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2-YEAR MASTER OF ARTS
Domus Academy has expanded its academic offering with the 2-year Master of Arts (120 ECTS) in Design and Fashion. These 2-year programmes, accredited by the Italian MUR, offer an innovative vision and approach to creativity and industry, through an unconventional mix of workshops, seminars, specialized laboratories, and Boot camps.
Scholarships Opportunities
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Out of school activities February: Chinese New Year - food tasting, Pancake Tuesday - pancake tossing, Valentine's day - cooking heart shortbread cookies.
Half term holiday's - Unit fully operational during the holidays. Additional activities arranged: Trip to cinema & Jumping Clay.


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Q: Complete characterization of graphs with cubicity $\leq 2$ Are there any known complete characterizations of graphs with cubicity $= 2$?
(Graphs with cubicity $2$ are those which can be represented as the intersection graphs of squares in $\mathbb{R}^2$)
For example, there is a characterization for boxicity $=2$ here (Characterization of the graphs with boxicity ⩽2).
Alternatively, I am also looking for similar characterization for disk intersection graphs.

redpajama_set_name: RedPajamaStackExchange


ATEN Technology's product lines will be familiar to VARs — it's best known for KVMs, AV and meeting-room systems and gear, digital signage and its focus on verticals, including government and health care. Last month, the company named Holly Garcia vice president and charged her with the overall strategy, growth and profitability of ATEN's North American business. Garcia's expansive portfolio includes sales, marketing, product management and channel strategy.
ATEN partners who worry that broad mandate will leave them in the cold can take heart. Garcia comes to ATEN from Ingram Micro, where she spent 18 years in roles including director of vendor management, including the Cisco and components business units; executive director of sales for major accounts; and executive director of advanced solutions, where she was responsible for the company's data center software, infrastructure, and Dell EMC business unit.
We caught up with Garcia to see what plans she has to extend the reach of ATEN in North America. To start with, she's working on an overhaul of the channel program, with details due to roll out in the second quarter. She's also got her sights set on the pro AV space, where IT integrators with multimedia knowledge add a specialty in the increasingly complex world of audiovisual products and services.
Holly Garcia: ATEN has been in business for more than 35 years, holds 500-plus patents and is the true manufacturer of 99 percent of its portfolio. Because of this, we're able to quickly develop customized solutions within our KVM, Pro AV, PDU, USB and data-communication portfolios based on customer need. Because we're so flexible, adaptable and involved with our customers, it makes ATEN easy to do business with and ensures customers have the right products to accomplish their needs and goals.
HG: We are currently in the process of redesigning our channel program in North America. ATEN's current program is largely focused on pricing, and candidly, is more complex than it should be based on our solutions. We plan to launch a completely new channel program in the second quarter, focused on providing technical and product support, partner enablement and opportunity creation.
HG: ATEN's go-forward channel strategy calls for 100 percent of the business to be through the channel. Currently, we have approximately 1,000 active partners. Our average margin with deal registration is 35 percent.


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Vegetable milk – what is it and what happens?
The astonishing "not milk" is a fairly new product for most Russians. In fact, it is a vegetarian drink that has nothing to do with cow's milk – except for its appearance, which explains the sonorous name.
Plant-based milk is often thought to be better than regular milk because it does not contain the typical components of bovine (notably lactose and casein) – but is that really the case? Should we give up cow's milk and replace it with plant milk?
Vegetable milk – what is it?
Plant milk is a drink made by soaking legumes or grains, then pressing and straining them. The resulting liquid is most often white and is called vegetable milk.
The original reason the word "milk" was used was because it was a substitute for cow's milk, much like vegans use the word "cutlet" or "burger" to denote meat-like, plant-based dishes.
It is important to note that most plant-based dairy products contain a variety of additives to improve texture and flavor. For example, many manufacturers add sugar or other sweeteners. In addition, thickeners and stabilizers are usually responsible for thickening the beverage.
In fact, plant milk is a mixture of water and powdered particles – which is why sediment builds up when made at home. In order for the drink to be thick and homogeneous, thickeners are needed.
A typical thickener used in plant milk is carrageenan, a seaweed extract and a natural gelling agent.
By its structure, the substance is a heteropolysaccharide – that is, a complex carbohydrate and one of the types of soluble fiber.
How to choose the best?
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The six most popular types of plant-based milk are almond, oat, soy, coconut, pea, and rice.
Although the conversation about their benefits and harms, ultimately, will be reduced to the analysis of the composition of specific brands, there are several general points:
1. Almond milk
Compared to regular cow's milk, almond milk contains 96% less saturated fat and has about 40 calories per cup. However, the amount of protein in the composition is noticeably inferior not only to cow, but also to almonds themselves – only 1 g of protein per glass of drink.
2. Oat milk
The calorie content of a glass of oat milk is comparable to the calorie content of regular fat milk – 120 kcal versus 150 kcal. Although the drink is low in fat (less than 1 g), it often contains added sugar (about 7 g) – as well as only 3 g of protein and 2 g of fiber per cup.
3. Soy milk
Since soy is the material for its production, potassium is present in the drink. On average, one glass contains 105 calories and 6 g of protein, and the amount of saturated fat is 96% less than cow's. In addition, the texture of soy milk is closest to normal.
4. Coconut milk
This milk is made from grated coconut pulp, which gives it a naturally pleasant coconut flavor and also contains saturated vegetable fats. Despite the low calorie content (half that of regular milk), it contains 5 g of fat – and only 0.5 g of protein per glass.
5. Pea milk
It is made from crushed yellow peas – which, as with soy milk, provides a high protein content as well as a thick texture. The calorie content of a glass of pea milk is two times lower than that of whole cow milk, and the protein content is 8 g per glass.
6. Rice milk
A rice-based drink, although it has a moderate calorie content (115 kcal per glass, compared to 150 kcal for whole milk) and no fat (only 0.5 g), it contains a lot of fast carbohydrates and an extremely small amount of protein – 0.7 g per glass.
Benefit and harm
Although soy is the biggest problem in the eyes of the consumer with plant milk (there are many myths associated with its use in food), in reality it is necessary to talk about a high content of added sugars. Most non-milk varieties are downright sweetened.
At the same time, cow's milk, although it also contains up to 12 g of carbohydrates per glass, has a lower glycemic index – recall that lactose takes time to be absorbed, while the added sugar is absorbed as quickly as possible.
The content of vitamins and minerals in vegetable milk is usually several times less than in cow's milk. More precisely, if vitamins were not artificially added, there will be almost no vitamins in the drink.
