text:
Conservation of biodiversity, forests, and mitigation and adaptation to climate change
Title: Conservation of biodiversity, forests, and mitigation and adaptation to climate change
Country: Ecuador
Lead executing agency: Ministry of Environment
Yasuni Biosphere Reserve in Ecuador's northern Amazon region covers an area of 27,400 square kilometres. With its unparalleled flora and fauna, it ranks as one of the most species-rich places in the world. In the 10,220 square kilometre Yasuni National Park alone, which is part of the biosphere reserve's core zone, there are 1,344 different species of fauna and over 2,700 species of flora. The region also has extraordinary cultural diversity: in addition to the mestizo population, indigenous peoples such as the Huaorani, Shuar and Quechua also live there, as do the Tagaeri and Taromenane tribes which choose to live in isolation.
Permits to drill for oil have been awarded for about half of the park's land area and 65 per cent of the biosphere reserve. As a result, water and soil have in places been contaminated by toxic waste from the oil extraction process. There has been massive degradation along the access roads to the oil fields due to deforestation and illegal hunting. This is also causing social conflicts.
The local population and government and non-governmental organisations contribute to the protection and sustainable development of the Yasuní Biosphere Reserve.
The Sustainable Development of the Yasuní Biosphere Reserve programme is being implemented in conjunction with the Ecuadorian Environment Ministry as part of a special programme focused on the Yasuni Biosphere Reserve. The main areas of work are:
Park rangers and administrative staff, and also the inhabitants of the Yasuni National Park and the biosphere reserve, attend training courses and receive advice on nature conservation and biodiversity. They also receive support in the form of specific projects, such as breeding and reintroducing rare species of tortoise and native trees.
Sustainable agriculture and forestry
The inhabitants of the biosphere reserve receive advice on sustainable ways of cultivating, processing and marketing their agricultural and forestry products such as cocoa, coffee, timber and food.
Training on biodiversity conservation
Alliances with educational institutions and the Environment Ministry will be established to develop and deliver training courses on environmental and resource conservation for community leaders, specialist staff in the institutions, and teachers, school students and parents in the biosphere reserve.
Spatial planning and adaptation to climate change
The communities in the biosphere reserve receive advice on their land-use planning. The aim is for them to contribute to the sustainable management of their agricultural and forestry resources. The local plans will be integrated into the spatial planning procedures of the local authorities and rural districts.
Communications structures and knowledge management systems will be further developed in all the areas of work with the support of consultants ECO-Consult and Mentefactura. Progress and promising activities are documented for different target groups: the local population, national government authorities and institutions, and the German Federal Ministry for Economic Cooperation and Development (BMZ). All activities are designed to ensure that men and women participate on an equal basis.
A mechanism has been developed to facilitate communication on technical issues, development planning and coordination among the local authorities, specialist institutions in the biosphere reserve and the different educational institutions. The national park administration has improved its efficiency and internal organisation. Providing advice on cross-institutional development of training strategies has led to more efficient use of training resources and the further development of content and methods. Particularly in the cocoa sector, an unexpectedly high demand for advice has developed as a result of information events and communication among cocoa producers.
Karin von Loebenstein
karin.loebenstein-von@giz.de
Spanish version: Conservación de la biodiversidad, bosques, y de mitigación y adaptación al cambio climático


. Finally, the new Content Browser, and new Workspaces capabilities let you personalize Maya. Similarly, our new Render Setup system simplifies the management of complex scenes with shot-based overrides and templates. Autodesk Maya is a fully-featured professional 3D modeling, animation, rendering and composing solution that provides a wide variety of features and dynamic tools to simulate fluids, cloth, particles and hair. This release includes major workflow upgrades with new tools like the Time Editor, which is a comprehensive tool for creating and editing clip-based non-linear animation. . .


text:
from django.shortcuts import render
from rest_framework import viewsets
from rest_framework.generics import get_object_or_404

from apps.articles.models import Article
from apps.articles.serializers import ArticleSerializer

class ArticleViewSet(viewsets.ModelViewSet):
    queryset = Article.objects.all().order_by('-created')
    serializer_class = ArticleSerializer

def articles(request):
    article_objects = Article.objects.order_by('-created')
    return render(request, 'articles/articles.html', {'articles': article_objects})

def details(request, article_id, article_slug):

    # Get the article based on its id
    article = get_object_or_404(Article, pk=article_id)

    return render(request, 'articles/details.html', {'article': article})

redpajama_set_name: RedPajamaGithub


Network Security architecture. Recommend best security practices to achieve stated business. Measures protect data, software, and hardware. Desig objectives, ... advises risk assumptions.
In Kollam. You can register for free, we take zero commission. Earn between ?600 ?1000 per. Are Self-motivated, creative organised. You can teach from your ... home travel the student.


It seems as though your voices have been heard, as Nintendo and GameFreak have decided to bestow upon Sableye a Mega Evolution in the upcoming Pokemon Omega Ruby and Alpha Sapphire!
Check him out in all his creepy ghost-y glory. You can expect to step back into Hoenn with Mega Sableye in Pokemon Omega Ruby and Alpha Sapphire this fall on November 21st!


Simply Stunning Spacious 5 bedroom home. Beautiful brick with stone accent. Be prepared to be "Wow'd" Upgrades galore! Plantation Shutters, crown molding, fabulous wood floors throughout. Study w/French doors for privacy in your home office. Island kitchen features granite counters, stainless steel appls., plenty of custom 42" cabinetry for your kitchen storage with convenient under counter lighting. Floor to ceiling Austin Stone f/p in living rm. Large Master suite w/master bath that includes lrg. garden tub, walk in shower, & huge walk in closet. Secondary bedroom/2nd Master/Guest Rm down complete w/full bath & great walk in closet. Lrg game room up. Endless entertaining with 2 covered patios, pre-plumbed for f/p., huge fenced backyard with plenty of room for a pool, kids play sets etc. Convenient built-in Taexx Pest Control System. House has $25,000 of upgrades. Immaculate Home!
We respect your online privacy and will never spam you. By submitting this form with your telephone number you are consenting for Dawn Fore to contact you even if your name is on a Federal or State "Do not call List".
Listed with Carswell Real Estate Co. Inc.
Dawn is very thorough. She responds quickly when called. She was also very knowledgeable about the market and the sales in the neighborhood. She knew exactly what was needed to be done to sell my house quickly.
© 2019 Dawn Fore & Zillow, All rights reserved.


text:
import android

droid = android.Android()
droid.cameraInteractiveCapturePicture('/mnt/sdcard/py4a_example.jpg')


Those first few weeks/months of dating someone, things are as close to perfect as they'll ever be. You're both on your best behavior and trying really hard to impress one another. The guy never cancels, always texts on time. The girl always has her makeup and hair done, never complains. Everyone is trying to be the most perfect version of themselves.
This is never fun and it's the reason why I always enter a new relationship with skepticism. I know the other shoe is going to drop. It's not a matter of if but a matter of when.
However, there is something that I need to realize: the other shoe is always going to drop and that's OK. What matters is how it drops. If it drops but I'm able to pick it up, slip it back on, and keep on walking, that's alright. It's when the shoe drops and breaks so badly that it's cheaper to just buy a new pair than take them to get fixed, that I need to worry about it.
The other shoe is always going to drop. That new period in a relationship I just spoke about – the one where everyone is on their best behavior – is nice but it's not sustainable. Perfect bliss in a relationship isn't real.
Relationships are messy and complicated because people are messy and complicated.
You shouldn't want that perfect bliss to last forever because then you're never really seeing the person you're dating for who they truly are.
Now this isn't to say that a person should do a complete 180 when you've been dating a few months and stop trying. But this is saying that a person shouldn't be afraid to show different parts of themselves, even the not so great ones.
I've come to realize that I look forward to the other shoe dropping. Show me what makes you YOU. I want the authentic version. Not the version who is on his best behavior because he's trying to impress me.
What makes you sad? What makes you angry? What are some of your annoying little habits that you kept in check our first few dates?
I am not looking for the perfect version of you. I'm looking for the real version of you.
This is exactly why not only do I realize that the other shoe is always going to drop but I look forward to it.


