2W-Designates one (1)-face or two (2)-face sign.
All messages shall be clearly legible attracting attention under any lighting conditions.
Only simple tools will be needed to exchange or retrofit these optical cavities with existing bulb technologies.
The optical cavity shall include solid-state white LEDs.
There shall be sufficient quantity to uniformly illuminate the viewing area.
The viewing area shall produce a luminance of 60 Nits and not vary in luminance across the viewing area by more than a few percent.
Failure of one (1) LED shall not reduce the light output by more than eight percent (8%) per foot.
No wiring within the optical cavity will be permitted.
Anything other than the LEDs within the optical cavity will cause degradation in optical performance and will not be accepted.
The Sign shall have an input voltage of 120. The input voltage will then be reduced and power-conditioning circuitry will be provided so that the LED's current will operate at the manufacturer's recommended specifications.
The sign shall include a replaceable fuse at the electrical power wire entrance compartment.
Ends cast from 356 aluminum and have a minimum thickness of 188″.
125″ extruded aluminum doors have one (1) side removable to gain access to sign face (not necessary for normal maintenance).
A continuous aluminum hinge, 0.040″ x 1 1/16″ open, shall mount the bottom of the door to the housing.
Signs shall have three (3) ¼-turn airlock fasteners per door to secure it to the housing.
Sign face shall be 0.125″ white polycarbonate.
Drainage shall be provided by drain holes located in the corners of the housing bottom.
Polyvinyl chloride (PVC) foam gaskets shall seal the sign between the door and housing, and between the face panel and doorframe.
Reflectors shall be constructed from 0.040″ aluminum and shall be wet-painted white.
Recommended mounting hardware is available from National Sign and Signal Co. This hardware allows swinging of the sign to reduce mast-arm wind loads. Brackets are adjustable for leveling the sign for use on any size mast-arm. Other mounting methods may be applicable.
All products will be warranted to be free of defects due to material and workmanship for a period of two (2) years.


text:
June 21, 2019 Daily News
Report — Trump Sent Message To Iran: Hold Talks Or We'll Strike
U.S. President Donald Trump on Thursday night (20th) urged Iran to come to the table to hold talks in a message conveyed through Oman, and warned that a U.S. strike against the Islamic Republic could be imminent, according to a report Friday morning (21st).
"In his message, Trump said he was against any war with Iran and wanted to talk to Tehran about various issues… he gave a short period of time to get our response, but Iran's immediate response was that it is up to Supreme Leader Ali Khamenei to decide about the issue," an unnamed Iranian official told Reuters.
Another official said: "We made it clear that the leader is against any talks, but the message will be conveyed to him to make a decision… However, we told the Omani official that any attack against Iran will have regional and international consequences."
The report comes after American officials said the U.S. made preparations for a military strike against Iran in retaliation for the downing of a U.S. surveillance drone, but the operation was abruptly called off with just hours to go.
The officials, who were not authorized to discuss the operation publicly and spoke on condition of anonymity, said the targets would have included radars and missile batteries. The New York Times said Trump had approved the strikes Thursday night (20th), but then called them off. The newspaper cited anonymous senior administration officials.
(reuters.com; timesofisrael.com)
Iran Shows 'Retrieved Sections Of U.S. Military Drone,' Says It Warned U.S.
Iranian state television on Friday (21st) showed what it said were retrieved sections of a U.S. military drone downed by Iran.
Amir Ali Hajizadeh, head of the Revolutionary Guards aerospace division, said on the program that the debris was proof that the U.S. drone had been over Iranian territorial waters when it was shot down by the Guards.
He further stated that Iran had warned the U.S. several times before shooting down the drone, but that the U.S. didn't respond.
Hajizadeh said the debris was picked up from Iranian territorial waters. He said he would speak about the remnants of the destroyed drone at another time.
Meanwhile, U.S. President Donald Trump told reporters in the Oval Office on Thursday (20th) that the drone was unarmed and clearly over international waters, adding that it could have been shot down by someone "loose and stupid."
He said, "The U.S. has documented that the drone was above international waters, not Iranian territory, as Tehran claims."
(jpost.com)
Shin Bet Exposes Iranian Spy Network Within Israel
The Israeli Shin Bet security agency says it has exposed an "Iranian intelligence effort" to establish a spying operation in Israel under the cover of commercial activity.
In conjunction with the Israeli police, the Shin Bet says it arrested businessman Thaer Shafut, 32, a Jordanian national, who is originally from the Hebron area.
"It was learned that Shafut had entered Israel on behalf of Iranian intelligence in order to carry out missions designed to advance the formation of cells, particularly in Judea and Samaria, for use in covert Iranian activity," says the Israeli agency's statement.
The suspect first came into contact with Iranian intelligence when he was in Lebanon, with additional meetings taking place with his "Iranian handlers" during 2018 and 2019 in Lebanon and Syria, according to the Shin Bet.
Shafut was arrested in April but the Shin Bet's announcement was not made until now, after the IDF Judge Advocate General's Office filed an indictment earlier this month against the suspect in the Judea military court. He is accused of "contact with an enemy, contact with a hostile organization, and conspiracy to smuggle enemy funds into the area," said the Shin Bet.
He had been instructed by his handlers, said the Israeli statement, "to establish a commercial infrastructure in Israel to serve as a cover for future Iranian activity, apparently to gain access to Judea and Samaria, and recruit spies to assist in gathering information pursuant to Iranian interests."
Ultimately, Iranian intelligence intended to use Shafut as "a conduit to channel funds to terrorists in Judea and Samaria and in other parts of Israel," it added.
At the conclusion of the operations for which he was sent to Israel, says the Shin Bet, Shafut was expected to travel to Iran to complete his training as an agent and undergo advanced training in intelligence and espionage, but his arrest by Israeli authorities "thwarted his plans and led to the foiling of the actions planned by Iranian intelligence operatives through him," says the Israeli security agency.
(worldisraelnews.com)
Hamas Blasts Bahrain Summit For 'Normalizing' Ties With Israel
Ismail Haniyeh, the leader of the Gaza-based Hamas terrorist organization, said Thursday (20th) that Hamas rejects next week's U.S.-sponsored Middle East economic conference in Bahrain as it would amount to Arab "normalization" of ties with Israel.
In a rare briefing with international journalists, Haniyeh also accused Israel of failing to abide by agreements meant to ensure calm in the Hamas-controlled Gaza Strip.
"We clearly express our rejection and non-acceptance of any Arab or Islamic country holding such a conference, which constitutes normalization with the occupation," Haniyeh said, referring to Israel.
U.S. President Donald Trump's administration organized the conference, which is to be held on June 25 and 26 in Manama for the unveiling of the economic component of a U.S. Israeli-Arab peace plan.
The Palestinian Authority has also accused the U.S. of trying to use the potential offer of billions in investment to avoid dealing with political causes of the "Israeli occupation."
"We reject the Manama conference and the transformation of the Palestinian cause from a political cause to an economic cause," Haniyeh said.
Haniyeh also appealed to Bahrain's King Hamad "not to hold this workshop," vowing protests "in all Palestinian land and beyond."
(israelnn.com)
Israel Unveils Portable Iron Dome At Paris Air Show
Israeli aerospace company Rafael has unveiled a portable Iron Dome missile defense battery, promising deployed troops the same protection the original system provided for civilian populations.
The I-Dome, designed to protect troops from rockets, mortars and UAV attacks, was among several new Israeli-made weapons systems featured this week at the Paris Air Show.
The scaled-down missile battery fits on the back of a large flatbed truck, making the system easily transportable. Its cartridge holds 10 Tamir Interceptor missiles, instead of the 20 used by its larger Iron Dome counterpart.
"Basically, we put a missile launcher, radar and a control system in the cab of a vehicle," Rafael CEO Pini Yungman told Channel 13 from the Paris expo. "This array can offer the same protection as the Iron Dome battery. The I-Dome is an all-in-one system," he said.
The Rafael-made Iron Dome has been used regularly in Israel since 2011 to shield civilians from rocket fire emanating from the Gaza Strip, most prominently during the 2014 Operation Protective Edge. During a recent barrage of 700 rockets and mortars fired at Israel from the Gaza Strip, the Iron Dome intercepted 86% of the projectiles headed for populated areas.
Earlier this year, Israel's Defense Ministry and the U.S. Department of Defense announced that the U.S. Army would purchase two Iron Dome batteries to defend deployed troops from aerial threats.
According to Channel 13, the U.S. military has also expressed interest in purchasing several portable I-Dome batteries from Israel.
(timesofisrael.com; afp.com)

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Flask Message Flashing error - flask.debughelpers.FormDataRoutingRedirect I am currently getting the following error when I run my flask code:

flask.debughelpers.FormDataRoutingRedirect
  - FormDataRoutingRedirect: A request was sent to this URL (http://localhost:5000/login) but a redirect was issued automatically by the routing system to "http://localhost:5000/login/".  The URL was defined with a trailing slash so Flask will automatically redirect to the URL with the trailing slash if it was accessed without one.  Make sure to directly send your POST-request to this URL since we can't make browsers or HTTP clients redirect with form data reliably or without user interaction.