Vegetarians who do not eat animal products usually choose vegetable milk. Also, the drink is suitable for allergies to lactose or casein.
However, it is a mistake to consider plant milk as a healthier variant of cow's milk – in fact, it is most often a sweetened drink with a minimum amount of protein in the composition.
Low Carb Diet and Diabetes Reversal in 6 Months – Research
5 of the most delicious, hearty, and low-calorie d
How does pineapple juice affect men? Do I need to drink it every day?

redpajama_set_name: RedPajamaCommonCrawl


Verbruggen, Heroen, Olivier De Clerck, and Eric Coppejans. 2005. "Deviant Segments Hamper a Morphometric Approach Towards Halimeda Taxonomy." Cryptogamie Algologie 26 (3): 259–274.
Verbruggen, Heroen, De Clerck, O., & Coppejans, E. (2005). Deviant segments hamper a morphometric approach towards Halimeda taxonomy. CRYPTOGAMIE ALGOLOGIE, 26(3), 259–274.
Verbruggen H, De Clerck O, Coppejans E. Deviant segments hamper a morphometric approach towards Halimeda taxonomy. CRYPTOGAMIE ALGOLOGIE. ADAC-CRYPTOGAMIE; 2005;26(3):259–74.
Verbruggen, Heroen, Olivier De Clerck, and Eric Coppejans. "Deviant Segments Hamper a Morphometric Approach Towards Halimeda Taxonomy." CRYPTOGAMIE ALGOLOGIE 26.3 (2005): 259–274. Print.


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myscience.de › news › news 2019 › Integration of refugees: Germans in east and west show similar willingness to help
Integration of refugees: Germans in east and west show similar willingness to help - 14.10.19
The researchers deposited a total of 800 stamped letters with two different addressees. © Jens Hellmann
In discussions in Germany on immigrants, particularly eastern Germany is often associated with attacks on foreigners and hate crimes against refugees. Research data and surveys also indicate that prejudices against immigrants are often stronger in the east of the country than in the western half. But are these differences also reflected in small acts of everyday help? This question was looked at in detail by researchers at the University of Münster, the University of Bielefeld and the University of Applied Sciences for Public Administration and management of North Rhine-Westphalia. They carried out two field studies in which they compared the behaviour of people in eastern and western Germany as far as helping was concerned.
For this purpose, the team of psychologists led by Dr. Jens H. Hellmann from the University of Münster opted for a rarely used method. They deposited stamped envelopes over the street: half of the letters were addressed to a project on the integration of refugees, and the other half were addressed to a project working to stop immigration. The researchers checked to see how many of the letters were sent back, taking the particular region into account: urban and rural, East and West Germany. The result was that there were no significant differences between eastern and western Germany. Overall, the percentage of letters posted to the integration project was around 45 percent, and the figure for the letters to the stop-immigration project was around 25 percent. The study has been published in the journal "Social Psychology".
The results contradict the usual assumptions and survey results, which suggest that people in eastern Germany are less in favour of refugees being integrated than those in the west are. "Even though there is more right-wing violence in the east than in the west, we shouldn't generalise such cases and apply them to the whole of eastern Germany," says Jens H. Hellmann, who led the study. "Of course, every one of these acts is to be condemned, and on no account must they be trivialised, but to make generalisations for the whole of eastern Germany would be wrong - and fatal. Such generalisations would also stigmatise the people who are glad to help in the integration of refugees when they have the opportunity."
In their article, the researchers argue that only some of the results of surveys permit predictions regarding everyday behaviour. Accordingly, it can be assumed that not all of the people who reject refugees leave a letter addressed to the integration project lying on the ground. And not everyone who has a positive attitude to refugees provides everyday help.
On the method:
The researchers deposited a total of 800 stamped envelopes on the street, all far enough away from each other so that potential finders would not find more than one letter, if possible. The locations the researchers chose were Dresden, Bremen, and rural areas. The response rates showed that more letters for the integration project were returned overall than for the stop-immigrants project - in particular from the cities in east and west. As regards the letters from the more rural areas, there was no majority for the stop-immigration project in either western or eastern Germany.
J. H. Hellmann et al. (2019). Support for refugee integration in West and East Germany: Results from two lost letter studies. Social Psychology, Advance online publication; DOI: 10.1027/1864-9335/a000397
Attentiveness and trust are especially effective in combating juvenile crime - 16.01
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"Greece's Jews: History, Anti-Semitism, and Collective Memory" - 21.11.2019
Day of Counseling in Honor of the International Day for the Elimination of Violence against Women - 21.11.2019


As Raven sat on the cellar floor in an enlightened daze, loud steps could be heard from above. Moments later, Bill came running down the stairs with a short pike in one hand and what looked like a teacup in the other.
Raven blinked. The strain of thoughts that had started to form in her mind faded before she could completely grasp it.With a tired sigh, she met Bill's gaze.
"So this was their doing as well?" Bill asked.
Bill nodded gravely. He knew that, with the attacker dead, it was unlikely that they would get anymore insights into this."And Mister Hake?" he asked instead.
Bill looked from Raven to the cut on Javelin's throat to Javelin's oddly happy face and for a brief moment there was amusement in his eyes, but as he felt Raven's stern glare it quickly faded. "Yes, ma'am!" he complied with a cough and quickly moved to pick up the boy.
With one foot already on the staircase, Bill twitched, his ears turning bright red. "Yes, ma'am. . . ." he muttered, embarrassed, and disappeared up the steps. Raven couldn't help but chuckle softly at the sight.
Her humor was, however, short-lived. Stone faced, Raven turned her head back to the corpse on the ground before she looked up at Rooter. "Did you know?" she asked, but she didn't really need to wait for the reply to know the answer.
Raven grunted as she pushed off from her place by the wall and moved in close enough tug at the various rings the man wore. None of them looked like a spacial ring, but considering all the strange things Raven had been experiencing as of late it was best to make sure. While she carefully probed the man's jewelry with her spirit essence, Rooter continued mumbling to himself.
"So there is a bit of brain in that hollow head of yours after all," mocked Raven.
Rooter blinked in realization – he didn't actually know who hired him, apart from the fact that the order came from his clan head. However, his shock quickly turned to anger. "Who cares? I'll find out who did it – let me out!" He started struggling against the chains that bound him but to no avail. Raven chose to ignore him.
Raven only hesitated for a moment more before letting a drop of her blood fall on the ring. Instantly, her eyes lit up; it was a spacial ring, and with a lot more space than normal, summing up to roughly five cubic meters rather than one.