text:
What's on in April 2021
Forest Gate to Latimer Road - travel by train and rail
Forest Gate to Latimer Road
Start with TfL Rail to Liverpool Street Station
Maryland Rail Station
Stratford (London) Rail Station
London Liverpool Street Rail Station
FOREST GATE STATION: The ticket office has revised opening hours. Weekdays 06:10-10:10 & 15:00-19:00. Saturday 08:00-16:00. Sunday 09:30-16:00
Change for Circle line or Hammersmith & City line to Latimer Road
Moorgate Underground Station
Barbican Underground Station
Farringdon Underground Station
Euston Square Underground Station
Great Portland Street Underground Station
Edgware Road (Circle Line) Underground Station
Paddington (H&C Line)-Underground
Royal Oak Underground Station
Westbourne Park Underground Station
Ladbroke Grove Underground Station
Latimer Road Underground Station
Leaving Arriving Today Tomorrow Sat 9th JanSun 10th JanMon 11th JanTue 12th JanWed 13th JanThu 14th JanFri 15th JanSat 16th JanSun 17th JanMon 18th JanTue 19th JanWed 20th JanThu 21st JanFri 22nd JanSat 23rd JanSun 24th JanMon 25th JanTue 26th JanWed 27th JanThu 28th JanFri 29th JanSat 30th JanSun 31st JanMon 1st FebTue 2nd FebWed 3rd FebThu 4th FebFri 5th Feb 00:0000:1500:3000:4501:0001:1501:3001:4502:0002:1502:3002:4503:0003:1503:3003:4504:0004:1504:3004:4505:0005:1505:3005:4506:0006:1506:3006:4507:0007:1507:3007:4508:0008:1508:3008:4509:0009:1509:3009:4510:0010:1510:3010:4511:0011:1511:3011:4512:0012:1512:3012:4513:0013:1513:3013:4514:0014:1514:3014:4515:0015:1515:3015:4516:0016:1516:3016:4517:0017:1517:3017:4518:0018:1518:3018:4519:0019:1519:3019:4520:0020:1520:3020:4521:0021:1521:3021:4522:0022:1522:3022:4523:0023:1523:3023:45
Return journey: Latimer Road to Forest Gate
Home > Journey planner > Forest Gate
What was the Top Shop shop before Top Shop was in the shop?
Housing approved for Northern line extension building site
There was once a hospital underneath St Pauls' Cathedral
New images of Smithfield market redevelopment plans
170 people prosecuted for not wearing a face mask on London transport
What's on in London in April 2021

redpajama_set_name: RedPajamaCommonCrawl


The Regulation of Termination of Pregnancy Bill is now the subject of legislation in the Dáil and will inevitably become law. It is rare that legislation, once passed, is ever repealed, and therefore it is crucial that the concerns of General Practitioners be reflected in this process now. It is our view that the ICGP Board has not, to date, adequately reflected these concerns. We feel it must seek a mandate by which to inform the Government of our views. It is our opinion that the Board itself should have called an Extraordinary General Meeting (EGM) and not have assumed the opinions of its members. There is potential for lasting division regarding abortion provision in Ireland, and to avoid this situation, we are calling for an EGM so that there can be no doubt as to the views of the ICGP membership.
To do this, we need 350 signatures of existing members, and we ask that you sign this petition.


text:
Corporate Movies
Kiepe Electric to supply electrical equipment for Erfurt transport authority's new LRVs
Kiepe Electric has received another important order for the light rail vehicle segment: The subsidiary of Knorr-Bremse AG, global market leader for braking systems and a leading supplier of sub-systems for rail and commercial vehicles, is to provide electrical equipment for 14 seven-car LRVs ordered from Stadler by Erfurter Verkehrsbetriebe AG (EVAG).
A future eye-catcher: The Stadler Tramlink vehicles equipped with Kiepe Electric electrical systems will be rolled out on the Erfurt network from 2020. | © Stadler
Stadler chooses Kiepe Electric technology for Tramlink vehicles ordered by Erfurter Verkehrsbetriebe AG (EVAG)
Confirmed order of equipment for 14 vehicles, with options for a further ten
Efficient HVAC control system with CO2 sensor
"This latest order demonstrates how satisfied Stadler has been with Kiepe Electric systems," comments Dr. Jürgen Wilder, member of the Executive Board of Knorr-Bremse AG and responsible for the Rail Vehicle Systems division. Tramlink low-floor vehicles built by Stadler and equipped by Kiepe Electric have already proved extremely popular in cities like Rostock, Germany and Gmunden, Upper Austria. "So the order is just the latest in a long line of successful collaborations between Kiepe Electric and Stadler." In addition to the confirmed order for 14 seven-car LRVs, the Erfurt transport authority has also taken out options on a further 10.
According to Dr. Heiko Asum, Managing Director of Kiepe Electric, the systems make up a comprehensive Tramlink package: "In addition to the complete traction kit and on-board power supply, we are also supplying the vehicle control system, including hard and software, HVAC systems for the driver's cab and passenger compartment, on-board and external displays and the video monitoring system. The control panels and operating and display systems in the driver's cab also come from Düsseldorf." This means that, Stadler is being supplied from a single source with a whole range of perfectly-matched systems and functions tailored to the Tramlink platform.
LRVs to be phased in from 2020
Modern equipment from Kiepe Electric requires little maintenance and offers enhanced energy efficiency. For example, waste heat from the water-cooled motors is transferred via a heat-exchanger to the passenger compartment. And the demand-controlled HVAC system is equipped with a CO2 sensor that continuously measures air quality and ensures a supply of warm or cool air based on the number of passengers on board. Regenerative braking energy is either used by the vehicle itself or fed back into the overhead line.
Each Tramlink vehicle is 42 meters long and can accommodate 248 passengers. Built and commissioned at the Stadler facility in Valencia, Spain, the LRVs will be rolled out on the Erfurt network from 2020 onwards. This means, for example, that in April 2021, visitors to the Federal Horticulture Show (Bundesgartenschau) in Erfurt will be able to experience traveling on the new vehicles. 46.79% of the purchase cost of the Tramlink vehicles is being met by the European Regional Development Fund (ERDF) and the free state of Thuringia.
back to press releases overview
Eva Doppler
Fax: +49 89 4444 54193
e-Mail: eva.doppler@knorr-bremse.com
Moosacher Straße 80
Knorr-Bremse Feed
Please credit "Knorr-Bremse AG" as the source when you publish our photos, which should be used for editorial purposes only. Please send us a specimen copy or a link to the relevant publication.


Filming movies wastes huge amounts of energy. That's why the Academy Award-nominated Hive Lighting wants to help Hollywood turn the lights of the silver screen green.
The lighting manufacturing company is working with some of the biggest names in the television and film industry to help productions reduce their carbon footprint. Their team has designed energy efficient plasma lights, which work as solar simulators to replicate natural daylight, and LED technology which creates colours and hues of natural or artificial light. Their bulbs have no filaments and last more than 10,000 hours, using 50% to 90% less energy than conventional studio fixtures. When linked together, the hexagonal lights look like honeycomb – hence the name Hive.
Hive is part of the LA Cleantech Incubator, a community of entrepreneurs dedicated to building a cleantech economy for Los Angeles. ►Video interview with Fred Walti, LACI President and CEO, coming soon.
Tags: Business, Environment, LED, Light, Photography.