I think it is to do with where the message flashing is placed but I can't seem to figure out how to fix this. I'm new to flask so not entirely sure what the best option is to solve this issue.
I have included my index.py and login.html file to help reproduce this error. Thanks in advance for the help! :)
Login section of app.py
@app.route('/login/', methods=['GET', 'POST'])
def login():
    form = LoginForm()

    if form.validate_on_submit():
        user = User.query.filter_by(username=form.username.data).first()
        if user:
            if check_password_hash(user.password, form.password.data):
                login_user(user, remember=form.remember.data)
                flash("Invalid username or password")
                return redirect(url_for('dashboard'))

    return render_template('login.html', form=form, errors=form.errors.items())

Login.html Template
{% block body_content %}

<form method="POST" action="/login">
    {{ form.csrf_token }}

       {{ form.username }}

        {{ form.password }}

        {{ form.remember }}

    <button type="submit" class="btn btn-primary">Sign In</button>
</form>

    {% for field, err in errors %}

{{field}} : {{err|join(', ')}}

    {% endfor %}

    {% for message in get_flashed_messages() %}

{{ message }}

    {% endfor %}

{% endblock %}

A: Add a trailing slash to the action attribute inside the form as suggested in the message:
<form method="POST" action="/login/">

Preferably, use url_for to build URLs:
<form method="POST" action="{{ url_for('login') }}">

Since you're rendering the form with the same view that handles the post, you can omit the action.
<form method="POST">

A: You have two either of the following options:

*

*@app.route('/login', methods=['GET', 'POST']) or

*<form method="POST" action="/login/">
Make them both same.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Rotated text box for report cover My school has presented me with the following template for report covers, but this only exists in .ppt-format.
I wish to make a LaTeX-version of it, but i am unsure how to create the rotated text boxes and how to place them on the very edge of the paper.

A: Take the documentclass scrbook; manual: texdoc scrguiden on command line. Use the titlepage environment. You need the graphixc package (texdoc graphixc), which provides the rotatebox. I'd simply use a picture environment on the titlepage, inside the rotatebox.

A: Here a quick and dirty solution. I just added the elements as shown in your ppt sample. I didn't take exact measurements.
I created all elements using \node positioning relative to the page's corners or its center or relative to other nodes.
For making an exact copy of the original template i suggest you take measurements of all lengths and extract the right color values as using the correct font faces.
\documentclass[11pt]{article}

\usepackage{todonotes}
\usepackage{tikz}
\usetikzlibrary{positioning, calc}

\renewcommand{\familydefault}{\sfdefault}

\begin{document}
  \begin{titlepage}
    \begin{tikzpicture}[remember picture, overlay]
        % Rotated boxes on the left
        \node at ($(current page.west)+(0,5)$) [fill=blue!25, rotate=90, anchor=north, minimum height=3cm, text width=5cm, align=left] (pw) {~~~~~\Large Project Work};
        \node [left=0cm of pw, minimum height=3cm, text width=8cm, rotate=90, anchor=east, align=right] {\textbf{NTNU}\\Norwegian University of\\Science and Technology\\Faculty of Engineering Science and Technology\\Departement of Energy and Process Engineering};

        % Title block
        \node at ($(current page.north)+(0,-5)$) (student) {\Large Student (your name)};
        \node [below=.5cm of student] (title) {\Huge Title};
        \node [below=.5cm of title] {Trondheim, MM YYYY};
        \node at ($(current page.center)+(2,-1)$) {\missingfigure[figheight=10cm, figwidth=15cm]{your image here}};

        % Ntnu Logo
        \node at ($(current page.south east)+(-2.5,1)$) [text width=4cm] (text) {\textbf{NTNU - Trondheim}\\Norwegian University of Science and Technology};
        \node [left=.5cm of text, rectangle, fill=blue!75!black, rounded corners, minimum size=1.5cm] (bluelogo) {};
        \node at (bluelogo) [rectangle, fill=white, minimum size=.75cm] (whitelogo) {};
        \node at (whitelogo) [circle, fill=blue!75!black, minimum size=.65cm] () {};
    \end{tikzpicture}
  \end{titlepage}
\end{document}


An ounce of prevention is worth a pound of cure - and pounds of dollar bills. Use your health plan's preventive care benefits to get the services that catch problems in their earliest stages, when they're easier and less costly to treat. Spend a little on prevention - even if you're in the best of health right now - and you'll avoid spending a lot on complex care.
The Plan pays most preventive care services at 100% with no deductible or coinsurance required.
If your health plan offers both in-network and out-of-network benefits, you save when you choose in-network providers. This is because they have negotiated rates with the health plan and generally charge less for their services. Plus, the plan pays more in benefits - and you pay less out of your own pocket - when you go in network for the care you need.
Although designating a Primary Care Physician (PCP) is not required for all health plans, building a relationship with a PCP can provide stability and help centralize coordination of care. A PCP provides routine, basic and preventive care, and can help you find the right specialty care when you need it. A PCP can be an internist, general or family practitioner or, for children, a pediatrician.
Choose and visit with confidence an Aexcel-designated provider.
If you and/or your covered family members are covered by a Lockheed Martin health plan and use medications on an ongoing basis (called maintenance medications), you can save with mail-order drug service. In fact, average savings with mail order (compared to using retail pharmacies) are $308 per year. Ask your doctor about substituting generic for brand-name drugs (where safe and appropriate) and you can save even more.
Compare costs, find generic alternatives and find out if your medication is covered under the plan with the Price-a-Medication Tool. If you are already registered with Medco.com, you can access the Price-A-Medication Tool via your personalized Web site.
Whenever possible, know what your health plan covers and how much your share of the cost will be before you receive care. Ask your doctor or health care provider for costs up front. That way you can discuss treatment alternatives with your doctor and make informed decisions.
Take action: Refer to your enrollment materials or your SPD for detailed information about your plan's coverage.
To find average estimated costs for medical treatments, tests and other services in your area, use the Cost of Care tools.
Find out what you'll pay for prescriptions before you have them filled with the Price-a-Medication tool.
5. Use the emergency room wisely.
When your health need or concern is not an emergency, the emergency room is not the place to be. Everything costs more in the hospital ER and you can wait hours to receive non-emergency care. When you need help in a hurry but it's not a life-threatening emergency, there are better, less costly options for the care you need - such as walk-in clinics, urgent-care centers and LMHealthWorks Wellness Centers.
The online provider directory lists in-network walk-in clinics and urgent-care centers in your area.
Not sure what to do? Call the Nurse Advice Line (available 24/7) at 1-877-458-4975 for help deciding where to receive care.
See the difference in what the plan pays when you visit the ER for a non-emergency problem versus a true emergency.
Finally, take steps to Stay Well.
Remember, good health is your best weapon against the high cost of health care. Eat healthy, put exercise into your day, kick unhealthy habits and take time to relax and de-stress.
Here are 7 great ways to use your Lockheed Martin health plan programs and benefits to lower your out-of-pocket health care costs.
Talk to your primary care provider this month about receiving your flu shot to protect yourself and your loved ones.
When you sign up, you'll be paired with a personal health coach who will help you set or adjust your goals, stay in touch to track your progress, and give you the encouragement you need to stay motivated.
Call the LM HealthWorks Plan at 1-877-458-4975 and select option 3 to request a health coach.
Register and access your secure member web site (formerly Navigator).
Learn more about your medications and ways to save on prescription costs.
Use the provider search tool (formerly DocFind) to find in-network health care providers and hospitals.
Know where to go to get the help and information you're looking for.
How will I know if the current medication I am taking is covered under the plan?
Have a question not listed here? Submit your question online.


With "DOMINO", we have created an extraordinary successful combination of the unique advantages of a true burnt-clay roofing tile with contemporary modern conceptions of design. A maximum of formal expressiveness with complete renunciation of superfluous stylistic devices – this is what characterizes the strikingly different design of "DOMINO". At the same time, it demonstrates optimum functionality and cost-effectiveness – for tilers and building owners.
"DOMINO" is a very beautiful example for the superiority of true branded quality in the true sense of the word. The step-like overlapping constitutes a reliable protection against the intrusion of water and dirt. An up-to-date tile – and for the roofs of all building owners appreciating straightness.


