickey mentioned that she does think of my past work having to do with positive psychology as having a social justice feeling to it, by being active and encouraging people to come together. So others perceive that as well.
I guess I think of positive psychology as empowering to people personally and emotionally, and that artists especially can benefit from engaging our conditions as a group to mutually benefit. Being an artist can be terribly isolating and competitive, and it doesn't have to be—we can help shape the art worlds we want to participate in, with transparency, ethics, and so on.
Being an artist can be terribly isolating and competitive, and it doesn't have to be—we can help shape the art worlds we want to participate in, with transparency, ethics, and so on.
ET: This doesn't begin to address some of the darker elements also present in your work. I've only seen images from The Eve Of… your most recent solo exhibition in Queens, but it appears more sober in tone than other recent projects. What brought The Eve Of… about? Also, "Make Things (Happen)" strikes me as a particularly art/activist mantra, do you want to tell us a little about that?
CWY: A few things. One is that in making work about happiness or work that embraced exuberance, I got the sense that contemporary art audiences are quite cynical, and the general public associates happiness with simplicity or simple-mindedness. That exploring happiness is not very complicated, when my interest in it is exactly because it's not. Just because we think we know what happiness is, because we've experienced it without necessarily doing anything for it, doesn't mean we really understand it, or how to create the conditions and mental patterns to increase or sustain it. So it seemed like a change to explore other emotions.
I was also thinking about my past work, having to do with optimism and pessimism, the more phenomenological installations, and wanting to make work that was less about language or conveying literal ideas. I just wanted to work more intuitively in a spare or restrained way, I suppose. Lastly—I don't want to say too much, so I'll leave it at this: there's an element of confronting mortality too in the work.
Make Things (Happen) is a participatory project featuring 29 artist-created activity sheets freely available to the public as photocopies or downloadable PDFs, to be used for making things (such as drawings or a four-person swing) or making things happen (conceptual, performance and social practices). It's been on view in Social in Practice at Nathan Cummings, and will be at NYU Tisch this fall. I'm also going to expand the project for a solo presentation at Interface Gallery in Oakland, CA, in February 2015.
Various Artists (shown: Lauren F. Adams, Justin Langlois, Sarrita Hunn, Kristina Paabus, Risa Puno, Piero Passacantando), Make Things (Happen), 2014, 29 activity sheets, 8.5 x 11 inches / 216 x 279 mm
It was inspired by the satisfaction of creative activity. It was also inspired by a Venn diagram I made called What Artists Make and What Artists Make Happen. I made it to flesh out some thoughts following Irrational Exuberance (Asst. Colors), a solo exhibition I had at an artist-run space, which entailed not only making the work, but developing the public programming and calling on a small army of friends to help changeover the space and make physical improvements to the gallery. It was the predecessor to The Eve Of… in terms of an exhibition-making model.
It's a little strange, when you think about it, that encouraging people to engage in DIY activities has a political bent to it. Of course, when I was a teen influenced by punk culture, politicizing DIY was really meaningful to me. Now, things are so digital, and making is so fetishized, I wanted to do something that was super low-tech and accessible, and also explore how creative artistic activity is similar or parallel to creative public actions. I was also interested in connecting artists with each other. I am very interested in participation, and thinking through participatory art and its ramifications. There's a lot to explore there.
ET: That's really exciting to hear about Interface Gallery in Oakland. And brings up another aspect of your practice I'm interested in. One of the things that amazes me is your ability to maintain such an active presence in the Bay Area art scene. I think this reflects your commitment for community building and the enduring respect you've garnered from those of us who still live and work here. You were a participant at YBCA's Art City/Open City Festival last week, Montalvo Art Center in 2013, Interface Gallery coming up in 2015. Is your bi-coastal practice intentional? Do you think of it as bi-coastal?
CWY: I guess it is bi-coastal, though I certainly don't have a pied-á-terre (unless my Mom's house counts?).
What I do next as an artist is touch-and-go. So I'm grateful for opportunities wherever they are, and especially when they're in the Bay. When you have relationships with people who are familiar with you and your work—when you have that history together—it's irreplaceable. So I really value being able to continue to grow with people, such as collaborating with fellow artists Susan O'Malley and Leah Rosenberg for the Happiness Is… show at Montalvo Arts Center. At the same time, it's very validating to be able to work with new people and organizations, like Donna Conwell, curator of that show, and be a resident at Montalvo, where it felt inaccessible to me before (the residencies were by nomination only, which changed to open calls in 2013). It is really nice to be thought of and included in Bay Area art activities. I do try to nurture relationships, and folks do make it out to NYC a lot, which is good, too.
ET: You've been in NYC now since 2010. What has the move meant in terms of your career? How does NYC compare to the Bay Area and has your move provided new perspective on the arts in the Bay Area? You seem to be thriving.
There are cultural and political sensibilities in the Bay Area that are easy to take for granted, and travel and living elsewhere has highlighted them for me…. Holding higher standards for race, class, sexual, and gender diversity, and espousing inclusiveness.
CWY: It's hard to know what moving to NYC means for my career. I'm too inside my own practice to see what an external trajectory might look like. I know it's given me access to seeing shows, meeting folks, and working as an artist's assistant and art handler. It's pretty killer, the concentration of bright minds here. Like, I heard one of my favorite artists, Ed Ruscha, speak at NYPL, you know!? And I'm pretty sure I spotted Fred Wilson outside one of my workplaces two days ago.