text:
Bespoke Ceilings
Ceiling Baffles
Open Cell Ceilings
Polynodal Ceilings
SAS Mesh
Timber Ceilings
Suspended Timber Ceilings
Timber Baffles
Linear Timber Ceilings
Architectural Metalwork
Protective Casings & Panels
Service Integration
Solar Mangement
Integrated Lights
Suspended Ceiling Lights
Baffle Ceiling Lights
Linear Ceiling Lights
Room Comfort
Chilled Ceiling Systems
Personal Space Management
Distancing Screens & Cubicles
Metal Ceiling Technical Drawings
Trims & Perimeters
Perforations
Lighting Technical Information
Environmental Accreditation Statements
O&M | COSHH Data Sheets
Testing & Standards
METAL CEILINGS | A FIRST-CHOICE SOLUTION
METAL CEILINGS: A FIRST-CHOICE SOLUTION
SAS is a world leader in the design and manufacture of performance metal ceiling systems. We passionately believe that our ceiling solutions provide beautiful, durable and cost-effective solutions to contemporary interior demands and this article sets out our case.
SAS Middle East has a wide variety of ready to install suspended metal ceiling systems ready for immediate installation. Equally, our branch in Australia have stock in the local warehouse, ready for immediate delivery.
What constitutes a metal ceiling?
Modular ceilings are the most common form of metal suspended ceiling. The tiles are supported by an easy-to-install, interlocking grid of metal sections which are suspended from the soffit. Building services are hidden in the void between the tiles and the soffit.
If the interior design calls for an exposed soffit, then linear ceilings provide an effective way to conceal the building services while the soffit remains exposed. If the preferred option is a baffle ceiling combined with a closed soffit, then SAS has solutions too. SAS500 or SAS740 are great options.
Metal suspended ceilings are available in a wide range of modular and linear systems to enable the most appropriate, flexible and cost-effective solution to be selected for a particular application.
Calculated over the longer term, metal is far more cost effective than alternative materials. Research commissioned by SAS into the overall lifetime costs of ceiling materials projected cost savings of 47% for metal suspended ceilings compared with non-metal alternatives, based on a 20-year lifespan.
What's more: non-metal alternatives would be considered unserviceable after a period of 10-15 years, whereas SAS metal ceilings have a 30-year life expectancy. SAS has numerous examples of projects that show that even after 30 years the metal ceiling can look as good as it did that day that it was installed.
Keeping their looks
Steel and aluminium ceiling systems developed by SAS are robust and durable to ensure the ceiling will maintain its appearance long after ceilings formed using alternative materials will have reached the end of their life.
SAS's ceiling tiles and baffles are finished in a smooth, high quality polyester powder coating which is available in any RAL colour. A wide range of bespoke finishes, such as metallic, anodized and wooden print are also available. The finish will provide a long lasting, impact-resistant surface that is easily cleaned.
Metal ceilings are also moisture resistant; they do not stain or crumble when wet and the tiles will not warp or sag, even in areas of high humidity
Controlling noise
The acoustic performance of metal ceilings is often better than that of other common ceiling materials.
A metal ceiling's ability to absorb sound is primarily dictated by the number and size of perforations in the tile and its sound-absorbing acoustic infill. The greater the perforated area, the more acoustically transparent the tile.
A major advantage of perforated metal tiles is that they look like a solid surface and they continue to reflect light, optimising daylight design and reducing energy consumption.
All SAS metal ceilings are designed, manufactured and tested in full accordance with the harmonised European Standard for suspended ceilings, BS EN 13964.
When it comes to fire, SAS metal ceilings are tested and certified in accordance with UK, European, American and Australian Standards.
All SAS' metal ceiling systems are designed for flexibility and compatibility to enable cost-effective solutions to be developed for all types of spaces: from high end offices to back-of-house areas.
In addition, for prestigious one-off projects, SAS's in-house design team can work with the client to develop a bespoke solution, such as those used in the Bloomberg HQ in London or the Dubai Metro Expo 2020 station
The sheer expanse of a ceiling ensures that it will have a significant impact on the performance and appearance of an interior space. SAS manufactures an extensive range of metal ceiling types, each with its own aesthetic and performance criteria:
Modular ceilings can be manufactured with triangular, rectangular or trapezoidal tiles in a wide range of finishes and perforations to complement any interior finish.
Linear ceilings are an attractive alternative to a fully-tiled ceiling where the soffit remains exposed but partially concealed.
Ceiling rafts are usually suspended beneath the soffit in areas where acoustic control is required or to help integrate or conceal building services.
Linear ceilings and open cell ceilings are ideal for applications where a suspended element is required for aesthetic reasons, but where the ceiling requires a large open area.
There are even Polynodal ceilings for complex applications where providing a multifaceted or two directional curved ceiling is required.
Integration of building services
One of the most significant design benefits of metal is the ability to fully integrate the mechanical and electrical services within the ceiling. Apertures can be pre-formed during manufacturing to ensure the installation mirrors the design intent.
Many building services need regular maintenance and occasional repair. Metal tiles are easily demounted to allow easy access to the building services behind.
SAS's grid and suspended tile systems are manufactured from steel while our premium linear ceiling systems and trims are manufactured using aluminium. SAS will only source materials from suppliers with a progressive and innovative approach to sustainable material manufacturing. In addition, steel and aluminium are both 100% recyclable at the end of their life.
SAS's responsible approach to sustainable manufacturing ensures its solutions can help a scheme achieve environmental accreditation, including Estidama, BREEAM, LEED, SKA, Green Tag, AI SA'FAT, SASO, GSAS and WELL.
Long term, metal offers the most durable, cost-effective, best-performing and best-looking ceiling solution for all interior applications.
The SAS branch in Australia have stock in the local warehouse, ready for immediate delivery.
Trusted UK manufacturing
SAS is a dependable metal ceilings and architectural metalwork manufacturer who have produced iconic products in the SAS owned and operated facilities in the UK for over fifty years. These facilities manufacture products for our national and international client base. Our multi-site production capability allows us to successfully supply projects across all sectors.
The company operates via regional offices, with local technical teams working closely with head office in England to develop the optimum design solution, whether that is a standard system or a bespoke solution.
During this time, the company has built an unparalleled centre of expertise in the design and manufacture of metal ceilings and architectural metalwork across the globe and so remain the go to company for Metal Ceilings and Architectural Metalwork.
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Contact an Office
23-25 O'Connell St
Phone: +61 (0) 2 8823 0000
© Australia Office 2022
Created at The Hideout


She's ran! She's Cycled! She's climbed a mountain for Restored! Can she top all this? Well yes she can!
On the 1st July 2017 our Co-director Mandy Marshall is going to be standing on top of a biplane for 10 minutes, as it flies around Oxfordshire countryside (yes, normally you fly inside the plane and not actually on it)!
WHY is Mandy doing this? Because 1 in 4 women in the UK will suffer from domestic abuse in her lifetime. It's likely that you know a woman who has suffered domestic abuse but you may not realise it; with the stigma and shame it still carries, most women survivors of domestic abuse suffer in silence.
Your donation can help to end violence against women sooner.
You can also come along on the day and watch Mandy take on the challenge! If you would like to join the Restored team at the airfield then please email info@restoredrelationships.org for further information.


text:
Q: Implement app thinning in iphone application My iOS application's size is quite bigger on app store. How can I lower achieve the app thinning so that application size get lower.
Note:-

*

*I am already using Images.xcassets to put x/2x/3x images separately.

*I also read this apple documentation and take care of optimisation level build settings.

*I am also using an 8-bit PNG instead of a 32-bit PNG.

A: App slicing is currently not working until further notice. The only way to reduce your app size is currently to reduce the amount of assets included in the .ipa.
You could try using On Demand Resources if they make sense for your app.

A: Searching app thining, bit code and on demand app resource from yesterday, Now I debug all these things and sharing my knowledge that I got from beautiful apple documentation with help of my sample project.
App thinning concept covers bit code and on-demand resource. I will discuss on-demand resource in detail below:-
On-Demand Resources in iOS:-
It is accessing the images/videos/.h/.m/swift file whenever needed (Yes, on-demand resouring include source code files also).

*

*Goto Resource tags setting in your target.

*Create a new Tag. It will appear under Download Only On demand.

*You can add .h, .m, .xassest, .png etc under various tags. You can also assign tag by selecting individual file like this in file inspector.

Now comes the coding part (my favourite site):-
NSBundleResourceRequest *resourceRequest;

#pragma mark - On demand resource
-(void)getOnDemandResource{
    NSSet *setOfTag = [NSSet setWithObjects:@"chair", nil];
    resourceRequest = [[NSBundleResourceRequest alloc]initWithTags:setOfTag];

    [resourceRequest conditionallyBeginAccessingResourcesWithCompletionHandler:^(BOOL resourcesAvailable) {
        if (!resourcesAvailable) {
//            resourceRequest.loadingPriority = 1;//set the downloading priority (0 - 1) , NSBundleResourceRequestLoadingPriorityUrgent

            [resourceRequest beginAccessingResourcesWithCompletionHandler:^(NSError * _Nullable error) {
                if (error) {
                    UIAlertController *alert = [UIAlertController alertControllerWithTitle:@"Error" message:error.debugDescription preferredStyle:UIAlertControllerStyleAlert];
                    [self presentViewController:alert animated:YES completion:nil];
                }else{
                    //// The associated resources are loaded
                }
            }];
        }else{
            // The associated resources are available
        }
    }];
}

End accessing the on demand resource when not in use(generally when game level changes)
#pragma mark - Remove access to on demand
-(void)endAccessToOnDemandResource{
    [resourceRequest endAccessingResources];
}

NOTE:- Don't forgot to enable On_Demand_Resources in build setting.
EXAMPLE PROJECT:- I create a sample project and uploaded here:- [http://www.dropbox.com/s/edi5zj68a4wuguh/WebOnTab.zip?dl=0][6]

Please don't bother about autolayout in this project. My main focus is on demand resourcing/App thing.
SUMMARY:- Thus we can achieve app thinning by on-demand resourcing using above technique. Please also have a look at official documentation which also describes about tracking progress, priorities of resourceRequests(NSBundleResourceRequest).

A: As far as i understand App thinning, it is all done by Apple. It looks at what is the target device, and the required images and stuff will be provided to the user automatically.
If you would like get thinner app, maybe refactoring is the topic you should look at.

redpajama_set_name: RedPajamaStackExchange


text:
Columbia Pictures Industries, Inc. (comúnmente conocido como Columbia Pictures o, simplemente, Columbia) es un estudio de cine estadounidense y una compañía de Sony Pictures Motion Picture Group, una división de Sony Pictures de Sony Entertainment, que a su vez es subsidiaria del conglomerado multinacional japonés Sony Corporation.

Fue fundado como CBC Film Sales Corporation el 19 de junio de 1918 por Harry Cohn, su hermano Jack Cohn y Joe Brandt. Adoptó el nombre de Columbia Pictures en 1924 y lo publicó dos años más tarde. En sus primeros años, fue una empresa de poca importancia en Hollywood, pero comenzó a tener más relevancia a finales de la década de 1920, con la ayuda de los éxitos del director Frank Capra. Con Capra y otros, Columbia se convirtió en una de las compañías principales de la comedia de enredo. En la década de 1930, las estrellas principales contratadas por Columbia fueron Jean Arthur y Cary Grant. En la década de 1940, Rita Hayworth se convirtió en la principal estrella del estudio e hizo aumentar su fortuna hacia fines de la década de 1950. También fueron grandes estrellas de este estudio Rosalind Russell, Glenn Ford y William Holden. Entre la década de 1910 y la de 1960, conocida como Era Dorada de Hollywood, fue uno de los "Tres Pequeños", junto con Universal y United Artists, aunque estaba entre los ocho principales.