However, despite the space, the ring was mostly empty. Apart from a few hundred silver coins – which could at most buy you a well-used sword – there was only a small piece of parchment, no larger than a page in a book. Without removing the paper from within the ring, Raven used her spirit essence to read what was written on it and at once her brow creased into a frown.
Raven's body swayed and in the next instant she stood face to face with Rooter. No traces of her frown could be seen, in fact, she looked almost sweet as her big red eyes stared into Rooter's. An uncontrollable shudder ran through him at the sudden sight.
"It's your lucky day mister Hound, I know who ordered the assassination, and your subsequent murder – wanna know?" She placed her hands behind her back and leaned in closer, her face merely inches away from Rooter's. She loosened her facial muscles slightly, letting her femininity shine through more.
"Tell me." Rooter wanted to yell it, but it came out more like a whisper.
*Cling!* The clear sound of metal meeting stone echoed softly in the small cellar and Rooter looked down at his chest, confused. An ornately engraved blade was sunk straight through his heart, all the way out his back where it had hit the stone wall.
Shimmering in the torchlight that fought against the darkness in the cellar, Raven's sword flickered and disappeared.
We were, as always, alone in the cabin and, also as always, heavy snow was falling outside. However everything wasn't as it always was.
She – the most intriguing woman I had ever met – was staring at me intently but, for once, her eyes weren't cold and distant. For once, I saw something else in those pitch black gems that seemed to see right through me.
"You're beautiful, Ra-. . ." I tried to speak but I was silenced by her lips, pushing down on mine with fiery passion. As the kiss deepened my mind went blank, and all I could manage to think was: please don't let this be a dream.
With a start, Javelin sat up straight in his bed, but immediately he felt his head spinning and he had to push down the urge to vomit.
"Shut it, will you," moaned Javelin, clutching his head.
"Suit yourself." Steps could be heard as Bill moved away from the bed, stopping in front of the open fireplace further down the room.
In his mind, the dream slowly changed, superimposing on Raven's forceful kiss in the cellar; Javelin could feel his body heating up at the mere thought of it. 'Does this mean she actually likes me?' he wondered to himself as his hand instinctively reached for where Raven's lips had touched his skin earlier.
What he found there, however made him frown. 'A bandage? I'm hurt?' As he thought this, memories of the prisoner breaking free flooded his mind. He saw the green covered hands stabbing at him and felt Raven pull him out of the way just in time. Javelin lifted the fabric around his neck only to find a small cut underneath. 'I was . . . poisoned?' The realization stabbed at his heart and Javelin clenched his fists hard, ignoring the pain it caused in his palms.
Javelin blinked and tried to think back on what he could remember from the cellar; things had changed so fast that he couldn't quite follow it. In one moment they had been interrogating Rooter, Elder Willow's cousin, and in the next Javelin had been flung across the room, only to see Raven, on the floor with her sword stabbed through the other prisoner's head.
"The second prisoner, Sparv, he was a peak Champion." Javelin said it more like a statement then a question but Bill confirmed it with a nod anyway.
In his mind Javelin could see her slim figure and her dazzling sword, moving as one, as she fought with predatory grace on a bloody battle field.
Javelin strained his mind to remember and all of a sudden his eyes popped open.
"Nightingale's Blessing. . . ." he whispered breathlessly.
Hundreds of meters above the house where Javelin and the twins were still recuperating Raven walked through a damp and narrow corridor, a small orb of light hovering above her as she moved.
Soon she reached her destination and the corridor widened to a great hall, with one wall completely covered by a huge painted map. In the center of the room burned a small fire and three plush armchairs were pushed up close to the flames. Seated in one of them was the familiar white figure of Headmaster Swan. In his hands was a large scroll that he had been reading intently but when Raven entered, he looked up at her with a smile.
"You're a late," he said sternly but his facial expression gave away his true feelings.
"Apologies, Headmaster," said Raven with a bow, causing the white-robed man to frown slightly.
"Come now, Raven, I thought we agreed to skip the formalities – or do you wish for me to start referring to you as Lady Nightingale?" A cold glint flashed across Raven's eyes at the headmaster's mention of her actual title but the old man ignored it. "So, why the delay, Raven?" he asked instead.
"There was an assassination attempt," said Raven but the headmaster didn't seem fazed. "On the Griffin twins," she continued and this time Swan reacted. He dropped the scroll he'd been reading and it nearly rolled into the fire.
"What!?" He was truly shocked. Both of them had been working hard to make sure that the twin's, and Javelin's, involvement would be kept a secret – and that the price required by the Assassin Guild for their assassination was kept high. No one should want or agree to have them killed.
Raven started retelling what had happened to the headmaster, leaving nothing out, and by the time she had told of Sparv's sudden leap in cultivation – and quick defeat – Headmaster Swan had turned almost as pale as his hair. So many things could have gone wrong that evening and just one of them would have been catastrophic.
"Is there any chance that Elder Willow is actually involved in this?" he asked with a slightly unsteady voice.
"There is no such thing as absolute certainty, but I don't think so." Raven held out her hand, revealing the piece of parchment that she had found within Sparv's spacial ring.
The headmaster looked up from his armchair with serious eyes. "We are running out of time, Raven," he said and Raven had to agree – assassinating a neighboring empire's prefecture heirs would no doubt cause a war to blossom out.
This time they had been lucky and Raven had been at the right place at the right time, but there was no guarantee that would always be the case.
All fixed – thank you!
Well, that's the problem with dyslexia – it's a bit up to chance if I find the errors or not when I read it through It doesn't matter that I know it's wrong, if I can't see that it's not right in the text… So, thank you for the extra pair of (healthy) eyes!!!
Oh, I didn't know you had dyslexia! But you can't really call my eyes healthy. I can barely see anything clearly a foot from my face without glasses. XD But yeah, Glad I could help!
Javelin makes a great detective.
"Javelin is pretty sharp" Bad pun.
The strain of thoughts that had started to form in her mind faded before she could completely grasp _it.With_ a tired sigh, she met Bill's gaze.
He knew that, with the attacker dead, it was unlikely that they would get anymore insights into _this."And_ Mister Hake?" he asked instead.
"You're _a_ late," he said sternly but his facial expression gave away his true feelings.
Swan looked __ picked up the paper.
=> missing word => comma then? => Swan looked, then picked up the paper.