text:
The Video Guy
Note: This is a seattlepi.com reader blog. It is not written or edited by the P-I. The authors are solely responsible for content. E-mail us at newmedia@seattlepi.com if you consider a post inappropriate.
Tough spring for the WB
By Elliott Smith on May 22, 2013 at 6:50 PM
"Have you seen Bella?" Alden Ehrenrich and Alice Englert star in the box-office disappointment "Beautiful Creatures."
Figuring out what is going to be successful in a crowded marketplace is a difficult guessing game, and sometimes, even the best marketing efforts strike out. It's been that kind of year for Warner Bros., which had several high-profile films fall short of expectations. But were the bumps the films' fault or the audience's?
Trying to capitalize on the young adult crowd is a smart thing, and the WB probably felt like it had a sure hit on its hands with BEAUTIFUL CREATURES (PG-13, 1 1/2 stars), based on the successful series of books by Kami Garcia and Margaret Stohl. But despite the talented cast put together, the film never rises above a slightly-better-than-"Twilight" knockoff, with commerce rather than story the biggest reason for its existence.
Audiences responded with a collective yawn, with the film making just around $20 million domestically – 1/3 of its reported budget – all but squelching any hopes of a potential big-ticket franchise.
A classic tale of teenage love with a twist of the supernatural, the film focuses on Ethan (Alden Ehrenrich), a nerdy boy lost in the small-town South thanks to his love of poetry and reading banned books. He gets a big surprise on the first day of his junior year when the literal girl of his dreams, Lena (Alice Englert) shows up in class amid whispers that she is a witch.
As Ethan finds out more about Lena, it turns out that she and her family are indeed "casters," people who can perform spells, either good or bad. As she approaches her 16th birthday, her true nature, either light or dark, will be revealed, and various members of the casting community try to sway her to their side.
Sultry cousin Ridley (Emmy Rossum) and nefarious mom Sarafine (Emma Thompson) are on the dark team, while crusty uncle Macon (Jeremy Irons) and seer Amma (Viola Davis) are fighting for good. All of these actors are seriously slumming in this material, gambling that the back-end will make spouting some of the painfully earnest script worth their while.
But the problem here is that we've simply seen this story thousands of times before, and unless you're a 14-year-old girl who wasn't bitten by the "Twilight" bug, even the supernatural elements are old hat. What is supposed to be thrilling winds up feeling a little threadbare, and Ehrenrich and Englert aren't strong enough as young actors to bring us into their world.
Dizzying, ambitious, frustrating and ultimately a disappointment from both an artistic and financial standpoint, CLOUD ATLAS (R, 2 1/2 stars) certainly doesn't lack for chutzpah, but you're asking a lot for people to remain invested for the full length of a 3-hour movie that spans space and time.
Based on the novel by David Mitchell, the "unfilmable" film is one of the most expensive independent productions ever made. It's not surprising that the studios weren't lining up to fork over cash for a movie featuring six interrelated stories with actors jumping from character to character, even if Tom Hanks and Halle Berry are involved.
I'll say this: "Cloud Atlas" can be very intriguing. It can also be very confusing. This is not the kind of movie you can put on and kind of follow while you do some Twittering on the side. Keeping track of everything requires such intense focus that eventually the enterprise becomes kind of tiring, which is not the feeling your $100 million film should inspire in audiences.
That being said, the Wachowski siblings and Tom Tykwer, who collaborated as directors, definitely know a thing or two about visual panache, and there are some striking images and concepts on display here. But imagery can only take a movie so far – the "Transformers" movies look good too, but no one champions those as paragons of cinema.
Trying to boil down what the film is about is not an easy task. Essentially, it's about how all of our actions and interactions create a ripple effect, but even that doesn't do justice to the ambitious narrative. We're talking about futuristic races, clones, slavery, classical music, conspiracies and much, much more.
I mean, Hanks plays a black guy and Berry portrays an Asian character and that's not even close to being the most perplexing thing about the film. This will resonate with a subset of folks who are open to the notion of love and connectivity, but to a large swath of the movie-watching audience, it will read as New Age hoo-hah.
In the end, "Cloud Atlas" is a misfire, but one that won't easily be forgotten.


Where Are They Now? Well, They're In The Pros!
Are You A Bison Softball Scholar?
How close were you paying attention this season? Prove it. We have 13 trivia challenges about every sports' season. Today it's softball.


text:
Q: C++ detecting free function existence with explicit parameters I'm writing some type traits to see if a free function exists with a specific set of parameters.  The functions have a signature that looks something like this:
template <class T> void func( SomeClass &, SomeType const & );

I know ahead of time the values for T, SomeClass, and SomeType.  I want the trait to return true if this function exists with exactly these parameters, not using any implicit conversion.
I can easily write some code to detect whether this function exists by using SFINAE to attempt to call it, e.g.
// potentially in some namespace
template <class> void func(); // this is necessary since user implementations
                              // of func will not exist until after
                              // this has been defined
template <class X, class Y, class Z>
static auto test(int) ->
  decltype( func<X>( std::declval<Y&>(), std::declval<Z const&>(), std::true_type());

template <class, class, class> static std::false_type test(...);

and appropriately testing the return types of those functions.  Since I get to pass SomeClass (Y) to the function here, ADL can let the compiler look in the appropriate namespaces to not get confused by the dummy version of func I define for the tests.
The problem I run into here is that since the SomeType (Z in the above test) is passed by constant reference, it is allowed to implicitly convert to other types.  For example, someone could define a function like: template <class T> void func( SomeClass &, double const & ); and for any arithmetic type for Z, my test will pass.  I would like it to pass only when Z is the true type, in this case a double.
I tried to solve this by using function pointers in a scheme like the following:
// struct to prevent implicit conversion and enforce function signature
template <class Y, class Z>
struct NoConvert
{
  using FPType = void (*)(Y&, Z const &);
  explicit NoConvert( FPType );
};

template <class> void func(); // see note on why this is needed above

template <class X, class Y, class Z>
static auto test(int) -> decltype( NoConvert( &func<X> ), std::true_type() );
template <class, class, class>
static std::false_type test(...);

template <class X, class Y, class Z>
static bool value(){ return std::is_same<decltype(test<X, Y, Z>()), std::true_type>::value; }

In theory this would work great, but the problem I run into is that a later defined user version of func will not be seen by the test - it only sees the dummy func I need to define for the compiler to be happy.  Unfortunately I don't get to pass the type SomeClass here so ADL can't kick in to get &func<X> to look up later defined user functions.
Is there any way I can accomplish this?  The solution doesn't have to use function pointers, it just needs to be a trait that returns true if some free function exists with exactly a provided set of parameters.
For reference on desired behavior:
template <class T> void func( A &, int const & );

value<T, A, int>(); // return true
value<T, A, long>(); // return false
value<T, A, double>(); // return false
value<U, A, int>(); // return false
value<T, B, int>(); // return false

A: I was able to solve this using the following technique, thanks to help from dyp:
This solution no longer makes use of function pointers and instead relies on a proxy class that prevents implicit conversion:
template <class Source>
struct NoConvert
{
  template <class Dest, class = typename std::enable_if<std::is_same<Source, Dest>::value>::type>
  operator Dest () const = delete;

  template <class Dest, class = typename std::enable_if<std::is_same<Source, Dest>::value>::type>
  operator Dest const & () const;
};

template <class> void func();

template <class A, class T, class U>
static auto test(int) -> decltype( func<A>( std::declval<T&>(), NoConvert<U>() ), std::true_type() );

template <class, class, class>
static std::false_type test(...);

template <class A, class T, class U>
static bool valid()
{
  return std::is_same<decltype(test<A, T, U>(0)), std::true_type>::value;
}

which can be used like:
template <class T>
void func( B &, int const & );

template <class T>
void func( B &, std::string );

template <class T>
void func( A &, std::string const & );

std::cout << valid<A, B, int>() << std::endl;         // true
std::cout << valid<A, B, std::string>() << std::endl; // false
std::cout << valid<A, A, std::string>() << std::endl; // true

By playing with the conversion operators inside of NoConvert, you can make this work with passing by value, reference, or constant reference.
For example, in the current use, when the conversion operator for NoConvert<std::string> is triggered by a value parameter of std::string, both overloads are valid and thus there is ambiguity, meaning that SFINAE will cull this and allow the std::false_type test to pass.  In the case of a constant reference parameter, the constant reference overload has precedence and properly allows the std::true_type test overload to pass.
This solution also relies on the ability to use ADL to resolve the name of the function, which was impossible with the function pointer approach.

A: In C++20 this becomes fairly easy - here's a simple version if you have access to instances of the arguments:
constexpr bool check_func_arguments(SomeClass& a, SomeType const& b)
  auto check = [] (auto&&... args) {
    return requires { func(args...); };
  };
  return check(a, b);
}