Actualmente está entre los "Cinco Grandes", junto con Universal, Paramount, Warner Bros. y Disney, que son los principales estudios de Estados Unidos. Es el cuarto estudio de cine más importante del mundo.

Historia

Comienzos como CBC
Articulo principal:Cohn-Brandt-Cohn (CBC) Film Sales Corporation

El estudio fue fundado el 19 de junio de 1918 como Cohn-Brandt-Cohn (CBC) Film Sales por Jack y Harry Cohn y el mejor amigo de Jack, Joe Brandt. Estrenó su primera película en agosto de 1922. Brandt era el presidente de CBC Film Sales y manejaba las ventas, la mercadotecnia y la distribución desde Nueva York junto con Jack Cohn, mientras Harry Cohn se encargaba de la producción en Hollywood. Las primeras producciones del estudio fueron cortometrajes de bajo presupuesto con documentales breves, el dúo de vodevil de Edward Flanagan y Neely Edwards llamado Hall Room Boys y Billy West, imitador de Chaplin. En sus comienzos, CBC alquiló el estudio Poverty Row (lugar donde se inicia el Paseo de la Fama de Hollywood que recorre el Hollywood Boulevard de este a oeste en Los Ángeles), en la Calle Gower, un lugar de Hollywood conocido entonces por sus bajos precios. En la élite de Hollywood, por su reputación de estudio de cortometrajes algunos hicieron la broma de que CBC significaba "Corned Beef and Cabbage" ("Carne de Maíz y Col"). Brandt se cansó de tratar con los hermanos Cohn y en 1932 vendió su tercera parte del negocio por 500 000 $ a Harry Cohn, que pasó a ser el presidente de la empresa.

Reorganización y nuevo nombre

Para mejorar la imagen de la compañía, los hermanos Cohn la llamaron Columbia Pictures Corporation el 10 de enero de 1924. El presidente Harry Cohn, además de tener dos terceras partes de la empresa, siguió siendo el encargado de producción, y dirigió la empresa durante 34 años, pasando a ser una de las personas que ha estado más tiempo al cargo de un estudio (Jack Warner, de Warner Bros., fue encargado de producción más tiempo, pero no fue director general de la compañía hasta 1956). Aunque era una industria plagada de nepotismo, Columbia destacó por tener a muchos familiares de Harry y Jack como directivos. El humorista Robert Benchley lo llamó el "Estudio de los Pinares porque hay muchos Cohns" [cones significa "piñas" en inglés].

Al principio, Columbia producía sobre todo cortometrajes de presupuesto moderado, entre los que se encontraban comedias, películas de deportes, varias series y dibujos animados. Con el tiempo, fue produciendo películas de mayor presupuesto y, finalmente, pasó a estar en un segundo nivel, junto con los estudios United Artists y Universal. Al igual que United Artists y Universal, Columbia era una compañía que controlaba la producción y la distribución y que no era propietaria de ningún cine.

Frank Capra y el éxito inicial (1927-1940)

En 1927 Harry Cohn contrató a Frank Capra, un director desconocido, graduado en el Instituto de Tecnología de California, que había realizado un par de películas de Harry Langdon. Fran Capra fue convenciendo a Harry para implicarse en producciones de más calidad y más presupuesto. Una serie de éxitos dirigidos por él en la década de 1930 hicieron que, en 1939, Columbia fuese uno de los ocho estudios de cine más importantes y Frank Capra uno de los directores más célebres de Estados Unidos.

El mayor éxito hasta el momento de la Columbia llegó en 1934 con Sucedió una noche (It Happened One Night). La película ganó muchos premios, entre ellos 5 Oscars: a la mejor película, al mejor director (Frank Capra), al mejor actor (Clark Gable), a la mejor actriz (Claudette Colbert), al mejor guion adaptado (Robert Riskin). También ganó el premio a mejor película en los National Board of Review Awards y la Copa Mussolini al mejor director (lo que ahora se llama simplemente premio especial al director) del Festival Internacional de Cine de Venecia para Frank Capra. También fueron éxitos de este director Dama por un día (Lady for a Day) (1933), Estrictamente confidencial (Broadway Bill) (1934), Horizontes perdidos (Lost Horizon) (1937), Vive como quieras (You Can't Take It With You) (1938) y Caballero sin espada (Mr. Smith Goes To Washington) (1939), que convirtió a James Stewart en una de las principales estrellas de cine.

En 1933, Columbia contrató a Robert Kalloch para que fuese encargado de vestuario. Fue el primer diseñador de vestuario contratado por la compañía y estableció el departamento de vestuario del estudio. El contratar a Kalloch, además, ayudó a que las principales actrices pensasen que trabajar en Columbia Pictures iba a favorecer sus carreras.

En 1932 el abogado Benjamin B. Kahane pasó a trabajar en la administración de Columbia. En 1936 fue nombrado vicepresidente. Se produjo Those High Grey Walls (1939) de Charles Vidor. También se produjo La dama en cuestión (The Lady in Question) (1940), que fue la primera película en la actuaron conjuntamente Rita Hayworth y Glenn Ford. En 1959 Kahane tuvo también el cargo de presidente de la Academia de Artes y Ciencias Cinematográficas, aunque falleció al año siguiente.

En la década de 1930 también firmaron contratos con la productora Evelyn Keyes, Larry Parks y Lucille Ball.

Columbia no podía permitirse mantener una enorme lista de estrellas contratadas, por lo que Cohn usualmente las tomaba prestadas de otros estudios. En Metro-Goldwyn-Mayer, el estudio más prestigioso de la industria, Columbia fue apodada "Siberia", ya que Louis B. Mayer usaría el préstamo a Columbia como una forma de castigar a sus fichajes menos obedientes. En la década de 1930, Columbia firmó con la actriz Jean Arthur un contrato a largo plazo. Después de El enemigo público nº 1 (The Whole Town's Talking) (1935), Arthur se convirtió en una de las principales estrellas de la comedia. La carrera de Ann Sothern comenzó cuando Columbia firmó un contrato con ella en 1936. Cary Grant firmó un contrato con RKO en 1935 que finalizó en 1936. En 1937 firmó un contrato con Columbia y, posteriormente, acordó seguir trabajando también con RKO. Cary Grant estuvo trabajando con Columbia hasta 1944 y con RKO hasta 1948. Posteriormente, trabajó ocasionalmente para MGM, Warner y Grand National.

Muchos cines confiaban en las películas del oeste para atraer grandes audiencias los fines de semana y Columbia siempre reconoció este mercado. Su primera estrella de películas del oeste fue Buck Jones, que firmó un contrato con Columbia en 1930, por una parte de lo que antes había estado cobrando en un gran estudio. Las siguientes dos décadas Columbia produjo decenas de películas del oeste con Buck Jones, Tim McCoy, Ken Maynard, Jack Luden, Robert Tex Allen, Russell Hayden, Tex Ritter, Ken Curtis y Gene Autry. El vaquero más famoso de Columbia era Charles Starrett, que firmó con Columbia en 1935 y participó en 131 películas del oeste hasta 1952.

Harry Cohn hizo que el estudio contratase al grupo humorístico Los Tres Chiflados en 1934. Fueron despedidos por la MGM, que mantuvo a Ted Healy, que interpretaba a con ellos a un hombre serio. Los Tres Chiflados hicieron 190 cortometrajes para Columbia entre 1934 y 1959. El departamento de cortometrajes de Columbia empleó a famosos comediantes, incluyendo Buster Keaton, Charley Chase, Harry Langdon, Andy Clyde y Hugh Herbert.

Casi 400 de las 529 comedias de dos carretes de Columbia fueron emitidas en televisión entre 1958 y 1961. Posteriormente, todos los vídeos de Los Tres Chiflados, Keaton, Charley Chase, Shemp Howard, Joe Besser y Joe DeRita se lanzaron para vídeo doméstico.

Screen Gems

Producción de series de animación (1933-1946)
Desde aproximadamente 1925 Columbia distribuyó dibujos animados producidos por Charles Mintz. Entre 1929 y 1931 Columbia distribuyó los famosos dibujos animados de Mickey Mouse, de Walt Disney. Entre 1931 y 1941 Columbia distribuyó los dibujos animados de Scrappy.

En 1933, el estudio estableció su propio departamento de animación con el nombre de Screen Gems. El nombre proviene de un antiguo lema de Columia: "Gemas de la pantalla", que a su vez fue tomado de la canción Columbia, la gema del océano. Este departamento fue dirigido por Charles Mintz entre 1934 y 1939.