Men's Race: Marilson Gomes Dos Santos Storms From Behind to Win Abderrahim Goumri had the distinction coming in to the 2008 ING NYC Marathon of being the top marathon in the world who had never won a marathon (2nd in London in 2007, 3rd in London in 2:05:30 this year, and 2nd in NY last year). On Sunday in NY, he was clear of the field and on his way to what seemed to be his first marathon victory. However, 2006 NY champ Marilson Gomes Dos Santos saved his best for last and stormed from behind on the final mile to overtake Goumri and get the win (afterwards Goumri said a missed fluid bottle might have caused him to run out of steam). Veteran Paul Tergat said he twisted an ankle on the course but returned to action with a fourth place finish. American Abdi Abdirahman led the American charge in 6th place as four Americans were in spots 6 thru 10.
Women's Race: Paula Dominates Paula Radcliffe showed why she's the best marathoner in the world as she dominated the women's field in the second half of the ING NYC Marathon. Radcliffe took a different strategy this year in NY. She led every single step of the way, but she said with the high winds her plan this year was to save something for the end and run negative splits and it showed. She poured it on the final six miles winning by nearly two minutes. Radcliffe never looked back and said when she turned for the final quarter mile at Columbus Circle, she wasn't even positive she had the race won. American Kara Goucher ran up front for most of the race and had a successful debut in third in 2:25.53. Olympic silver medallist Catherine Ndereba and Gete Wami were well off the pace causing Wami to tie with Irina Mikitenko for the World Marathon title. The World Marathon Major race directors were then the left to vote to break they tie. The voted for Mikitenko and just like that she got $500,000 and Wami nothing.


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3 arrested for shooting in M/Plain; Officials to meet with police commisioner
Western Cape Premier, Alan Winde, and the Western Cape's Community Safety MEC, Albert Fritz, will be meeting with the Western Cape, Police Commissioner, Major General, Thembisile Patekile, to receive a briefing on the police's response following a drive-by shooting in Mitchells Plain on Saturday.
Gunmen in a green Honda Ballade fired at people attending a 21st birthday party in Montclair Road, Mandalay. During the shooting, a 24-year-old woman was killed, and seven others aged between 5 and 26 were injured. The attack is believed to be gang-related.
The police have since launched a 72-hour Activation Plan, which resulted in three people being arrested.
''In pursuit of the suspects, Anti-Gang Unit detectives conducted a tracing operation last (Sunday) night and arrested the suspects aged 22, 35 and 38 who are all from Mitchells Plain. Once charged, the suspects are expected to make their court appearances in Mitchells Plain on charges of murder and attempted murder,'' said Colonel Andrè Traut
Premier Winde has welcomed the arrest and says no stone must be left unturned in ensuring that all those responsible are brought to book.
"We are devastated by the news of this mass shooting, which claimed the life of one person and injured many others, including young children. No stone must be left unturned in ensuring that all those responsible are brought to book and end up behind bars. We will therefore be meeting with the Provincial Commissioner to receive an update on the implementation of the 72-hour action plan and SAPS' plans going forward. We welcome the swift arrest of 3 suspects following a tracing operation last night by the anti-gang unit and we will be looking to find out what proactive steps crime intelligence will be taking to prevent this horrific incident from repeating itself. We cannot allow our communities to live in a constant state of fear and to be terrorised by gangsters."
MEC Fritz has called on those to come forward should they have any information regarding this matter.
"We will never accept that this kind of violence is normal. Violence has absolutely no place in our society and I call on the community to come forward and share any information they might have which will result in the successful prosecution of those guilty parties."
Fritz says his department will be opening a court watching brief.
"My Department will be opening a court watching brief unit to monitor these court processes to ensure that this matter is not simply struck off the court roll, but that where inefficiencies do appear, that they are instead spotted and addressed. We want convictions. We want to make sure people pay for their crimes."
An alleged gunmen and police officer inured in sho...
National Consumer Commission launches investigatio...


HOW NOT TO DRIVE A CORVETTE ZR1 ON THE RACE TRACK!
General Motors builds America's supercar – the Corvette. The ZR 1 is the most brutal Corvette the company builds – at a decent slam of the gas pedal it can deliver more horsepower than a F1 machine! It is a speed-feast!
Bearing in mind that your company builds the beast, one would assume that the top executives should be able to wring the machine to submission with lurid slides and adept car control. Apparently, VP Mark Reuss skipped the classes.
At the IndyCar Detroit GP, at GM's home, in the land where Corvette culture is a religion, Mark did not do much to advance the ZR 1′s status.
I am certain his ZR 1 rights will be revoked for now!
Hailings Douglas! Corvette – MACHINE!!!


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Home » Uncategorized » International aid agency helping to rebuild troubled Myanmar
International aid agency helping to rebuild troubled Myanmar
By Mark Bowling
Rebuilding: A boy sits amid debris after a fire destroyed shelters at a camp for people displaced by violence in Sittwe, Myanmar. The Catholic Church is helping to rebuild Myanmar as it emerges from six decades of military rule and isolation. Photo: CNS
FOR the past 15 years, Kevin Meese has been visiting Myanmar and has witnessed hard times of suppression under the country's strict military rulers.
Now, the Melbourne director of Catholic Mission is optimistic about Myanmar's future as it presses ahead with democratic reforms, and he believes the Church has a vital role to play.
He welcomes the announcement that Pope Francis will visit the fledgling south-east Asian nation – the first Catholic pontiff to do so – in November.
"Myanmar has been on its knees for the last six decades," he said.
"The bishops in Myanmar understand that they have something to offer in terms of nation-building."
Mr Meese was in Brisbane last week, promoting education projects Catholic Mission is planning to start in Myanmar in 2018.
Catholic Mission is the international mission aid agency of the Catholic Church in Australia
Mr Meese (pictured) said the military systematically dismantled the country's education system and drove out teachers to maintain power and to stop any uprisings.
"Before the junta came to power, under British rule, Burma (now Myanmar) had an education system that was one of the most highly prized in Asia," he said.
"Schools run by Catholic missionaries were particularly well thought of.
"So from an elite position to being decimated has meant they are starting from the ground up again."
Catholic Mission plans to spend more than $1 million to help rebuild four schools, re-establish teacher training in the capital, Yangon and near the major centre of Mandalay, and set up intensive teacher training ties with Australian educators.
Myanmar mission: Kevin Meese.
In Brisbane, Mr Meese held a boardroom luncheon with Catholic educators, principals, and campus ministers to highlight the Catholic Mission plans and to appeal for assistance in bridging Myanmar's education gap.
Mr Meese said Pope Francis' visit to Myamar would lift the country's profile and represented a big step forward for Church's relations.