But I also feel like the NYC art world is also still quite vast and unknown, and I'd like to know more about artist-run spaces and like-minded artists. Being part of the Bronx Museum of the Arts' Artists in the Marketplace program has helped me find a mutually-invested cohort… I'm also excited to share that I just became a member of the artist's collective, Ortega y Gasset, which had a gallery in Ridgewood, Queens, and will be transitioning to a new space. My decision to join was driven by the desire to contribute and participate in an artist-centered scene here. Partly that's due to having a strong reaction against the market orientation of NYC art, and partly because I recognized the value of the Bay's amazing alternative art scene. Here, there are alternative spaces, but they're not as vital as the Bay's.
Christine Wong Yap, enthuse widely and often, 2011, grosgrain ribbon, thread, pins, 89 × 31 in / 226 × 78 cm.
NYC's seem polarized by the market, with venerable spaces operating like commercial galleries and younger spaces itinerantly popping up for short periods on the fringes of gentrification waves. I don't think comparing the art scenes in the Bay to NYC much more beyond that is very helpful; the size of the regions and relative histories of art commerce are too different.
ET: The Internet, circling back to the beginning of our conversation, seems to have made it possible for you to cultivate an active "presence" here despite the distance. You blog, comment and post thoughtfully and regularly online. Is this an integral part of your studio practice? How did it come about?
CWY: Oh, God, no, social media and studio practice are pretty antithetical. I have a poster up in my studio reminding me to get offline. Being in the studio is about being in my own head, or even better, shutting up my own mind. I took an FB sabbatical in August for The Eve Of… residency, and it was surprisingly easy, and quite pleasant.
Admittedly, some of my writing on my blog is me thinking through ideas that arise from, or feed back into, my practice. And crowd-sourcing for recommendations, advice, etc can be very helpful.
In terms of maintaining my visibility (which I don't consider part of my studio practice, but more of my professional practice as an artist who doesn't want my work to only exist in the studio), then yes, it does help me stay connected with folks in the Bay, and hear what they're up to, and learn about new spaces and projects. It's weird how social-media-oriented things are now; though I'd like to spend less time on social media, sometimes you can't avoid it–some art shows only have FB event listings and no webpages.
ET: It seems that so much has changed, not just since the time we met, but also in the years since you moved. In particular, over a year ago, already high housing costs in the Bay Area skyrocketed, displacement and evictions reached epidemic rates. This was and continues to have a the tremendous impact on local and longstanding arts and activism communities. How have you seen this play out? Online? I'm curious about your perspective from Queens, given your close first-hand experience with many of these communities.
CWY: I only have secondhand info, and none of it seems any good. People sometimes ask me if I'd move back. But I don't think I could afford it now. The news out of the Bay is a bummer, and it doesn't appeal. Of course there are lots of people and things and places within the Bay that I love. But just observing from afar, it seems like only a shadow of the place I knew remains.
Christine Wong Yap with children from the City of Oakland's Lincoln Square Recreation Center, The Great Balloon Giveaway, 2010, public project and social sculpture: 1,000 helium-filled balloons, Camron-Stanford House, Lake Merritt, Oakland, CA, for Here and Now, curated by Christian L. Frock presents Invisible Venue for the Mills College Art Museum. Photo by Paul Kuroda.
ET: One of my hopes for the Bay Area Society for Art & Activism is strengthen community around the values inherent in artistic and activist practices. I realize that it's a broad spectrum–of both practices and values. When you consider art and activism together, given both your early career and recent work, what really shines for you as valuable? Are there aspects of these practices and values that are characteristically "Bay Area"? And given all the changes in the Bay Area, what is worth working to sustain?
CWY: These days, I'm thinking a lot about transparency, ethics, and parity in the art world, thinking about diversity as a woman, and also as a person of color. I also think about labor and treatment of artists and art workers, and issues of visibility. These are concerns within a smaller subset that draw upon the activist values of justice, fairness, equality and "tolerance" (a word I dislike, but I mean it as accepting and embracing diversity, and challenging privilege).
There are cultural and political sensibilities in the Bay Area that are easy to take for granted, and travel and living elsewhere has highlighted them for me…. Holding higher standards for race, class, sexual, and gender diversity, and espousing inclusiveness. Unpretentiousness (people are generally less likely to let their ambitious make them act like jerks). And generally, progressivism. And a tradition of cultural work, and Third World identities. I've been read about this lately in Jeff Chang's "Who We Be: The Colorization of America," and it's been such a pleasure—to acknowledge, learn about, want to preserve, and feel like being part of something bigger than yourself. For artists, the Bay is a great place for experimentation, growth, and making things happen on your own. Which reminds me of something Angela Davis said, about the power of imagination—to be able to envision more than what exists. So one thing worth preserving is that sense of hope and viable pathways of creating to a political reality or a cultural community of your own.
Christine Wong Yap will show at Interface Gallery, Oakland in February 2015. You can view more stunning images of her work here and follow along online via her blog, R+D | On Be(com)ing an Artist, Citizen and Arts Community member.
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