En Screen Gems, Columbia continuó con los dibujos de Scrappy hasta 1941. En 1940 Screen Gems produjo un dibujo animado de Krazy Kat. En 1944 produjo cinco capítulos de dibujos animados de Li'l Abner.

En 1948, Columbia llegó a un acuerdo con United Productions of America para distribuir sus cortos de dibujos animados. Entre estos dibujos estaba El zorro y el cuervo. En 1949 la UPA empezó a producir Mr. Magoo y en 1950 Gerald McBoing-Boing, que fueron dos grandes éxitos. La UPA también produjo en esta época Magic Flute (1949), Man Alive! (1952) y The Tell Tale Heart (1953). En 1956 cambiaron su nombre a UPA Pictures Inc. En 1959 finalizó el contrato de distribución con Columbia, pero la UPA siguió produciendo dibujos animados para televisión en la década de 1960.

Producción de series (1948-1974)

En 1946 Columbia dejó de producir dibujos animados con Screen Gems. En 1947 Ralph Cohn, sobrino de Harry Cohn, fundó Pioneer Telefilms en Nueva York, una productora para televisión. El 8 de noviembre de 1948 Columbia adquirió Pioneer Telefilms, reorganizó la compañía, le cambió el nombre por el de Screen Gems y empezó a producir para televisión. El nuevo estudio fue inaugurado el 15 de abril de 1949. Produjo, entre otras series, las siguientes: Papá lo sabe todo (Father Knows Best) emitida en las cadenas CBS (1954–1955, 1958–1960) y NBC (1955–1958); The Donna Reed Show emitida en ABC entre 1958 y 1966; The Partridge Family, emitida en la ABC entre 1970 y 1974; Bewitched, emitida por la ABC entre 1964 y 1972; Mi bella genio (I Dream of Jeannie), emitida por la NBC entre 1966 y 1968; y The Monkees, emitida por la NBC entre 1966 y 1968.

El 1 de julio de 1956, el veterano del estudio Irving Briskin renunció como director de escena de Columbia Pictures y formó su propia productora, Briskin Productions, Inc. para lanzar series a través de Screen Gems y supervisar todas sus producciones. En 1951 Jerome Hyams fundó Hygo Television Films, que en 1955 adquirió United Television Films, fundada por Archie Mayers. El 10 de diciembre de 1956, Screen Gems adquirió Hygo Television Films (también conocida como Serials Inc.) y su compañía asociada, United Television Films, Inc..

En 1957, después de que hubiera finalizado el contrato de Columbia para distribuir dibujos animados de UPA, Screen Gems comenzó a distribuir los dibujos animados de Hanna-Barbera Productions, entre los que estaban: Los Picapiedra (The Flintstones), Ruff and Reddy, The Huckleberry Hound Show, Oso Yogui (Yogi Bear), Jonny Quest y The Jetsons. Screen Gems distribuyó estos dibujos animados hasta 1966, cuando Hanna Barbera Productions fue vendida a Taft Broadcasting. Estos dibujos animados fueron pioneros en la conocida como animación limitada.

A principios de la década de 1960 Screen Gems a producir también discos de música. En 1966 Screem Gems y RCA Victor crearon una unión de empresas llamada Colgems, que existió hasta 1971.

En 1963 Screen Gems adquirió la emisora de radio Salt Lake City Broadcasting, del Estado de Utah. Posteriormente, esta se fusionó con la empresa subsidiaria de Columbia KCPX-AM-FM-TV, para crear Columbia Pictures Electronics Co., que tenía una emisora llamada Screen Gems Broadcasting of Utah, Inc..

En 1968, se creó Columbia Pictures Industries, Inc., con Screen Gems como subsidiaria.

El 6 de mayo de 1974, Screen Gems cambió su nombre por el de Columbia Pictures Television.

Cadena de televisión (1999-2002)

En 1982 Coca-Cola compró la productora Columbia, que conservó el nombre y la subsidiaria Columbia Pictures Television. Time Inc., HBO y CBS crearon una unión de empresas con el nombre de Nova Pictures, que posteriormente cambió su nombre por Tri-Star Pictures. A mediados de la década de 1980, Coca-Cola reorganizó sus empresas de televisión para crear Coca-Cola Televisión. Fusionó entonces Columbia Pictures Television con Emmbassy Communications, creándose Columbia/Embassy Television, En 1987 Coca-Cola vendió Columbia a Tri-Star Pictures, Inc.. Columbia Pictures Industries, Inc. pasó a llamarse Columbia Pictures Entertainment, Inc.. En 1988 se creó Columbia Pictures Television. Columbia Pictures Entertainment, Inc. realizó una unión de empresas con Lexington Broadcast Services Company, con el nombre de Colex Enterprises, que distribuyó el almacén de producciones de Screen Gems hasta 1988.

En 1989, la empresa japonesa Sony compró Columbia Pictures Entertainment, que pasó a llamarse Sony Pictures Entertainment. En 1999 se creó la cadena de televisión Screen Gems Network, con programas antiguos, que dejó de emitir 2002.

Estudio de cine (1998-presente)

En 1998 el Columbia TriStar Motion Picture Group de Sony creó el estudio de cine Screen Gems. Screen Gems se dedica a producir y comercializar películas que no tienen un presupuesto tan elevado como las de Columbia Pictures, pero que tienen más medios que las producciones de cine independiente de Sony Pictures Classics.

Década de 1940

La audiencia de las producciones de Columbia aumentó durante la II Guerra Mundial, entre 1939 y 1945. En la década de 1940 el estudio obtuvo grandes beneficios gracias a su mayor estrella, Rita Hayworth. También estuvieron las siguientes estrellas: Glenn Ford, Penny Singleton, William Holden, Judy Holliday, The Three Stooges, Ann Miller, Evelyn Keyes, Ann Doran, Adele Jergens, Larry Parks, Arthur Lake y Lucille Ball.

En 1943 empezaron a hacer películas en Technicolor.

Década de 1950

En la década de 1950 el estudio también contó con Rita Hayworth, Glenn Ford y Lucille Ball. Además, tuvieron contratos con Columbia los siguientes actores famosos: Cleo Moore, Jack Lemmon, Kerwin Mathews, Kim Novak y Barbara Hale.

Columbia mejoró en esta década gracias a una serie de éxitos, entre los que se encontraban: De aquí a la eternidad (1953), protagonizada por Burt Lancaster, sobre el Ataque de Pearl Harbor, y que estaba basada en la novela de James Jones; On the Waterfront (1954), protagonizada por Marlon Brando; y El puente sobre el río Kwai (1957), con William Holden y Alec Guinness. Las tres ganaron el Óscar a Mejor Película.

Columbia también distribuyó películas británicas. Entre estas estuvieron: la película Mil novecientos ochenta y cuatro (1956), basada en la novela de George Orwell, películas de Hammer Film Productions, del productor Carl Foreman y de la productora Warwick Films Productions.

En 1958 Columbia creó su propio estudio de grabación, Colpix Records, dirigido inicialmente por Jonie Taps y luego por Paul Wexler y Lester Sill. Colpix existió hasta 1966. Screem Gems, subsidiaria de Columbia, y RCA Victor crearon una unión de empresas llamada Colgems, que existió hasta 1971. Tras esto, Columbia cambió el nombre a la discográfica a Colgems Music Corporation, que fue adquirida por EMI en 1976 y pasó a ser subsidiaria de esta con el nombre Colgems-EMI Music Inc..

En 1958 falleció el presidente de la compañía, Harry Cohn, y en 1959 su sobrino, encargado de Screen Gems, Ralph Cohn. La compañía pasó a estar dirigida por Abe Schneider. Se había unido a Columbia como personal de oficina cuando salió del instituto, se hizo director de cine en 1929 y luego pasó a encargarse de negocios financieros.

Década de 1960

En la década de 1960 Columbia fue distribuidora de las películas británicas de estilo clásico A Man for All Seasons (1966), sobre san Tomás Moro, ganadora del Óscar a Mejor Película, y Oliver (1968), basada en la novela Oliver Twist de Charles Dickens.

También produjo la película de estilo moderno Easy Rider (1969), película de carretera de motoristas.

En 1961 rechazó participar en la producción de la primera película de James Bond, de los productores Albert R. Broccoli y Harry Saltzman, que luego fundaron Eon Productions. Columbia produjo las películas de Matt Helm. Columbia también produjo una parodia de James Bond llamada Casino Royale (1967). Para ello contaron también con el productor Charles K. Feldman, que había adquirido los derechos de adaptación de la novela Casino Royale en 1960. Esta película tuvo un presupuesto de 12 millones de dólares, cuando Dr. No (1962) tuvo un presupuesto de 1 millón y Solo se vive dos veces (1967) de 6 millones.

En 1962 Columbia fue distribuidora de Lawrence de Arabia, sobre Thomas Edward Lawrence. La película ganó 7 Oscars, incluidos el de Mejor Película y el de Mejor Director.