The Holy See and Myanmar established full diplomatic relations in May, following a meeting in Rome between Pope Francis and the country's de facto leader, Nobel peace prize laureate Aung San Suu Kyi.
However, during his visit, Pope Francis will likely face the difficult question of how to speak about the country's Rohingya Muslim minority.
The United Nations has warned that there are atrocities being committed against the Rohingya that could be considered "crimes against humanity".
Hard-line Buddhist groups have fanned the violence against the Rohingya and other Muslims over the past five years.
About 88 per cent of Myanmar's 51 million people identify as Buddhist.
About three per cent are Catholic, but the Church has significant influence, and Myanmar's Cardinal Charles Bo is already starting to play a key role in multi-faith dialogue.
"He is bringing to the table people from different faiths and points of view to say let's work together on a shared problem," Mr Meese said.
He said geographically, Myanmar was "so significant between China and India and on trading routes".
"The government is reforming but is having difficulty because of its military past and its consititution which still demands twenty-five per cent representation by the army," he said.
"Because of these geopolitical tensions there is a general understanding that the country will be held back without education."
Mr Meese said Myanmar's bishops believed "an education revolution" could change their nation within a decade.
Written by: Mark Bowling
australia Burma Burmese catholic mission Kevin Meese Myanmar pope francis	2017-08-21
Mark Bowling
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Nails by Carol: Please, Vote for Me!
As many of you know, Bundle Monster is having a Halloween nail contest on Facebook. I submitted my entry and from today to Oct. 19 you can submit your vote for your favorite manicure. The picture I submitted is not the best, but my camera and my lighting were not cooperating. I would really appreciate it if you would vote for me!
Como han de saber, Bundle Monster está teniendo un concurso de manicuras de Halloween en Facebook. Ayer envié mi entrada y es hasta el 19 de octubre que tendrán la oportunidad de votar por su favorito. Mi foto no es la mejor, pero mi cámara y mi luz no estaban cooperando. Me regalas tu voto?
voted! wish you luck dear!


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Our Manual Variable Speed Controls can be used on most of our single speed fans to adjust air flow from 20% to 100% of fan output capacity. They also have the ability to turn the fan completely off. Supplied in water tight electrical enclosure with approved connectors.


text:
Dennis Hopper Part Two
By Peter M. Brant and Tony Shafrazi
This is part two of the Dennis Hopper interview, for the complete interview click here.
When Easy Rider came out in 1969, the times were changing for Dennis Hopper. Before writing, directing, and acting in his seminal road movie about a pair of cocaine dealers on a motorcycle trip across the fractured landscape of Vietnam War–era America, the talented but explosive Hopper—who broke out alongside James Dean in Rebel Without a Cause (1955)—was still emerging from an involuntary Hollywood exile following his clash with the powerful director Henry Hathaway on the set of the 1958 western From Hell to Texas. But as the '60s were staggering to an end amid a country divided by an unending war, the old studio system of moviemaking was crumbling. Easy Rider helped to emancipate American cinema from the tired Hollywood formulae, and the film's iconic, psychedelic visions—the red-white-and-blue flag stitched onto the back of Peter Fonda's black leather jacket might as well have been put there by Jasper Johns—served as the travel poster for the new, free-spirited American rebel. Hopper literally roared his way into the '70s, courtesy of a Harley-Davidson chopper and a zeitgeisty movie tagline: "A man went looking for America. And couldn't find it anywhere . . ."
With Easy Rider, Hopper not only evolved into a writer and director, but also a powerful character actor—a track on which he would continue throughout his career in such wide-ranging roles as the gentle drunk in Rumble Fish (1983), the mad bomber in Speed (1994), the art dealer Bruno Bischofberger in Basquiat (1996), the doomed father in True Romance (1993), but never so unforgettably as his cameo in Francis Ford Coppola's Apocalypse Now (1979) as a raving photojournalist-cum-mystic, and the psychopathic nightmare incarnate Frank Booth in Blue Velvet (1986).
Hopper possessed so much intensity—on screen and off—that he protested it was difficult to successfully pursue more than one craft at a time. He claimed to suffer from an artistic schizophrenia—in one life, Hopper was an an actor, director, and screenwriter; in the other, a photographer, painter, and sculptor. At the time, serious movie actors did not pursue careers as serious artists and vice versa. But in the 1960s, while he was blacklisted across studio lots, Hopper took a lot of photographs, including many well-known portraits of his famous Hollywood friends, and immersed himself in the already-exploded L.A. art scene of that era—populated by artists like Ed Ruscha, Robert Irwin, and Wallace Berman—brought about by the opening of Walter Hopps, Robert Alexander, and Ed Kienholz's famous Ferus gallery in 1957. Hopper bought an early Warhol soup can painting for $75, instigating a lifelong relationship with the artist and a passion for collecting.
After the critical and commercial success of Easy Rider, Hopper became a commodity in Hollywood again. He was riding high at the time, as was his drug and alcohol intake. He was bankrolled by Universal to make The Last Movie, his trippy movie about the making of a movie. The drug-addled on-set spectacle of the shoot in the Peruvian Andes was seized upon by journalists, and the movie was a financial disaster. Years later, Hopper was still consuming seemingly inhuman quantities of booze and drugs when he re-emerged on the Philippines set of Apocalypse Now. He continued to struggle with his substance abuse problems through Out of the Blue (1980) and Rumble Fish, both movies in which he portrayed an alcoholic father, until he got clean in 1986. Though he still managed to channel his unhinged, chemically altered side in performances, particularly his frightening turn in Blue Velvet and as the alcoholic basketball coach in Hoosiers (1986), a part for which he earned an Oscar nomination.
Throughout the many cycles of his career, Hopper has been incredibly high and unreachably low, lost and found, actor and artist, father and husband, hero and outcast, revered by one generation and misunderstood by another. But whatever he was at a point in time, Dennis Hopper lived the hell out of that moment. Shortly before his death last May after a long battle with prostate cancer, Hopper sat down with Interview chairman Peter M. Brant and gallerist Tony Shafrazi, who represents him as an artist. They did so at Shafrazi's gallery in Chelsea, on the west side of Manhattan. Here we present part II of their interview—a celebration of his remarkable career and even more remarkable life.