text:
Issues of forum shopping on both sides of the Scotland/England border
Clyde & Co LLP
United Kingdom December 17 2015
Cook v McNeil [2015] EWCA Civ 1287
The issue of forum shopping is a growing problem on both sides of the Scotland/England border. Claimants are more frequently trying to raise proceedings in the part of the United Kingdom that they think will best suit their claim, notwithstanding the normal rules about domicile and location of accident.
Indeed, in this case at an earlier hearing, District Judge Park noted of Carlisle County Court that "we seem to be the county court for Scotland. There are a lot of claims coming out of Scotland, both accidents on the road and in factories and in places like Tesco, where proceedings are issued in England."
The opposite could also become true. In Scotland damages for fatal claims are significantly higher than south of the border. One can see similar arguments arising where proceedings are raised in Scotland in respect of a fatality in England.
The circumstances in this case were straightforward. Both claimants sustained injuries in accidents in Scotland. They were both domiciled in Scotland. The registered offices of the defendants were situated in England and Wales. The claims were issued in the Northampton County Court.
At earlier hearings, the claimants' cases had been struck out by virtue of the principle of forum non conveniens (literally translated as "forum not agreeing"). They appealed.
The Court of Appeal here had to decide whether it was correct that a forum non conveniens argument could apply as between different parts of the United Kingdom.
It had little hesitation in finding that it could. The Brussels Regulation could only apply as between member states, so did not apply in this matter. The appellants' argument that the Civil Jurisdiction and Judgments Act 1982 was merely a codification of the Regulation was undone by the fact section 49 of the 1982 Act contained an express statutory preservation of the forum non conveniens doctrine in domestic cases. It was a complete answer to the claimants' case.
As anticipated, the decision underlines that seeking to bring a claim in another part of the United Kingdom (i.e. English claims in Scotland or vice versa) will be difficult to make out. However, it will not be impossible; the doctrine of forum non conveniens looks at the question of convenience, and while in the Cook case the only real link to England was the English company numbers, in other cases where there is more of a real link to the forum, then the argument may not succeed.
Clyde & Co LLP - Marco Rinaldi
Forum shopping
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Thursday, September 13th, 2018 | Posted by Matthew Sorrento
Cinema Thinks: Film as Philosophy Edited by Bernd Herzogenrath
A Book Review Essay by John Duncan Talbird.
The multi-authored book is a misnomer. Although out in the world there is no taint to the word "anthology," it seems that in academe, readers (or publishers?) want something more cohesive. And so we have introductions wherein an editor will mightily attempt to frame the various essays and articles within – all written by different writers, from varying theoretical lenses, sometimes even composed in widely different historical periods – so that they make some kind of traditional argument. Which is one reason why Bernd Herzogenrath's new book, Film as Philosophy (U of Minnesota P), is such a satisfying read. Its fifteen authors, although they may have different approaches and support their shared thesis to a greater or lesser degree, really do seem to be collaborating on a book with a single argument, primarily that film is able to "do" philosophy. Herzogenrath quotes Stephen Mulhall, capturing a central thesis, concerning at least some films if not all:
I do not look at these films as handy or popular illustrations of views and arguments properly developed by philosophers; I see them rather as themselves reflecting on and evaluating such views and arguments, as thinking seriously and systematically about them in just the ways that philosophers do. Such films are not philosophy's raw material, not a source for its ornamentation; they are philosophical exercises, philosophy in action – film as philosophizing. (xii)
Film as Philosophy begins by building an historical foundation of the philosophy of film, exploring works by some famous names in film studies (Sergei Eisenstein, André Bazin) and some who, even if familiar to readers, may be less familiar as innovators of thinking about film (Hugo Münsterberg, Antonin Artaud). By the final three essays, we are up to the present day and the philosopher-film theorists speak for themselves (Noël Carroll, Thomas E. Wartenberg, Murray Smith). Some of the authors use actual films to illustrate the philosopher-theorist's ideas, some place the ideas in their historical contexts, quoting liberally from primary texts. Personally, I find the former approach more intellectually satisfying, although the other chapters do help to place specific theorists within their historical milieu and help readers understand how these writers were influenced by thinkers who came before and, in turn, influenced those after. More than one of the authors in Film as Philosophy points out that this hundred-plus-year-old project has a decidedly continental bent, those philosophers traced back through Nietzsche, Hegel, and Heidegger. As a result, several of the essays read as arguments directed at the Anglo-Saxon analytical school of philosophy, those scholars who might be (and apparently have been) skeptical at the claim that film can do philosophy.
In "This Is Your Brain on Cinema," Gregory Flaxman surveys poet and critic Antonin Artaud's early love for, and eventual rejection, of cinema. Ultimately, disappointed with the direction that most filmmakers were taking, Artaud wrote in the early thirties, "The cinema has the power of a poison that is harmless and direct, a subcutaneous injection of morphine" (72). Flaxman argues that the reference to a drug was not a metaphor and, as a drug addict himself, not necessarily a negative thing in the view of Artaud. Though Artaud was unhappy with the direction that cinema had historically taken, he was not against the medium per se. In response to recent film scholars who have depicted cinema as an interactive medium, Flaxman writes,
Far from endorsing this view, Artaud would have found it a betrayal of the cinema's intrinsic power to formulate an automatism of moving images to which we submit…. Whatever we hope to say about the work of the spectator, however we want to cast the active mind of the viewer, the cinema consists in the experience of movement (in the image, of the image, between images) in the absence of our motor movement. (73)
At the center of this book – literally – Bernd Herzogenrath, in his own essay, analyzes Gilles Deleuze, whose ideas about film and philosophy radiate both backwards in time and up to the present day. In his essay, "Strange Topologies: Deleuze Takes a Ride Down David Lynch's Lost Highway," he makes connections between the French philosopher and American film director and, thus, between philosophy and film generally. He opens:
Cinema thinks. Film is a medium of philosophical investigation and exploration. Propositions such as these distinguish Gilles Deleuze from most other film philosophers, granting film an immanent power of thinking much at odds with the idea that film and philosophy are totally different (and sometimes opposed) disciplines, with one (film) at best able to illustrate the ideas and doctrines of the other (philosophy). (161)
Lost Highway (1997) is not easy to summarize. In a nutshell, a musician (Bill Pullman) is sentenced to jail for the murder of his wife (Patricia Arquette). In jail, he unaccountably becomes a teenager named Pete Dayton (Balthazar Getty). (It should be said that the viewer doesn't know if he has "become" Pete Dayton or whether they've simply exchanged places.) Later, in the desert, Pete turns back into the musician, Fred Madison. There is a lot more to the film, including the fact that Patricia Arquette plays two women: Renee Madison and Alice Wakefield, unrelated, never on-screen together, and identical except for the color of their hair. As Herzogenrath writes, "The enigmatic character of Lynch's Lost Highway confronts us with the questions: What are we doing when we watch a film? How do we read films? Does the reality 'on screen' mimetically represent reality 'out there,' or is something different at stake?" (167). By offering us a noir, Lynch invites us to attempt to solve this mystery while at the very same time challenging our assumptions that a film is necessarily about something, something which can be solved.
Elisabeth Bronfen, in her contribution, "Hurray for Hollywood: Philosophy and Cinema According to Stanley Cavell," analyzes Cavell's books on classic Hollywood comedies (Pursuits of Happiness, 1981) and melodramas from the same period (Contesting Tears, 1996). Because the two books address several films, Bronfen focuses her attention on two examples, the comedy The Philadelphia Story (1940) and the melodrama Stella Dallas (1937). The first type of film is what Cavell calls the "comedy of remarriage" and the second is what he has labeled "films about the unknown woman" (182). Bronfen thematically links the two projects, asserting that both types of films "concerns the creation of a new woman who stands in for moral perfectibility." In the case of Tracy Lord (Katherine Hepburn) returning to her ex-husband, C.K. Dexter Haven (Cary Grant) in The Philadelphia Story, Cavell links Shakespeare's A Midsummer Night's Dream, based on the idea that, in both, "the public world of day cannot resolve its conflicts apart from resolutions in the private forces of the night" (184, Cavell quoted by Bronfen). In Stella Dallas, the titular character spurns her beloved daughter (Anne Shirley) so that Laurel can enter into the world of wealth and privilege, a space where Stella has never been able to fit in and, in the logic of the film, cannot fit in. Bronfen provides a close reading of the final scene of that film in which Stella stands in the rain outside the house where her daughter is getting married. After the kiss, she's urged by a police officer to move along and we see her striding off into the night with an enigmatic smile. "At issue," writes Bronfen, "is less what her new life will look like than the fact that by turning away she proves she has an open future" (195). I wonder what Cavell writes about economic class in these two books (Bronfen doesn't say). Both films fetishize wealth, as many classic Hollywood films do. Dallas, we are led to believe, is intrinsically incapable of being a part of the wealthy classes where her husband so naturally resides. And, therefore, she grooms her daughter to live in that world even though by doing so she will, as a consequence, lose her. The whole text of The Philadelphia Story acts as that window that Stella stares through in the conclusion of Stella Dallas. We are all Stella Dallas, these films at the tail end of the Great Depression are teaching us.
The last three chapters are some of the strongest of the book. In "Movie-Made Philosophy," Noel Carroll presents several arguments against the film-as-philosophy thesis coming from the analytical wing of philosophy. He addresses each theorist's argument and then dismantles it. In "'Not Time's Fool: Marriage as an Ethical Relationship in Michael Haneke's Amour," Thomas E. Wartenberg essentially offers an example of a cinematic text which does philosophy. In Haneke's 2012 film, he tells the story of elderly married couple, Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) who, after a stroke, is unable to care for herself. As Georges faces health issues of his own and increasingly finds himself unable to care for her either – spoiler alert – he kills her. Wartenberg argues that this mercy killing is not only acceptable, but ethically demanded, since, as Kant argued, dignity is "central to morality" (293). Since Anne has lost her dignity, the only ethical choice for Georges is to end her life. Finally, we end on Murray Smith's "Experience and Explanation in the Cinema." This essay begins with the provocative subtitle: "All over Again, What Is Cinema?" Smith focuses on films that challenge our assumptions about what cinema is by utilizing other forms of media. In the case of Citizen Kane (1941), he discusses the "News on the March" segment and, in the example of District 9 (2009), he writes about the newscasts, the surveillance footage, and the documentary within the film, all these various texts – along with the more traditional sci-fi action film that they're a part of – creating a complex, satirical film that challenges our assumptions about what film is and can be. It strikes me that another film that falls under this category would be Haneke's Caché (2005) which not only utilizes surveillance video, but does so in a way where we often don't know if we're watching surveillance or the "real" story, an innovation over the earlier Lost Highway where surveillance is mainly a plot point.
Film as Philosophy is an excellent introduction to those who don't know the history of the overlapping and parallelisms between these two disciplines. There are also several detailed analyses of films from various eras and genres. I probably would have preferred a few more of these. And everyone with a foundation of film theory will probably chafe at this omission or that one. For instance, there is almost no mention of Slavoj Zizek, a strange exclusion since he has starred in and written screenplays for several films, including The Pervert's Guide to Cinema (2006) and The Pervert's Guide to Ideology (2012) neither of which are true "guides," but instead films using the medium of cinema to explore philosophical ideas. Likewise, I would have liked to read about Alain Robbe-Grillet as a writer/ filmmaker. One of Roland Barthes' closest friends, Robbe-Grillet explored and challenged our ideas about what texts could be in his essays, fiction, and films. But these are cavils. Film as Philosophy is a big book, in more ways than one, and a strong contribution to the debate about whether film can actually do the work of philosophy.
John Duncan Talbird is the author of the limited edition book of stories, A Modicum of Mankind (Norte Maar) with images by artist Leslie Kerby. His fiction and essays have appeared in Ploughshares, Juked, The Literary Review, Amoskeag, Ambit and elsewhere. He is an English professor at Queensborough Community College.
The Enormous Gap Between Dream and Realization: Scenarios by Werner Herzog
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New York most commonly refers to: New York City, the most populous city in the United States, located in the state of New York New York (state), a state in the northeastern United StatesNew York may also refer to: == Film and television == New York (1916 film), a lost American silent comedy drama by George Fitzmaurice New York (1927 film), an American silent drama by Luther Reed New York (2009 film), a Bollywood film by Kabir Khan New York: A Documentary Film, a film by Ric Burns "New York" (Glee), an episode of Glee == Literature == New York (Burgess book), a 1976 work of travel and observation by Anthony Burgess New York (Morand book), a 1930 travel book by Paul Morand New York (novel), a 2009 historical novel by Edward Rutherfurd New York (magazine), a bi-weekly magazine founded in 1968 == Music == New York EP, a 2012 EP by Angel Haze "New York" (Angel Haze song) New York (album), a 1989 album by Lou Reed "New York" (Eskimo Joe song) (2007) "New York" (Ja Rule song) (2004) "New York" (Paloma Faith song) (2009) "New York" (St. Vincent song) (2017) "New York" (Snow Patrol song) (2011) "New York" (U2 song) (2000) New York, a 2006 album by Antti Tuisku "New York", a 1977 song by the Sex Pistols from Never Mind the Bollocks, Here's the Sex Pistols == Places == === United Kingdom === New York, Lincolnshire New York, North Yorkshire New York, Tyne and Wear === United States === ==== New York state ==== New York metropolitan area, the region encompassing New York City and its suburbs New York County, covering the same area as the New York City borough of Manhattan New York, the US Postal Service address designating Manhattan Province of New York, a British colony preceding the state of New York ==== Other states ==== New York, Florida, an unincorporated community in Santa Rosa County New York, Iowa, an unincorporated community in Wayne County New York, Kentucky, an unincorporated community in Ballard County New York, Missouri, a ghost town in Scott County New York, Texas, an unincorporated community in Henderson County New York Mountain, a mountain in Colorado New York Mountains, a mountain range in California === Ukraine === Niu-York (New York, officially romanized Niu-York), a settlement in Donetsk Oblast == Ships == Many ships have been named after the city or state of New York.