En 1966 el estudio tuvo fracasos en taquilla y Columbia solamente tuvo beneficios de Screen Gems. En 1967 Leo Jaffe pasó a ser presidente. En 1968 Columbia Pictures Industries, Inc., que albergaba Columbia Pictures, con Screen Gems como subsidiaria.

En 1969, Columbia Picture Industries compró Bell Records por 3,5 millones de dólares, manteniendo a Larry Uttal como presidente de esta productora.

Década de 1970

A comienzos de los años 70 las pérdidas económicas de la empresa provocaron que estuviese cerca de arruinarse. En 1971 prescindió de 300 personas.

En 1972 vendió el edificio de los estudios de la calle Sunset Gower de Los Ángeles para trasladarse a Burbank, California, donde fundó con Warner Bros. una unión de empresas llamada Burbank Studios. Este traslado les permitió ahorrar un 20% en costes de producción.

En 1973, el banco Allen & Company compró acciones de Columbia Pictures Industries y pasó a controlar la misma. Nombró un nuevo equipo directivo, con Alan Hirschfield, antiguo empleado de Allen & Company, como presidente y director general de Columbia Pictures Industries. El encargado del nuevo equipo directivo fue Leo Jaffe. Ese año, David Begelman pasó a ser presidente del área llamada Columbia Pictures.

David Begelman se vio envuelto en un escándalo de malversación de 65,000 $, por lo que fue dejó Columbia Pictures en 1978 y fue reemplazado por Dan Melnik. Ese año, Hirschfield fue reemplazado en la presidencia de Columbia Picture Industries por Fay Vicent. En 1979 Dan Melnick fue reemplazado en la presidencia de Columbia Pictures por Frank Price. Durante la presidencia de Price, se produjeron 9 de las 10 películas más taquilleras de la historia de Columbia.

De 1971 a finales de 1987, Columbia la distribución internacional de películas se realizó con Warner Bros. y, en algunos países, esta unión de empresas también distribuyó películas de otras compañías, como EMI Films y Cannon Films del Reino Unido. En 1971, Columbia Pictures Industries creó Columbia Pictures Publications, de la cual Frank J. Hackinson fue vicepresidente y director general y posteriormente pasó a ser presidente.

En 1974 Columbia Pictures compró Rastar Pictures, que había sido fundada en 1966 por Ray Stark y que incluía Rastar Productions, Rastar Features y Rastar Television. Posteriormente, Ray Stark fundó Rastar Films, similar a Rastar Pictures, que fue adquirida por Columbia Pictures en 1980.

Clive Davis fue contratado como asesor de discos y música por Columbia Pictures en 1974 y, posteriormente, fue durante un tiempo presidente de Bell Records. Clive Davis logró mejorar la situación de la división de música. En 1974 creó Arista Records, con una inversión de 10 millones de Columbia Picture Industries con las empresas subsidiarias Colpix, Colgems y Bell. El propio Davis tenía un 20% de las acciones de esta empresa. En 1975 Columbia la vendió a Ariola Records. Además, Columbia vendió Screen Gems-Columbia Music, Inc. a EMI en 1976 por 50 millones de dólares.

Columbia produjo la película Close Encounters of the Third Kind (1977), de Steven Spielberg, que se considera una obra maestra de la ciencia ficción.

A finales de 1978, Kirk Kerkorian, un magnate de los casinos de Las Vegas que también controlaba Metro-Goldwyn-Mayer, adquirió un 5,5 % de las acciones de Columbia Pictures. El 20 de noviembre anunció que haría una oferta para adquirir otro 20% del estudio. El 14 de diciembre, se llegó a un acuerdo de suspensión con Columbia prometiendo no ir más allá del 25% ni buscar controlar la empresa durante, al menos, tres años.

El 15 de enero de 1979, el Departamento de Justicia llevó a cabo una operación antimonopolista contra Kerkorian para impedir que adquiriese aquellas acciones de Columbia mientras controlase MGM. El 19 de febrero de 1979, Columbia Pictures Television adquirió la productora Toy Productions, fundada por Bud Yorkin y los guionistas Saul Turteltaub y Bernie Orenstein en 1976. En mayo, Kerkorian adquirió 214.000 acciones de Columbia, alcanzando el 25%. El 2 de agosto comenzó el juicio antimonopolio del Departamento de Justicia. No obstante, el 14 de agosto, el tribunal dictó sentencia en favor de Kerkorian.

Década de 1980

El 30 de septiembre de 1980 Kerkorian demandó a Columbia por ignorar el interés de los accionistas e incumplir el acuerdo que tenían con él. En 1981 Kerkorian le vendió su 25% de acciones a Columbia Picture Industries.

En 1981 Columbia compró el 81% de The Walter Reade Organization, que tenía 11 cines. Adquirió el 19% restante en 1985.

Steven Spielberg, después de hacer Close Encounters of the Third Kind (1977), se planteó la realización de la película de ciencia ficción Night Skies, con la producción de Columbia, que finalmente no se realizó. No obstante, con ese material se realizó la película Poltergeist (1982), dirigida por Tobe Hooper y producida por MGM, y E.T., el extraterrestre (1982), dirigida por Steven Spielberg y producida por Universal Pictures. Columbia recibió parte de los beneficios de E. T. por su participación en el desarrollo del proyecto.

El 17 de mayo de 1982 Columbia Pictures adquirió Spelling-Goldberg Productions por unos 40 millones de dólares. La situación económica de la productora mejoró gracias a éxitos de taquilla como Stir Crazy (1980), The Blue Lagoon (1980) y Stripes (1981). Fue comprada por The Coca-Cola Company el 22 de junio de 1982 por 750 millones de dólares, Columbia Pictures Industries, Inc. pasó a llamarse Columbia Pictures Entertainment, Inc..

En 1982 Columbia Pictures creó una unión de empresas con la compañía francesa Gaumont, Triumph Films, para la distribución de películas en Estados Unidos.

Durante la presidencia de Frank Price hubo grandes éxitos como Tootsie (1983), The Big Chill (1983), The Karate Kid (1984) y Ghostbusters (1984) con muchas películas caras que fracasaron en taquilla. Para compartir el gasto de producciones cada vez más caras, Coca-Cola buscó otros inversores en Hollywood. En 1982, Columbia, Time Inc., HBO y CBS anunciaron una unión de empresas llamada Nova Pictures. Esta pasó a llamarse posteriormente Tri-Star Pictures. En 1983, Price dejó Columbia Pictures por una disputa con Coca-Cola y regresó a la productora Universal. Fue reemplazado por Guy McElwaine.

El 18 de junio de 1985, Columbia adquirió Embassy Communications, Inc., de Norman Lear y Jerry Perenchio, lo que incluía Embassy Pictures, Embassy Television, Tandem Productions y Embassy Home Entertainment, sobre todo por su almacén de series de televisión de gran éxito, como All in the Family y The Jeffersons, por 485 millones de dólares. El 16 de noviembre de 1985, CBS se marchó de Tri-Star.

El 5 de mayo de 1986 Columbia Pictures Television Group compró la productora de televisión Merv Griffin Enterprises, conocida por programas exitosos como: Wheel of Fortune, Jeopardy!, Dance Fever y The Merv Griffin Show por 250 millones de dólares. El 28 de agosto adquirió Danny Arnold Productions, Inc., de Danny Arnold, lo que incluía los derechos de: Barney Miller, de Four D Productions; Fish, de The Mimus Corporation; A.E.S. Hudson Street, de Triseme Corporation; y  Joe Bash, de Tetagram Ltd.. Después de la marcha de David Arnold, el estudio de televisión fue acusado de infringir normas antimonopolio, de fraude y de incumplimiento del deber fiducidiario. Coca-Cola vendió Embassy Pictures a Dino de Laurentiis, de Laurentiis Productions, Inc., que la integró en su productora, la cual pasó a llamarse De Laurentiis Entertainment Group. Coca-Cola también vendió Embassy Home Entertainment a Nelson Entertainment. Coca-Cola, sin embargo, mantuvo el nombre de "Embassy Pictures", el logo y la marca registrada. HBO se marchó de Tri-Star y vendió su participación a Columbia. Tri-Star se expandió posteriormente al negocio de la televisión con Tri-Star Television. El mismo año, Columbia Pictures contrató al productor británico David Puttnam como director ejecutivo. Puttnam intentó hacer películas más modestas en lugar de las anteriores grandes producciones. Su crítica de la producción de cine estadounidense, unida al hecho de que la mayoría de las películas que hizo fracasaron en taquilla, hicieron que Coca-Cola y Columbia Pictures estuviesen de acuerdo en quitarlo del cargo después de solo un año. En 1987 pasó a ser presidente de Columbia Pictures Dawn Steel.

El 26 de junio de 1987, Coca-Cola vendió The Walter Reade Organization a Cineplex Odeon Corporation. En septiembre de 1987 Coca-Cola decidió ceder la mayor parte de las acciones de Columbia a Tri-Star, que entonces tenía el 39,6%, por 3,1 miles de millones de dólares. Tras la venta, Tri-Star se cambió el nombre por el de Columbia Pictures Entertainment, Inc. y Coca-Cola pasó a tener el 49% del accionariado. En 1988 se creó otra compañía subsidiaria llamada Tri-Star.