It actually wound up taking me a year to edit Easy Rider because I was going cross-country as we were making it and couldn't see the footage. But I came back with 80 hours of film.Dennis Hopper
TONY SHAFRAZI: So, Dennis, as we come to the end of the '60s, with you having just recently returned to making movies after a period where you weren't working in film as much, you come to make Easy Rider—which, of course, goes on to become a major classic. But as you were going to make the film, it was against the backdrop of a very interesting time in America. The Vietnam War is exploding—there are demonstrations everywhere. The Democratic National Convention is happening in Chicago, and William S. Burroughs, Terry Southern, and Jean Genet have all been sent there to cover it for Esquire—and this is all happening just as you're conceiving the film. Originally, Southern was supposed to write Easy Rider, right?
DENNIS HOPPER: He didn't write anything. Peter [Fonda] and I just talked out the story as we walked around on his tennis court in L.A. for about two-and-a-half weeks. I'd asked Peter and Terry to write it because I didn't want to write a screenplay. But I had a total outline, and I knew where the scenes had to be and how long they had to be.
PETER M. BRANT: What was the total budget for Easy Rider?
HOPPER: Around $340,000. [Production manager] Paul Lewis and I were going cross-country to find locations, and I'd sent Peter to New York to work with Terry on the screenplay because [executive producer] Bert Schneider was saying, "I've got to have a screenplay! I've got to show the producers a document. You don't understand. Just trust me!" So as Paul and I were scouting locations, we discovered that Peter got the date wrong for Mardi Gras: He was two months off. It was actually only two weeks away! Now, everybody who has tried to make a movie at Mardi Gras—including Orson Welles—has failed miserably. And as we're getting further and further into figuring out the film, I'm turning more and more into Henry Hathaway. I'm worse than Henry Hathaway because I've waited so long to direct a movie like this. But then I discovered that we only have two weeks, so even though we didn't have a go-project yet, we rushed and got a bunch of friends together and went to shoot it in New Orleans on 16mm. The whole acid trip and all of the New Orleans stuff was all shot on 16mm over four days. I shot the entire movie in four-and-a-half weeks. So that's how it started. It actually wound up taking me a year to edit Easy Rider because I was going cross-country as we were making it and couldn't see the footage. But I came back with 80 hours of film.
SHAFRAZI: So the Mardi Gras sequence was the first thing that was shot.
HOPPER: Yeah, and everybody left me before the part in the cemetery, except a cameraman, a sound man, Peter, and the girls. So I shot that whole thing, the whole acid trip. It was raining that day . . . It's beautiful. So then I came back from that trip and it turns out that Peter and [associate producer and brother of Hopper's first wife, Brooke Hayward] Bill Hayward are recording me. Every time I turn around they're filming me—and I'm not sure why—but I'm saying things like, "We're going to win Cannes, man! We're young! We're going to take our energy and our strength and we're going to take this thing all the way! Just trust me and do what I'm saying! Nobody shoot any film until I tell them to!" I mean, we were all in open fights with one another at the time, I didn't find this out until Bert called me into his office after the movie was released, but Peter and Bill apparently wanted to pay him back the money he'd given us for Easy Rider and fire me. This is Peter and my brother-in-law, okay? This is before we've written a screenplay. So apparently they went in to see Bert and made him listen to everything they'd recorded of me, and Bert listened to it and sounded really excited. He said, "All I'm asking you guys to do is bring a red light, a green light, and a blue light, so you can make white light. They'll all mix together so you get color on the outside, but they'll make white light in the middle. And then I want to use that in the cemetery sequence. You guys never bothered to do that?" So they said, "Well, we didn't . . . You know, we think it was . . ." So Bert said, "Well, Hopper sounds really excited. He says he's going to win Cannes. That sounds like a hell of an idea." And then Bert said, "I've got to tell you one other thing: I hired Hopper to direct this movie, and he's going to direct this movie."
SHAFRAZI: Schneider said that?
HOPPER: Yeah. He didn't tell me about it until after the film was done, but I knew we were having problems. Paul and I had gone off to find locations and places where the crew could live. When we got to New Orleans it was really dangerous because there were these marines who wanted to take me apart because I had long hair. You'd hear a lot of stories at that time of guys getting cut with razors and things. It was so bad that we skipped going to Texas. We went from New Mexico over to New Orleans, and when we got there—it had been two-and-a-half weeks or something—I called New York to see how Peter and Terry were doing on the screenplay. They hadn't started writing it! I said, "But we're shooting in a week-and-a-half!" So I got on a plane and went to New York. I went to Henry Fonda's house, where Peter was staying, but he wasn't there. I found them all having dinner with Rip Torn and a bunch of people at an Italian restaurant around a big Last Supper–kind of a table. I went up and said to Peter, "What the fuck is going on, man? Do you know how rough it is out there? We had to bypass Texas because of all these guys . . ." Rip said, "Terry and I are from Texas! I don't like what you're saying." Anyway, we get in a big hassle. I later got sued and had to pay Rip $1 million for saying that I cut him out of the picture because he pulled a knife on me. But I hired a secretary and wrote the fucking thing in 10 days. It wasn't a great screenplay, but I wrote it so they had a document. Terry never did anything. He broke his hip, so he couldn't come on the shoot. He let me use his office. But later they all sued me. I paid them more money than I made on Easy Rider.
SHAFRAZI: How did Jack Nicholson get involved in Easy Rider?
HOPPER: Well, I had this guy, Jack Starrett, who became a director. He had played football in Texas, and was a really good actor. He was the guy I wanted. So Bert Schneider called me into his office. Bert never wanted to see anything until the first cut. That's the way he worked—after he saw the first cut, he got involved. But he calls me into his office and says, "I haven't asked you to do anything, but I want you to use Jack Nicholson." I said, "But Nicholson is not right for the part. Starrett is." He said, "Right or wrong, I want you to use Jack." I said, "Okay, Bert, but you're fucking up my movie!" [all laugh] You know? That was it! And then, of course, Jack was brilliant. Jack was great.
SHAFRAZI: And you had a great time doing the film.
HOPPER: Oh, wonderful. We had a great time on the shoot. I didn't know this at the time, but Jack was also sent as a watchdog to see if I was okay. [laughs] I was into making the movie, man.
BRANT: You and Jack have stayed friends ever since.
HOPPER: Yeah, absolutely. Close friends. Old friends. I don't see him very much. I don't see anybody very much.
SHAFRAZI: One of the other interesting things about Easy Rider is the fact that about a decade before the advent of MTV and the music video, you did something radical with the music in the movie: The music in Easy Rider is not orchestra music. It's not a score. It's this music by bands and artists who were contemporary for the time. The music in Easy Rider is pop music—and you were one of the first filmmakers to use music in film in that way.