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Foreign Objects: Kamikaze Girls (Japan)
By Rob Hunter · Published on February 25th, 2010
Foreign Objects travels the world of international cinema each week to look for films worth visiting. So renew your passport and get your shots, because this week we're heading to…
Japan!
Like many teenagers, Momoko (Kyoko Fukada) feels like she's alone in this world. But unlike many of her peers, Momoko actually prefers it that way. She's obsessed with rococo, the overly ornamental and elaborate style from 18th century France, and it fills both her daydreams and her wardrobe. "It made baroque look positively sober" she says at one point. Frilly outfits, parasols, and an aloof and carefree attitude are all she needs to make it through the day in her somewhat rural town where everyone is obsessed with bargains over craftsmanship and buys all their clothes from the local Jusco megastore. (Of course, in Momoko's view everyone is born in a tracksuit in this town too.) We first meet Momoko in a rapid-fire montage introducing us to her life. It includes her and her father abandoned by her mother, her father's attempts to sell Versace and Universal Studios merchandise knockoffs (as Universal Stadium/Versace combo couture), and her discovery of the rococo era. She has few cares and imagines she'll die at age 80 when a "robo-janitor" will find her still wearing her frilly dress…
But those dresses don't come cheap, so one day Momoko places an ad to sell some of her father's old Versace merchandise and into her life walks Ichiko (Anna Tsuchiya). With her deep voice, ocularly offensive "Yanki" outfits, and penchant for head-butting and drop-kicking those who cross her, Ichiko is everything Momoko is not… including a member of the super tough, all-girl motorcycle scooter gang, The Ponytails. She pushes her way into Momoko's life for reasons of her own and soon the duo are becoming awkward and unexpected friends. But nothing worth having comes easy… Momoko's dream job at her favorite boutique, 'Baby the Stars Shine Bright', becomes a conflict, as does a dramatic confrontation between Ichiko and her gang. Can their perilous friendship survive this clash of personality, culture, and wardrobe?
Sounds pretty straight forward doesn't it? But trust me when I say that there is not a single dull frame in this movie. From beginning to end the screen is filled with color and motion and energy and animated farts. Real life turns to daydreams of Momoko living in Marseilles in the 1700's, one character's story is told in anime ("Here's a cartoon version to keep you kids awake!" Momoko says to the camera), and a discussion about the affordable fashions at Jusco turns into an Old Navy commercial of sorts. One of the most entertaining side characters is an uber-cool dude named Unicorn Ryuji (Sadao Abe). The girls swoon, the guys are in awe, and his hair is the most hilarious coif since, well, any Nicolas Cage movie. It's all wonderfully absurd and lively and you can't help but be caught up in the pure visual joy of it all.
Fukada and Tsuchiya both bring fantastic life to their characters, and while the movie is surreal and unrelentingly imaginative the friendship at its core is believable because of them. One prefers a life of sweet simplicity, but she's unaware of why exactly she prefers such an isolated life. The other feels a need for connection but is used to only rejection. Together they learn about themselves, each other, and the true importance of friendship. "Humans are cowards in the face of happiness," says Momoko as both a revelation and a realization, and that truth is a universal one for us all. Especially all you friendless cowards out there.
Director Tetsuya Nakashima takes every opportunity to imbue his film with color and magic in a style similar to parts of the classic and beautiful Amelie. A budding friendship takes the place of that French film's love story which makes the heart of it all a little more difficult to see at times… it's a lot of flash that occasionally risks hiding the substance. Just as Momoko occasionally lifts up from the ground and floats towards the sky, she always returns to earth. The movie does the same with its uplifting and eye-catching visuals eventually giving way to more traditional scenes that can seem slow by comparison.
Kamikaze Girls is definitely not a film for everyone. It's high points are so mesmerizing and attractive that the more traditional scenes pale in comparison to the degree that they may just be considered boring. (But they're not.) The lead characters may be difficult to relate to with their ridiculous wardrobes, oddball behavior, and strange, foreign language, but that's all just window dressing on a sweet tale about an unlikely friendship between two girls who never expected it. It's impossible not to find something to like in this cinematic Crayola box with its goofy and endearing humor, surprising degree of heart, immense visual beauty, and endless creativity. In fact, you'd have to be some kind of soulless and blind bastard (who probably shops at Jusco) to come away from it untouched. Just saying…
This region 2 release from Third Window Films includes a second dvd full of extras including a fun and relaxed forty-minute making-of, a Japanese trailer, interviews with the director and both leads, a music video from Tsuchiya, workprint footage, and several trailers for other Third Window Films releases. The best extra on the disc though is a very funny short film called "Unicorn – Ryuji." It's an origin of sorts for the Ryuji character and it is hilarious.
The Upside: Very humorous visuals, expressions, and performances; visuals are stunning and lively; strong story about friendship
The Downside: A few slow spots; may be too ridiculous for some viewers
Related Topics: Foreign Objects
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Upon Googling my assigned mural, I was thrilled to discover that it lives a speedy little four-minute Uber ride away from my favorite obnoxious wine bar. Knowing I was going to have to venture deep into the Bywater to visit Henry Lipkis's The Third Line, naturally my first instinct was to use this assignment as the perfect excuse to drag my boyfriend to Bacchanal for some sunset charcuterie and rosé. Obviously.
Lipkis's piece doesn't have a set address to call an Uber to, so when the beat-up Toyota Camry arrived outside of my boyfriend's frat, I met the driver's confused expression with the explanation, "We're going to see a mural!" Looking us up-and-down, the driver skeptically repeated my directions. After triple-checking with us that 2600 St Claude Ave. was really where we were trying to go (I imagine he was replaying the previous scene of us clomping down the SAE porch — me in my booties and my boyfriend in his pressed khakis), we set out for our destination.
Upon arriving at the mural, it became obvious why our driver had trouble believing I, in my 3-inch heels, wanted to visit the dilapidated storefront of the permanently-closed Frankie and Johnny's Furniture Store. Carefully getting out of the car, I wobbled over the broken sidewalk and littered lot to approach the mural. As I was closely monitored by several nearby groups of amused locals grilling out of the back of their trucks, it was fairly obvious that the driver was not alone in his confusion.
My first draft of this mural review would probably make both my driver and the bystanders cringe, cry, or cackle. Actually, realistically, my original piece probably would have elicited a powerful combination of all three. But not in a good way.
Throwing around words and phrases like soul, booty-shakin, soul, rhythm, soul, boogie, soul, jam, and soul I thought I was doing the mural justice— you know how it goes, really just lettin' my readers know how down and chill I am with the culture. Trust me guys, I get this mural, this mural speaks to ME. I even made claims that I could practically hear "feet thumpin' and trumpets blastin'" just by standing in front of it. Seriously, Mia? Oy.
Being a relatively naive white, upper-middle-class, Jewish girl from the suburbs of Boston, it's not only the scene on the mural that is unfamiliar to me. Although I have just finished my third semester living in New Orleans, the community, the dancing in the streets, the rhythm, the songs, the togetherness, the instruments, the outfits, the neighborhood, the history, the oppression, the journey, the overcoming, the culture, and the group identity and purpose depicted in the mural are all not mine. To pretend otherwise and write from a perspective of fake belongingness was simply awkward. Why do I get to pull up with my freshly-straightened hair and lip-gloss and then pretend to explain a complex story that in no way belongs to me? Not a chance.
Through the individual faces and personalities of over a hundred subjects, the wall tells a narrative about the Ninth Ward by illuminating how individual experiences create this community.
Even if I were to abandon my life here at Tulane and drop everything to be part of this community, part of this Third Line, my story lacks the authenticity to ever truly belong. The sounds of drums and trumpets, the smells of sweat and barbecue, the faces alive with purpose and dignity, all looked out at me, but they are not mine. The emotions depicted in the mural are not mine, and the faces are not my friends, the people are not my community, and the mural does not celebrate me. I can only imagine what it feels like to be part of this Ninth Ward family, and what it means to share their experience.
That being said, I am not trying to be a hero by proclaiming my whiteness and subsequently abandoning the mural because I just can not possibly relate to it, because that is simply not the case.
Despite my distance from the realities depicted on this wall, the beauty and power of the piece lies within the fact that when I look at it, for a moment I feel like I can imagine the experience. Anyone can.
Maybe it's the way the mural stands at 35 feet tall and stretches 150 feet, enveloping its viewers and forcing any audience to feel its energy and pull. Maybe it's the way the mural depicts over 100 unique people that makes all its onlookers feel connected. Maybe it's the way these faces radiate life through their expressions and stories that make us feel like we maybe belong on the wall too. Maybe it's the sheer busyness of character and emotion of the wall that allows me to connect with it.
I really think it is the mural's humanity, shown through the palate of emotions and specific mix of the hues of life painted onto the piece, that makes it so magnetic and feel so universally relatable.
In terms of hues of life, I guess I specifically mean that there is not a single emotion left out by this wall, rather than the literal hues of lights, darks, and grays. Whether it be the overall hues and feelings of togetherness and overcoming that radiate from the mural as a whole, or the individual expressions of each character's being, there is not a fragment of the universal human experience excluded from the piece.
In particular there are a few scenes that I found myself unable to pull away from as I found them most prominently to tug at me emotionally.
Firstly, despite my distance from the realities depicted on this wall, the positioning of one of the Caramel Curves, New Orleans's all-female motorcycle club, makes her dominate the mural's frame and, for me, feel particularly inspiring. Her prominence on the wall and the power she exerts from her pink mo-hawk to her hands tightly gripping the bike's handles, demands attention and asserts dominance over the entire mural. I interpreted her as a sign of defiance and pride as both her story and illustration embodies an unwillingness to conform which I find empowering.
I also found myself really attached to the tank-top man wiping the dripping sweat from his face. While looking at the little tank-top man I was overcome with thankfulness that his existence was purposeful and meaningful enough to be included on the wall. He is so small and seems possibly unnoticed in our busy world; yet, he is so intentional. His presence highlights the need to celebrate both the remarkable and the unremarkable — rethinking what those labels even mean — reminding us of importance and beauty of even the most everyday feelings and occurrences.
Being drawn to the motion and emotion illuminated by every brushstroke in the mural, the detail and movement captured by every finger and hand on the wall to illustrate this really amazed me. As someone who speaks with their hands all the time, I personally appreciate all the emotions and meanings tied to the hands and fingers in this piece. Outstretched hands, jazz hands, snapping hands, mid-song singing hands, grooving hands, drumming hands, saxophone hands, strutting hands all add value and energy to the mural. While many of the facial expressions on the characters depict specific and universal moods of happiness, amusement, determination, and pride amongst others, the degree and extremity of these emotions are all captured in the hands. Sure a face may look like it is enjoying itself up on the mural, but when that face has fingers clearly vibing and wiggling away, you know that that person is experiencing a specific flavor of happiness — the kind that makes you want to move.
Looking up and around at this piece, I just felt so thankful that it exists and that someone decided there was something, and someone, out there living a life worth capturing.
The sheer display of life on this mural made me think about public art in general and the human urge to preserve and express. Thousands and thousands of years ago, even the most primitive humans proclaimed their "alive-ness" with handprints inside caves for all to see (1). Today, instead of caves, our cityscapes are tagged and painted; people's existences declared and celebrated, frozen and shared.
Any form of communication has the ability to transform a moment into a memory, a millisecond into an eternity, and history into reality just because someone decides there is something out there worth sharing. The beauty of sharing these stories and faces on any public canvas, is that they are for all to see (2).
Whereas formal art institutions, such as galleries, are only accessible to those with the time, money, and interest to view them, public spaces draped in art are for everyone and often primarily accessible to those excluded by museums (2). Lipkis's piece is in an area designed to be seen by the very people it celebrates, and therefore not specifically on display for all the Mias of New Orleans. In Lipkis's case, he looked at a people and a place, and knew that it was all worth preserving, celebrating, and sharing.
This piece was written for the alternative journalism class, which is taught at Tulane University by Kelley Crawford.
Herzog, Werner, director. Cave of Forgotten Dreams (2017) Full Documentary by Werner Herzog – The Best Documentary Ever. Cave of Forgotten Dreams, Jordyn Hoppe, 15 Nov. 2017, www.youtube.com/watch?v=dIlEfNbcz7g&t=749s.