El 14 de octubre de 1987, Coca-Cola invirtió 30 millones de dólares en acciones de Castle Rock Entertainment. Coca-Cola compró el 40% de las acciones de Castle Rock y cinco ejecutivos de Columbia Pictures Entertainment Inc. el 60% restante.

En 1988 Columbia produjo El último emperador, que ganó nueve Oscars.

En 1989 Sony compró Columbia Pictures Entertainment Inc. por 3,4 miles de millones de dólares.

El 29 de septiembre de 1989 Sony compró Guber-Peters Entertainment Company, que anteriormente había sido la productora de concursos de televisión Barries Industries Inc., por 200 millones de dólares. Sony contrató a Peter Guber, que fue nombrado director ejecutivo, y a Jon Peters, que fue nombrado ejecutivo, en Columbia Pictures.

En 1989 el abogado Alan J. Levine pasó a ser presidente de la productora.

Década de 1990

Los estudios de Culver City, California, habían sido de la MGM y en los años 80 habían sido adquiridos por Lorimar-Telepictures. En 1989 Warner Communications adquirió estos estudios. Columbia compró los estudios a Warner Communications en 1990 y se trasladó a este lugar.

En 1990 Frank Price fue contratado como ejecutivo de Columbia. La productora Price Entertainment, Inc., fundada por él en 1987, fue adquirida por Columbia en marzo de 1991. Price dejó Columbia el 4 de octubre de 1991 y fue reemplazado por el ejecutivo de Warner Bros. Mark Canton. Prince refundó su empresa como Price Entertainment Company y realizó un contrato de producción no exclusivo con Sony.

El grupo empresarial fue reorganizado y llamado Sony Pictures Entertainment el 7 de agosto de 1991 y TriStar pasó a ser una subsidiaria para televisión en octubre del mismo año. En diciembre de 1991, Sony Pictures Entertainment creó Sony Pictures Classics para cine independiente, a cargo de Michael Barker, Tom Bernard y Marcie Bloom. Estos habían estado previamente en United Artist Classic y Orion Classics.

En 1991 Jon Peters se marchó de la productora. Guber se marchó en 1994 y en 1995 pasó a formar parte de Mandalay Entertainment.

El 7 de diciembre de 1992, Sony Pictures adquirió el almacén de concursos de televisión de la productora Barry & Enright.

El 21 de febrero de 1994, Columbia Pictures Television y TriStar Television se unieron en Columbia TriStar Television. Esta compañía se unió con Merv Griffin Enterprises en junio, consiguiendo los derechos de los programas de televisión La rueda de la fortuna y Jeopardy!. El mismo año, la compañía adquirió Stewart Television. El 21 de julio de 1995, Sony Pictures y Jim Henson Productions crearon la unión de empresas Jim Henson Pictures..

Sony tuvo grandes pérdidas tras la compra de Columbia. John Calley pasó a ser presidente de Sony Pictures Entertainment en 1996. Este nombró a Amy Pascal como presidente de Columbia Pictures y a Chris Lee como presidente de producción en TriStar. En 1997 los estudios empezaron a recuperarse gracias a éxitos de taquilla.

En 1997 Columbia Pictures fue el estudio de cine con mayor recaudación de los Estados Unidos, con un ingreso bruto de 1,256 miles de millones de dólares. En 1998, Columbia y TriStar se fusionarion para formar Columbia TriStar Motion Picture Group, conocido simplemente como Columbia TriStar Pictures, aunque Columbia y TriStar siguieron produciendo películas con marcas diferentes. Amy Pascal continuó como presidente de Columbia TriStar Pictures y Chris Lee pasó a ser el encargado de producción de la compañía.

En los años 90, Columbia anunció planes para una franquicia de James Bond que le hiciese la competencia a la ya existente. Ellos ya habían adquirido los derechos de adaptación al cine de la novela Casino Royale. Planearon hacer una tercera versión de la novela Thunderball con Kevin McClory. MGM y Danjaq, LLC, propietarios de la franquicia, demandaron a Sony en 1997. El asunto legal terminó en 1999 en un acuerdo extrajudicial. Sony les vendió los derechos de Casino Royale por 10 millones de dólares y obtuvo los derechos de adaptación al cine de Spider-Man.

Siglo XXI

Las películas de Spider-Man, personaje de Marvel creado por Stan Lee, son la saga de mayor éxito de Columbia. Spider-Man (2002) fue la película que más recaudó el día de su estreno en Estados Unidos de la historia. Spider-Man 2 (2004) y Spider-Man 3 (2007) batieron el mismo récord.

En el año 2000 Joe Roth, que había sido cofundador de Morgan Creek Productions y ejecutivo de Walt Disney y 20th Century Fox, fundó Revolution Studios. Sony Pictures Entertainment llegó a un acuerdo para distribuir sus películas y compró acciones de esta compañía. En Revolution Studios también invirtieron los ejecutivos Todd Garner, Rob Moore, Tom Sherak y Elaine Goldsmith-Thomas y las productoras Starz Entertainment y 20th Century Fox. En 2014 Revolution Studios fue vendida a Fortress Investment Group.

En 2016 pasó a ser presidente de Columbia Pictures Sanford Panitch.

Véase también
 Películas de Columbia Pictures

Referencias

Bibliografía

Enlaces externos

 Sitio web oficial de Sony Pictures (en inglés).
 SonyPictures.net (Lista de sitios web en todo el mundo)

Columbia TriStar
Estudios de cine
Empresas de Los Ángeles
Productoras de cine de Estados Unidos
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Home » Guaka: happy birthday! A new wiki for you!
Guaka: happy birthday! A new wiki for you!
Hey Kasper, what would be better to give you for your 20-12th birthday than a wiki? So we thought last night and a little while later Spamwiki was born. Our other 100 wiki-ideas simply didn't give the right feeling as much as this one. So, Kasper, have a look around at your user-profile we made for you as well as the birthday-wishes you already received through spamwiki.org. And all others, what are you waiting for, go spam him, uhm, congratulate him!
Submitted by Paxus on Sat, 29/11/2008 - 04:10.


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Kelsea Ballerini Wants to Bring Unity in Country Music
By Gayle Thompson - June 19, 2018 02:03 pm EDT
Kelsea Ballerini might be one of the most successful country artists of the last several years, but she isn't about to use her fame and notoriety to promote her own cause. The 24-year-old chooses not to discuss politics or other controversial items, mostly because she doesn't want herself or her music to be a cause for taking sides.
"I feel like my job is to be positive and encouraging and empowering to women, and that's what I speak about through my music," Ballerini tells Yahoo! Lifestyle's Loud and Clear. "That's what I use my platform for, and what I feel really, really strongly about. I feel like that's the influence I can make."
Ballerini has become known as a role model for female artists, although it's a torch she didn't intentionally carry. But if she can help unite female artists, and inspire them to help each other, then she will gladly continue that job.
"I didn't really mean to kind of take on that role," insists Ballerini. "I'm constantly seeing articles, and people posting about 'Who's your country queen? This person or this person?' And it makes all of us feel like there's only one spot. And then, when you feel like there's only one spot, even if you want to be friends with all the other girls, there's this weird negative, competitive energy in the room. That makes you feel awkward, like you can't be their friend."
Not only does Ballerini hope to bring female artists together, she hopes to also bring more fans to country music, dispelling several myths about the genre she loves.
"I feel like country music has this stigma still, where it's all about the fiddle and the truck," Ballerini laments. "Obviously that's still a part of it, and it's in the roots, and I hope that it always is a part of it. It's about the story and about the emotions of the human heart. Not necessarily the clichés of beer, truck, dog, cheating."
The wife of singer Morgan Evans has several things she still wants to accomplish, and chances are good she will succeed at all of them.
"I have a goal list," reveals Ballerini. "It's just literally like a word document, I swear. And it just not only lists goals but things that I want to partner with, things that I want to do by this time. I think it's important to know what you want. I think when people start taking you seriously is when you start taking you seriously. "
Ballerini is serving as the opening act on Keith Urban's Graffiti U Tour. Dates can be found at KelseaBallerini.com.
Photo Credit: Instagram/kelseaballerini


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We don't have the complete details but it seems that American DJ jumps on the Traktor train as well with a dedicated VMS-4 Traktor version. This controller will have unique 4X Midlog channels that are compatible with any midi learn software or analog inputs. Crossfader adjustment, assignable touch strips, 2X mics with gain, treble, mid and bass control are just a few of the other features you'll find in the VMS-4 Traktor.
The VMS-2 is a new 2-channel MIDI controller which offers more features, more performance and more value than any product in its class. The VMS-2 comes bundled with the always-popular Virtual DJ software and features 2X Midilog channels compatible with any midi software or analog inputs, giving it great versatility to go along with its value and performance.