HOPPER: I think Easy Rider might have been the first time that someone made a film using found music instead of an orchestral score. No one had really used found music in a movie before, except to play on radios or when someone was singing in a scene. But I wanted Easy Rider to be kind of a time capsule for that period, so while I was editing the film I would listen to the radio. That's where I got "Born to Be Wild" and "The Pusher" and all those songs. Orson Welles told me, "Don't get confused. Use your best shots, and if the music works, it works, if not, then it doesn't. But always cut to the image." So I didn't cut the film to the music—I cut it to the picture. But later, when I put "Born to be Wild" on there, it just worked, man.
BRANT: You know, Dennis, in looking at your entire career, there's a kind of pattern that emerges. In a sense, it's always these mistakes that lead to flourishing times.
HOPPER: Yeah.
BRANT: Which then lead, of course, to another mistake . . . [all laugh] And then to another flourishing time. But it seems like you're always overcoming your mistakes and bouncing back better, wiser, and more creative. For example, during the period in the early-to-mid-1960s, after your blowup with Henry Hathaway on From Hell to Texas, when you weren't making films, you were taking photographs. You stopped your film career and that led to another very creative moment in your life.
HOPPER: Which is unfortunate because then when I started making movies again, in the late '60s, I stopped taking photographs. I don't mix things. I'm doing one or the other.
The movies and the art world were two separate things before. The art world was way ahead of the movies—way ahead in terms of understanding our culture, the consumer reality of our society.Dennis Hopper
BRANT: The intensity you have is for one thing at a time.
HOPPER: Then I go back later and try to clean up the photos from the '60s, and then Tony and I have our first show.
BRANT: There's also a point, in the '60s, where you've developed two very distinct aspects of your life. There is the film stuff, which we've been talking about, but then there's also your involvement in the art world, which gets deeper and deeper. I know you forged a very close friendship with Dean Stockwell, who was one of the only actors to bridge those two worlds.
HOPPER: The art stuff was a whole other side of my life. Except for Dean, very few actors I knew were interested in art. As a matter of fact, I took Paul Newman to see Miles Davis and he didn't get it. He was like, "What is this music?" These guys were very dedicated actors, brilliant people. But they were just sort of shut off from any kind of connection to the visual arts or music at that time. The first time I saw Dean Stockwell, after Jimmy Dean died, he looked like Jimmy—he was driving the same kind of Porsche that Jimmy drove, wearing the same kinds of clothes. The first time I saw Dean Stockwell at a restaurant I said, "Who the fuck is that?" And once somebody told me, I knew that Dean Stockwell had been a star.
BRANT: Dean Stockwell was a child actor, right?
HOPPER: Yeah. Dean had also been in Kansas City because his father was from there. I used to see him and Elizabeth Taylor coming out of school together and I'd say, "That lucky fuck." [laughs] Dean played gin rummy with [artist] Wallace Berman, so we got to know each other through him and that whole group around [museum director and curator] Walter Hopps. And, you know, I'd been involved with the art people since the mid-'50s. I'd even done those experimental films with Andy [Warhol].
SHAFRAZI: Yes, the screen-test film, The Thirteen Most Beautiful Boys, and Tarzan and Jane Regained . . . Sort Of [both 1964], in which you appear with Taylor Mead.
HOPPER: But it was a whole other side of my life that I couldn't really share with the movie people, so I had a schizophrenic situation going on. We'd all smoke grass, but we weren't doing any of the heavy stuff. The movies and the art world were two separate things before. The art world was way ahead of the movies—way ahead in terms of understanding our culture, the consumer reality of our society. The movie people didn't collect art.
BRANT: And the art people don't want to think that moviemaking is a departure, even though they say they like movies. They don't like an artist doing movies. I mean, you've seen how people have reacted to artists who you've worked with on films, like Julian Schnabel or David Salle, doing movies.
HOPPER: Exactly.
BRANT: So it's coming out of that period that you do Easy Rider, and it just takes your career to another level. And then, after Easy Rider—and following the pattern that we've identified as existing throughout your career—you go back and try to get The Last Movie [1971] made.
HOPPER: Which was a major mistake. [laughs]
BRANT: I met you with Andy in Los Angeles around that time, so I know how tough it was for you to put that film together.
SHAFRAZI: The Last Movie really is in concept much more experimental, almost underground, than some of the other films you've done. It's about the making of a movie. It didn't get the same reception in America, but in Europe, of course, it won a prize at the Venice Film Festival.
HOPPER: And it got me blacklisted.
SHAFRAZI: Really? Why?
HOPPER: Because I fucked with the most powerful man in Hollywood.
BRANT: Which was who?
HOPPER: Lew Wasserman, who Jules Stein handpicked to take over MCA. He was Ronald Reagan's agent.
BRANT: Why did Wasserman blackball you?
HOPPER: Because he wanted me to re-edit The Last Movie after it won [best feature at] the Venice Film Festival, and I said, "I refuse." So he said, "The only good artist is a dead artist." Wasserman had this cane, which was George Washington's cane at Valley Forge. But I wasn't going to re-edit the film. How can you re-edit a movie that won at Venice? I don't know. I didn't know at the time. I'm still not sure how you do that. I'm not sure there was a movie there to re-edit.
BRANT: You also won something at Cannes.
HOPPER: Best new director. But, anyway, Wasserman shelved the movie. He said, "We're going to play it for two weeks in New York, two weeks in Los Angeles, three days in San Francisco, and it will never see Europe. You're out of here." So before I left, I said, "By the way, Mr. Wasserman, how do you know that's really George Washington's cane? Could you explain that to me before I walk out of here?" He said, "No. Get the fuck out." [laughs]
BRANT: Was that when you started working in Europe?
HOPPER: Well, I couldn't work in Hollywood anymore. I used to resent the fact that all of these guys like Ernest Hemingway went to Europe. I always put them down. [laughs] But there I was, suddenly in France. I was trying to get some sort of a deal, but nothing worked out, and as that went on for a couple of years I got deeper into drinking. I had an agent named Edith Cottrell, who was also Wim Wenders's agent. She said, "There's somebody who'd like to meet you. He's a young German director. Do you mind having dinner with him?" So I had dinner with Wim Wenders, and it was really nice. We had dinner about three times, and then he asked me to do The American Friend [1977]. He was going to use [John] Cassavetes, but he changed his mind. I'd made Tracks [1977] with Henry Jaglom, and Fred Roos, who was one of Francis Ford Coppola's producers, had seen it. They were about to go do Apocalypse Now and Fred asked me to be in it. We had no script yet, but Fred said that Marlon Brando was going to be in it. So I said, "Well, if I have one line with Marlon . . ."