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It All Started with a Field Trip – Tom Gabbard's Creative Journey
Home » Creative News » It All Started with a Field Trip – Tom Gabbard's Creative Journey
by Tim Miner and Page Leggett on January 7, 2021
"We are maturing as a city in a lot of good ways. I see growth here – and we're becoming a better city. I've never felt any hesitation or constraints on programming in terms of subject matter. And I feel even freer now than ever to stretch artistically." – Tom Gabbard
Here at The Biscuit, we love celebrating unsung creative heroes. In fact, we're dedicating January to just that theme. Part of our mission is lifting up artists you may not have heard of. But we don't want to ignore the sung heroes. It's too easy to take them for granted because they're so ingrained in the creative scene that they get lost amongst their successes. In many cases, they're the ones who help discover and nurture the city's next great talents.
Blumenthal Performing Arts' CEO Tom Gabbard and The Biscuit's Tim Miner Zoomed (how else?) a few months ago to discuss Gabbard's own creative journey, how he came to Charlotte from the frozen tundra of Wisconsin, his history with the Queen City creative community and … respect.
When did your creative journey begin?
In fourth grade. I went with my class to the San Jose Civic Auditorium to hear the U.S. Marine Corps Band. I was so impressed by the precision and the quality. I decided then and there: That's what I want to do with my life. I began studying the French horn, at which point, I probably imagined myself as a high school music teacher.
Gabbard in Belk Theatre. PHOTO CREDIT: Joshua Komer
I'm not a high school music teacher, and yet I am. It involves the same qualities – loving the arts, being organized, understanding that it's all about people.
That's part of the reason I feel so strongly about field trips for our kids. I know the difference it can make – a lifelong difference.
And I had parents who nurtured that. My father left high school as a sophomore to begin a career with NASA [as a model maker]. He was self-taught, and while he missed some of my Little League games, he never missed a concert.
Take me back to 2003 and your path to Charlotte.
My predecessor, Judith Allen, told me she was retiring and wanted me to take over. My wife, Vicki, and I spent a weekend in Charlotte, which was already becoming this cosmopolitan place. On Aug. 1, 2020, I celebrated 17 years at the Blumenthal.
Congratulations – and thank you for staying that long. What about Charlotte sealed the deal?
It definitely felt like the right fit. And we saw an abundance of opportunity here.
We liked the city's can-do attitude and expansive vision. Vicki and I are both Westerners. We'd never lived in the South. But we felt comfortable here and also thought we could make a contribution.
In an old Charlotte Magazine interview with Rick Thurmond, you said Charlotte needed to do more than just have people "passively attend a performance." That interview was after you'd been in Charlotte for just one year. How has the city done since then?
We Are Hip Hop mural sponsored by Blumenthal Arts in 2020 PHOTO CREDIT: Larry Hosner
We are maturing as a city in a lot of good ways. I see growth here – and we're becoming a better city. I've never felt any hesitation or constraints on programming in terms of subject matter. And I feel even freer now than ever to stretch artistically.
Charlotte has attracted a young, relatively affluent and educated demographic. Yet, not all those people grew up in a humanities-rich environment. We need to figure out: How do we pique your curiosity and nurture that? Historically, that's been a missing piece.
Years ago, I had a funder tell me, "Look, I know what you guys are doing is important. I'm going to give you money, but please don't ask me to go [to a performance.]" That hurt a lot. We don't hear that much anymore. We appreciate every gift, but our hope is that donors will want to be personally involved.
You've been a big proponent of accessibility and inclusivity. Why has that been important?
When we opened, we were principally focused on creating opportunity downtown – big shows for big audiences. That continues to be essential, but we've added a commitment to people, especially kids.
More and more, we've gotten into hip hop – artists who, years ago, we had no relationship with. And relationships matter.
Right. The creative process binds people together. How have you seen that play out?
Blumenthal Arts has fought to save performing arts spaces affected by COVID-19
There's a special chemistry that can happen among artists and among casts in plays and musicals. But it doesn't always happen. When you see it, you savor it. I can't really explain it, but I think the underlying principle is respect – true and authentic respect for another person. And having respect for the audience is fundamental …
Before I came to Charlotte, "RENT" was considered an edgy show. As it was touring the country, about 150 people would walk out on any given night. We communicated in advance about the show's content. We didn't make any apologies. We said we were proud to present this Pulitzer Prize-winning musical, but we also told people what the story was about. We had just two complaints during a two-week run.
With every work of art, some people will love it, and some will hate it. So, we have a swap program at the Blumenthal. We allow season ticket holders to swap up to five shows. That shows we understand there are differences in taste. It gets back to basic human respect.
Let's talk about local artists. How do you think most artists live in Charlotte? What do we need to do to engage their passion?
First, we have to acknowledge it's hard. We're rightfully concerned about holding on to our artists in Charlotte. We need to be mindful of how we can help them make connections elsewhere. We've taken some of Charlotte's hip hop artists to London, and they've made connections there.
DeNeer Davis, a graphic artist, has even thought about going to London for a few months to build her connections there. We don't want her to move to London, of course. But Charlotte doesn't have to be the sole place artists generate income – but it can be home base.
What can an individual in Charlotte do to help artists?
We have to ask artists: What's your business plan? We're working with Carlos Cruz [who started The Nouveau Sud Circus Project] on a new show and hope to open the door for new markets. It's a little bit of a Chamber of Commerce role.
Artists don't always understand the worth of what they do. We have to help them understand, put a price on it. So often, artists aren't paid for their work. We have a policy to pay everyone. We've had some artists who haven't cashed their checks, and when we ask why, they say they framed it – that getting paid is so unusual, they had to commemorate it rather than cash it.
It gets back to respect. Exposure is great, but it doesn't show the respect payment does.
More About Blumenthal Performing Arts
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Watch DeNeer Davis at Work
Gabbard mentioned artist DeNeer Davis above. Watch a video of her work on the We Are Hip Hop mural at Camp North End, which was sponsored by Blumenthal Peforming Arts. Read more about it in The Biscuit.
A post shared by Blumenthal Performing Arts (@blumenthalarts)
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Denim is a subject fraught with hyperboles. 'Authenticity' and 'heritage' are often used to describe garments that in reality have little to do with the romantic imagery they claim to represent. Zach Myers is a working farmer and owner of Zace USA; he's a little different. In this rare, exclusive, and brutally honest interview, Zach shares his story and leaves us all a little wiser for it.
Zace USA doesn't need rhetorical exaggeration. Zach has built more than one brand from scratch and felt what failure and success truly means.
Tell us a little about yourself Zach, where are you from and what do you do?
Zace USA was started in Los Angeles, California in 2001 and was originally a lingerie brand. A year later, Zach started working with denim. It wasn't until 2012 that the 'USA' was added to the name.
Overalls are on of Zace USA's trademark items.
Zach is a simple man. He requires one pair of jeans, one pair of overalls, a jacket, a hat, a wallet, and a shirt. For him, elaborate back pocket stitching, custom rivets, and other fancy design elements aren't necessary, they only distract you from what jeans are really made for. In his opinion, that is a difference between fashion and workwear.
Tell us about your garments. What is the process of designing and making at Zace USA?
"When it comes to designing my menswear it's simple: the best denim is turned into functional and durable garments. I always spend at least one year wearing each piece while working in the farm field and denim shop to make sure it exceeds my own standards of durability and functionality.
What items are you especially proud of that you produce?
Obviously, Zach isn't much influence by trends or what others might think of his design. Each piece is made to have a functional purpose and excel when used by people doing their craft or labour-intensive job duties.
What inspires and excites you in terms of denim and workwear?
"I'm inspired by life. Waking up each day and knowing I have one more day to breath and live doing what I love most! To see the faces and smiles of the Amish families that sew with me and to create new pieces that will exceed anything ever produced for workwear is inspiring to me.
Zach started working at the age of 12. He left home at 17 and started the brand Temple Industries, which focused on snowboarding.
Then, he moved to Eugene, Oregon where he cleaned screens for a T-shirt printer and sold his shirts, mittens and hoodies at Mt. Hood, Mt. Bachelor, and a local resort. This is when he got interested in the fashion business.
After living back in his hometown Phoenix for a short while, he moved to San Francisco and then LA where he launched Zace and his first jean brand called Eros Jeans. By then he was 23.
Zach would walk up and down Melrose, Malibu, and the South Bay trying to sell his jeans to the boutiques. Realising it would take him a lifetime do make it like that, he moved to Ohio, bought the farm and his first six sewing machines and starting sewing 3,000 pair of women's jeans. It took him 3 years to finish!
Today, ten years later, Zach is still doing what he loves and doing it for the right reasons. Not for fame, not for money or to boost my ego; because they said I couldn't do it and that it was impossible to accomplish in Ohio – and because I fell in love with denim at the age of 5 when I saw my first pair of 501s. I knew then that denim was my destiny.
What advice would you give to someone who's trying to make it in the denim and workwear scene?
"Question your motives and why and what you're doing it for? I the resurgence of workwear that is unfolding around the world is great. To see reproductions of vintage pieces is cool. I don't exactly understand it; after all I'm a blue-collar worker who happen to make denim. But I know there's more to it than coming up with a catchy name and a cool logo.
Lastly, as many other artisans and denim enthusiasts will surely recognise; any jean maker should accept that this path is expensive and consuming in so many ways.
Head over to Zace USA's website to browse the collection and follow the brand on Facebook and Instagram to keep updated.
Gavin is the creator and founder of the Heavyweight Denim Championships, as well as brand manager of UK retailer NoKipple. Gavin has been around the denim scene for a number of years spending time working with brands like Iron Heart. He is also known as a prominent member of many denim forums. Gavin favours a minimal approach to buying clothes, and he advocates use over storage of beautiful and expensive denim.