It's 2018 and I'm still writing about our trip to France, that happened 10 months ago…. 😮 I promise that I will try to finish until the end of this year! hahaha It may seem that we spent like a month there, but it was 7 days….one of the best seven days of my life! It's funny to live in Europe…everything is so close, but so much different from one another, and affordable…if you keep things simple (if you live on a budget like we do), you can easily plan a yearly trip to some place new. In Brazil, travelling is hard, especially if you don't own a car (we didn't), everything is so expensive…so we never traveled there, sad because Brazil has so many beautiful places. But now that we are here living in Berlin, I would like to visit many, many places…I don't know if it will be possible to travel this year, but I would definitely go France again, again in again….weirdly, I don't have the urge to visit Paris…I mean, of course I would like to go there…especially for the Louvre museum, but since we already live in a big city, I like to travel to calmer e quieter places, and the south of France is perfect for that!


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Q: Can't make .fadeOut() work with JQuery 1.7.1 I'm trying to make the two modal boxes on my site's homepage fade out using .fadeOut(). If you visit the site, you'll see that the website is stuck on the first one. It's supposed to fadeOut when clicked.
http://mitsuifinearts.com/wp/
I have made it work in a test file, so I know my code works. But when I integrate it into the Wordpress site, it breaks.
My JS is here:
http://mitsuifinearts.com/wp/wp-content/themes/apex/js/modal-fade.js
If I add the following line of code to header.php, the modals will work, but most of the other JQuery in the site breaks:
<script type="text/javascript" src="http://ajax.googleapis.com/ajax/libs/jquery/1.5.1/jquery.min.js"></script>

I see that JQuery 1.7.1 is being called earlier in the . Shouldn't that allow the .fadeOut() work? It's not been deprecated, so far as I can tell.

A: WordPress uses jQuery.noConflict()  by default. So try replacing $ with the jQuery variable:
jQuery(document).ready(function() {
    jQuery('.modal1').click(function() {
        jQuery('.modal1').fadeOut('slow');
    });
});
jQuery(document).ready(function() {
    jQuery('.modal2').click(function() {
        jQuery('.modal2').fadeOut('slow');
    });
});


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← Where is Tony Eason???
Mila is SO Brave! →
Ryan Reynolds is a Cradle Robber
Ryan Reynolds sure likes them young!
People Magazine has announced that the 35-year-old Ryan Reynolds, star of beloved sitcom Two Guys, a Girl and a Pizza Place has married Russ from European Vacation's younger half-sister Blake Lively, age 25. Mazel tov?
I'm really impressed that you can look into her eyes!
Granted, a ten year age difference isn't THAT bad, considering that Blake portrays super sophisticated Serena can der Woodsen on Gossip Girl, the CW series based on the slutty teen fiction books that I used to read during my lunch break when I worked at Barnes & Noble. BUT, this is Ryan's second marriage in less than five years to a hot young thing. Reynolds famously married indie starlet Scarlett Johansson in 2008 when he was 32 and she was 23. Shockingly, they divorced just two years later.
Ryan must really like cleavage!
Perhaps Ryan likes them young because of a case of arrested development from his Fifteen years on Nickelodeon, where he played serious Billy Simpson, whose dad was an alcoholic, or maybe it was his sister's boyfriend who had the drinking problem. I can't remember.
For the love of Danny Glover, WHY didn't his dad take him to the ball game???
And let's not forget that Ryan was also once engaged to fellow famous Canadian Nickelodeon star Alanis Morisette. That definitely, maybe was a match made in heaven!
So I guess congratulations? And if this relationship doesn't work, I know a nice young lady who will probably be on the market soon.
Just in time for Christmas, presenting Courtney Stodden!
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An unhinged President heads to Singapore after trashing our closest allies at G7. One couldn't be optimistic. What could go wrong? Two mentally unstable leaders, each with nuclear capacity, getting together for a chat. So what happens: an agreement.
Ranked Choice Voting Comes to Maine and Big Gubernatorial Primary in Nevada. We reported last week that Las Cruces had adopted Ranked Choice Voting and in today's primary the state of Maine will become the first state to use the system. All eyes will be on the results. There are primaries in Nevada, Maine, South Carolina and Virginia with battles pitting DCCC/Emily's List favored candidates being challenged by political neophytes and a very contentious battle for Governor in Nevada Vox always does an excellent job of handicapping what is at stake in the primaries and they did once again. Click here to review a who's who for today's primaries.
Body language. G7 leaders do not seem amused.
Truth-Out journalist, Heather Digby Parsons, penned a hilarious report on Trump's G7 meltdown, complete with screenshots of a myriad of insulting tweets aimed at Canadian Prime Minister Justin Trudeau and other G7 leaders. Trump's top trade advisor, Larry Kudlow ranted and raved incoherently on Jack Trapper's State of the Union, asserting that a deal had been done at the summit and that a joint communique was agreed to and ready to be signed. Kudlow then claimed that Trump walked away from the deal because Trudeau had the effrontery to call a press conference to defend Canada and indicate that it would not be bullied by the US. So, on the basis of this one comment, our Diplomat-in-Chief walked away from the deal and insulted our six closest allies. What's more, he began the G-7 by suggesting our allies welcome Russia back into the fold, stunning our allies, who were not amused at all by the suggestion.
In summarizing Kudlow's interview, Parsons went on to state: "Somewhere in the middle of his bleary tantrum he opened a new front, indicating to Jake Tapper that the G7 countries had been expected to kowtow to Trump and allow him to dominate their industry and trade, as a way to impress North Korean leader Kim Jong Un with Trump's manly superiority. He portrayed their unwillingness to sacrifice their own voters to make Trump look like a Real Man as a betrayal of world peace." Parsons goes on to quote another Trump trade advisor who was not about to be outdone by Kudlow: "Trump's extremist trade adviser, Peter Navarro, got down and dirty, suggesting 'there's a special place in hell for Justin Trudeau.'" This is diplomacy? This is the team headed to Singapore to meet with Kim Jong Un? Click here to read a very entertaining and humorous view of Trump at G7. The full Kudlow interview appears at the bottom of the blog.
You can't make this up. While there are really no details to "the agreement" merely a commitment to continue talks, Trump did a 180 degree about face from the day before when he excoriated Canada and our European allies and then made nice-nice with Kim Jong Un even stating that he was "honored" to meet with him. The media has made quite a deal about how Trump at once can scorch our allies while fawning over a North Korean dictator. While Trump called the two page agreement "comprehensive" others described it as merely a framework, an agreement to continue talks with the goal being to demilitarize the region, a worthy end, but with many pratfalls along the way.
What is most troubling about the last 48 hours is how erratic our President and his team has been. Willing to tear up an agreement with allies while making threats and tacitly approving unheard of level of hostile language toward Canada and then fawning over North Korea's Kim Jong Un. There is something frightening about the degree to which the President is offended by even the most benign challenge to his ego while being so taken by ceremonial pomp that feeds his ego. Recall his visit to China (another dictator) where he claimed that his welcome was the most ornate in history, just as his inaugural was the largest in history. Like a king, Trump responds well to flattery and ceremony. But if asked to negotiate with peers who do not fawn all over him (see again the photo above of Merkel scowling at Trump), he takes offense taking mere statements of national autonomy (Trudeau) as a personal affront.
Lord help us if Trump is ever in the room when some truly testy issue is on the table with much at stake. The last 48 hours has revealed a psychologically unbalanced male with too much testosterone and too little self-assurance, too sensitive to criticism or challenge and to moved by pomp and praise. Can we just fast forward to 2020?
I learned that the G 7 first met in 1975 and that it is still composed of the 6 most powerful and richest western economies and Japan. Maybe it also should include China. These countries, through their corporations (although most corporations are transnational entities), control the world economy. They do not meet to solve problems like poverty, mini and large conquests and occupations (mostly by the US) of countries and places to facilitate corporate control and theft of resources. They do not meet to solve the problems generated by global warming. They meet to insure their economic supremacy which comes at the cost of people and planet. They do not meet to discuss the failures of capitalism and the neoliberal economic model but to improve them so these models can better serve the politicians and plutocrats in power. Their economic model has created a new epoch, the Anthropocene, and the 6th mass extinction of Life on Earth. Both well underway and unstoppable since the representatives of the G7 do not seem to know this is happening.
So, I do not care much about this kind of meeting.
But I do care about the fact that our city abides by the same economic model and thus it will never truly solve the problem of poverty and its inhabitants dependency on transnational corporations like Walmart, the Real Estate and developers' grip on the city, and the control big banks like Wells Fargo exert over the city finances.
This is from our city finance department.
Economic growth has proven to be unsustainable and detrimental to life. Their economic model, if they have one, is not innovative since the first order of things for the city is to grow, as its recent history shows.
Most important, its economic, or business model, follow the same model used by the G 7 so it is not designed to end poverty but to perpetuate it.
I am just adding to what I wrote above. Please read.
Yes, it seems that we are imploding because our plutocrats and their servants-politicians are truly addicted to growing their wealth and money. They have, for generations, been socialized to do just that.