The band have just embedded two new videos on their MySpace profile. One is a new trailer for their DVD release on 29th September : 'Alter Bridge - Live From Amsterdam'. The other is a sneak peak at the behind the scenes footage from the 60 min documentary included with the DVD.
You can check out the videos on www.rockpit.com to watch them in HD.
Enjoy, spread the word and also know that the writing for "Alter Bridge III" will continue in November! We'll bring you up to date once it begins.
The band are extremely excited to share their first ever DVD with the world. Bring on Sept. 29th!!!


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Sellafield among top companies launching Project Manager apprenticeship
Communications campaigns
The Institute for Apprenticeships (IfA) along with top companies such as Sellafield, British Airways, and Rolls Royce have today launched a new degree apprenticeship in project management
The apprenticeship will teach new and existing staff how to manage big projects to time and on budget
They will be trained to work on major cutting-edge projects worth hundreds of millions of pounds
Some of the country's biggest companies gathered today at British Broadcasting House in London to launch a new apprenticeship in project management.
The degree apprenticeship will allow new and existing members of staff to learn project management skills such as managing projects to tight schedules; working effectively with a wide variety of organisations; and developing robust business plans.
IfA Chief Operating Officer Rob Nitsch said:
This is an excellent example of the sort of higher-level degree apprenticeship that employers have been calling for and stands to make a substantive contribution to filling the national skills gap.
"Project managers take on a great deal of responsibility and therefore require first rate training. Congratulations to the trailblazing employers who played a leading role in developing this apprenticeship.
The Minister for Apprenticeships and Skills Anne Milton said:
It is fantastic news that the project manager apprenticeship standard is now up and running.
It will give people of all ages and backgrounds the chance to demonstrate their potential and learn important leadership skills. They can then in turn use those skills to support businesses across the country to grow.
Apprenticeships are developed by groups of employers known as Trailblazers. The Institute's role is to support them through the process of identifying key training requirements and designing an assessment plan.
The Project Management Trailblazer group is led by Sellafield Ltd, which is responsible for keeping the Sellafield nuclear plant in Cumbria safe and secure.
Wesley Robinson, from Sellafield Ltd and chair of the Project Management Trailblazer group, said:
The approval of the 'project manager' degree apprenticeship is significant news for the Project Management profession.
As chair of the group, I am extremely proud that within three years we have produced both a level 4 and a degree apprenticeship in project management, an extensive piece of work made possible by the dedication of companies involved in the group and the support of our Government advisors and the Association for Project Management.
He added that a fully qualified project manager could go on to oversee billion-pound construction projects on the Sellafield site, with the need to maintain nuclear safety and security a key consideration.
Another major firm that helped develop the apprenticeship officially launched today was British Airways, which gave implementation of new onboard products and development of customer experience initiatives as examples of the sort of projects its apprentices could work on.
Karen Hewitt, British Airways Apprentice Manager, said:
British Airways is proud to have worked alongside other leading employers to develop the degree project manager apprenticeship which we look forward to adding to our portfolio of delivery across the business.
Apprenticeships are an important part of our people strategy and the approval of this standard provides more opportunities to continue to develop the capabilities of our colleagues.
Other companies who helped deliver this apprenticeship include Rolls Royce, the BBC, BAE Systems, Royal Mail, Lloyds Banking, and Aviva.
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How can I get my green card without my husband?
International Student/Rare situation, can I apply for residency?
To get my visa as an undocumented person would I need to return to my home country or could I get it in the U.S?
Can a person who was in F2 visa and changed status from F2 to F1 inside USA get back to the US using her previous F2 visa?
I am on L2 and want to apply for EAD. Is SSN required for EAD application.


The Executive Director People & Culture is responsible for all workforce related and human resource management issues at South West Healthcare. This is a key leadership role and an outstanding career opportunity. SHW has a total workforce of over 1,400 staff and is located in a region of exceptional natural beauty.


The resources rich country of Indonesia has been gathering momentum over the last few years boosted by a consumer driven economy and a formidable development of local tourism. Indonesian travel more and hotel operators are spreading their wings of development throughout the archipelago. With a promise of a better infrastructure environment in coming years, investment in hospitality development shows positive signs and optimism is back while the world and especially Europe is slowing down.
Second tiers cities and even third tiers cities are the new target of hospitality investors while a new generation of entrepreneurs venture into the exciting world of foodservice by opening new restaurant and cafes in their province, emulating the dynamic of the capital.
Restaurant is a "cash" business and it is an attractive one. Franchising attracts more and more, foreign brands are eyeing at the Indonesian market.
The rapid development of foodservice outlets, independent or hotelier, has generated a huge demand in skilled employees throughout the country. This is the shortage of skilled and specialized employees in an increasingly competitive market that leave the way open for professional foodservice to express themselves and assist investors.


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CBS, Viacom CEOs met to discuss merger: report
Feb 15, 2018 10:55am
CBS CEO Les Moonves (Sarah Ackerman, David Shankbone/Flickr)
CBS CEO Les Moonves and Viacom CEO Bob Bakish reportedly met last Friday to discuss the potential recombination of their companies, which split apart in 2006.
According to CNBC, the two CEOs have begun discussing the particulars of a remerger before the special committees formed to explore a potential deal have met.
At the beginning of the month, CBS and Viacom announced that special committees, including independent legal counsel and independent financial advisors, were beginning to evaluate the merger, though they warned it may not lead to a deal.
"There can be no assurance that this process will result in a transaction or on what terms any transaction may occur. Neither Viacom nor the Committee intends to comment further until the process is completed," Viacom said in a statement.
RELATED: Viacom sets up special committee to explore remerger with CBS
National Amusements, which holds a controlling interest in both CBS and Viacom, praised the move toward a potential reunion.
"National Amusements supports the processes announced by CBS and Viacom to evaluate a combination of the two companies, which we believe has the potential to drive significant, long-term shareholder value. National Amusements does not currently intend to make any further comments regarding the process," the company said in a statement.
As media consolidation has ramped up amid deals including Disney acquiring Fox's entertainment assets and AT&T buying Time Warner, National Amusements's Shari Redstone has rekindled interest in a unified front for CBS and Viacom.
According to the The Wall Street Journal, Redstone is also concerned about long-term planning at CBS and the lack of a clear successor for current CEO Les Moonves. Redstone is reportedly prepping a list of names for new directors on CBS's board.
According to Variety, the reports of Redstone's dissatisfaction have caught some off guard at CBS and have raised red flags for executives at Viacom, which is still in the midst of a turnaround under Bakish.
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Dr. Scott Gordon confirmed as ninth SFA president
(Source: SFA)
By KTRE Digital Media Staff | August 17, 2019 at 3:57 PM CDT - Updated August 18 at 3:03 PM
NACOGDOCHES, Texas (KTRE) - Stephen F. Austin State University confirmed that they have a new president Saturday.
According to the university, Dr. Scott Gordon was unanimously confirmed by the SFA Board of Regents to be the ninth president of the university during a specially called meeting Saturday.
The university said Gordon is a native of Malone, New York, and was a first-generation college student. He received his bachelor's degree in biology from the State University of New York at Cortland. He earned a master's degree and doctorate in botany and mycology from the University of Tennessee in Knoxville and holds certifications from the Harvard University Graduate School of Education in educational management and leadership.
The university said Gordon is currently serving as Eastern Washington University provost. He has overseen more than 500 faculty members in six academic colleges, with responsibility for academic policy and planning, distance education, international programs and institutional research.
Gordon led a complete reorganization of EWU's Academic Affairs unit, led the development and implementation of the university's strategic plan in 2018 and developed partnerships with community colleges, business and industry, as well as government entities. This work was highlighted by a unique partnership with Microsoft and collaboration with multiple businesses on The Catalyst, a 140,000-square-foot facility in downtown Spokane.
Previously, Gordon spent 22 years at the University of Southern Indiana, where he served as dean of the Pott College of Science, Engineering and Education. In addition, Gordon served for 10 years as the Faculty Athletics Representative, was named a NCAA Faculty Athletic Representative Fellow, and was vice president and treasurer of the Great Lakes Valley Conference, which includes 14 NCAA Division II institutions.
Gordon succeeds Dr. Baker Pattillo, who was SFA president from 2006 until his death in December 2018. Dr. Steve Westbrook, SFA vice president for university affairs, served as interim president of the university.
The university said Gordon is expected to officially begin his duties at SFA on Sept. 16.
Copyright 2019 KTRE. All rights reserved.
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Refusing to remain a bystander, Naoki makes the leap into Link VRAINS as the hero Lonely Brave.
Locked in a hopeless situation by Vyra, Blue Angel must rely on her risky Skill to pull off a miracle.
While Monkey and Rat have their hands full with Rabbit and Snake, Horse decides to go on the defensive while Sheep decides what to do with a drunken Tiger.
As the battle between Soma and Kuga reaches its conclusion, Erina receives a shocking visitor at her restaurant.
As Sharyu and Nezumi face off against Usagi and the undead Tatsumi, Hitsuji designs a scheme to forge an alliance.
Facing pressures on all sides, Aoi must make a decision regarding her involvement in the fight against Hanoi. Baira and Faust continue to track down Playmaker in order to help Revolver avoid a bad outcome.
Go realizes he must push himself even further to overcome Dr. Genome.
While waiting for the right time to carry out her plan, Monkey debates philosophy with Rat.
Soma is running out of time to match Kuga's success, but help from an unlikely source might just turn the tide.
Soma finds mounting problems during the Moon Festival, while his rival Kuga only finds mounting profits.
Go commences his duel with Dr. Genome. Remembering his duel with Playmaker, Go decides to adopt a new dueling style in order to push himself even further.
Injected with Dog's toxins, Niwatori sets about using her ability to peck away the rest of the warriors.
Confronted with the gravity of the situation, Nobuaki's classmates finally begin to understand just how dire their situation is.
With two combatants already down, the remaining warriors scramble to form alliances to help improve their odds of winning the deadly survival game.
When duelists start becoming trapped in Link VRAINS, Yusaku realizes the Knights of Hanoi are targeting duelists that might be Playmaker. Before he can challenge Hanoi to put a stop to the incidents, Go Onizuka arrives and challenges the nefarious Dr. Genome by placing some valuable information on the line.