I came to play Colby, who was the C.I.A. guy who turns native. I was supposed to be the second in charge to Brando. I was in a nice, neat uniform with a hat and a medal. Coppola had brought in all these guys who were in Nam—special forces guys. They had us playing these incredible war games. Every night, for almost two months, we'd play these war games, which were intense. We had 250 native Flipinos who they'd brought down from the rice paddies to be my soldiers. They'd never been defeated by the Japanese—they'd never been defeated by anybody. They came down and built the village I moved into, where the temple was. So, anyway, I ended up looking more native.
SHAFRAZI: Is that how you wound up playing the photographer character?
HOPPER: Well, while we're doing this, Marlon is on a million-dollar [per week] contract, and for a while he doesn't show up. Finally he arrives, and there was this boxing match between two bantamweights in the Philippines. This is the first day that Marlon was there. So we go to the boxing match and then have dinner at Francis's and, afterwards, we watch Seven Samurai [1954].
BRANT: By Akira Kurosawa.
HOPPER: Yeah. So then, at dinner, I have this little red book I'm studying, which detailed all of these covert operations that I'm trying to learn for the film, and I turned to Marlon and said, "Have you read Heart of Darkness?" I guess Francis had been on Marlon all day for having not read Heart of Darkness. So when I said that, Marlon completely flipped out. He said, "I don't have to listen to this shit! Fuck you people!" And he leaves. So Francis goes after Marlon and it's two weeks before they come back. Marlon was one of the great actors of our time, no question. However, he never cared about budgets except for what he was making, so he would stretch these things out as long as he could. You have to understand, there were 900 people on this crew. And we all waited for two weeks while Francis and Marlon went off in a riverboat. Finally they come back and Francis says to me, "We've read the book. We've decided that you're going to be the character of this photojournalist who is sort of mad. He has all of these bags of cameras but he doesn't really know how to use them." So I said, "You're talking about [P.D.] Ouspensky's tarot card fool. Ouspensky wrote these tarot cards, but he never visualized them. The fool is the one who knows all of the secret wonders of the world but can't remember where they are or how to use them." That was the image that I used. So Francis and I would get together in the morning and write stuff down and we'd improvise off of it.
We had 250 native Filipinos who they'd brought down from the rice paddies to be my soldiers. . . . they came down and built the village i moved into, where the temple was. So, anyway, I ended up looking more native.Dennis Hopper
BRANT: Was the Rudyard Kipling chant all yours?
HOPPER: That was all me. It was from high school.
BRANT: "What are they going to say about him when he's gone? That he's a kind man? A wise man . . ." Was that all improvised?
HOPPER: Well, it's hard for me to distinguish now what was Francis's and what was mine, but a lot of it was mine. "Watch out for those heads . . ." [laughs] But Francis made a special canister for the film, because at that time I think you could only shoot for three minutes or five minutes at a time, and he wanted to be able to shoot for 10 minutes, so we could shoot for 10 minutes at a time. So we shot that scene [in which the photojournalist tells Willard about Kurtz] for at least a week—maybe a couple weeks. At the end, the last thing Francis says is, "We have done this scene 300 fucking times. Would you just do it once my way?" And I said, "Your fuckin' way? I could've made Easy Rider five times with the fucking film you've lost here. What is your fuckin' way?" [laughs] I had to play Gabby Hayes to his Roy Rodgers.
BRANT: At that point, Coppola was king of the world.
HOPPER: Oh, yeah. And he was a good friend.
BRANT: Of all of the great things that you've done, for me, this performance you give in Apocalypse Now is at or near the top. It really is a magical type of sequence that pours the entirety of what has happened to you as an actor, as a person, into a few minutes. It's also a quintessential example of a performance that breaks from the discipline of the formal filmmaking that you were working under with Henry Hathaway. It's a total break from that, but in breaking it becomes poetic. It's one of the great performances in film.
HOPPER: Francis, in the end, was super.
SHAFRAZI: Certainly in that documentary on the making of Apocalypse [1991's Hearts of Darkness: A Filmmaker's Apocalypse] you can see Coppola preparing that scene. He announces on film that the scene he's writing is the one with you as the boat arrives. Also, during the filming of the scene, it's clear that Coppola is really fond of you. You can see a great camaraderie there, even though there is a challenging thing going on. Circumstances, I'm sure, were very tough.
HOPPER: We used real bodies a lot of the time, but Marlon didn't know. Francis didn't know. But I hung out with the prop guys because I knew those were the guys to hang out with. I'd been around movies for a while—they could get you anything. [laughs] They were storing them next to me in a freezer.
SHAFRAZI: A dead body?
HOPPER: Well, if you look at the film, when I get on the boat, that's a real body there, brother. So when Martin [Sheen] went by at one point, after we'd been shooting for a while, he touched one and realized it was real, and he freaked out. So did the authorities and everyone else. We had a little bit of a problem there for a moment. [all laugh]
BRANT: So then, after the epic battle to make Apocalypse Now, you got together with Coppola again to do Rumble Fish.
SHAFRAZI: Which was wonderful. I think your performance in Rumble Fish is equally incredible to the one you gave in Apocalypse Now. The way you connect with Matt Dillon and Mickey Rourke, who play your sons in the film—the way you connect with them as a father—is magnificent.
HOPPER: Well, things had changed with Francis at that point. He had grown into what we called a Silver Fish. He was now in a trailer. You never saw him. He talks to you over a mic. During those scenes, Francis is never present. So you're with Matt and Mickey, and it's cool in a way. So I'd get to set and say, "What are you doing in there, Francis? Are you making spaghetti? Can you hear me?" But it was wonderful. Some of that was improvised, too. Not all of it, but the scene in the bar was. Francis had lost his studio, Zoetrope, so we got these milk trucks and drove all of the equipment out in the middle of the night and went down to Tulsa. So first he shot The Outsiders and then we shot Rumble Fish.
SHAFRAZI: After that you came back to New York. I remember seeing you with a movie that you had directed, Out of the Blue [1980].
HOPPER: When I went out to do Out of the Blue, it was initially only to act in the movie. Paul Lewis, who was my production manager—the producer on most of my movies—was producing it. What happened was that Out of the Blue was written by this husband-and-wife writer team, and the guy who was going to direct it had never made a real movie before. Paul Lewis wanted me to play the father of Linda Manz's character. So I go to Vancouver to play this father character, and I'm sitting in my trailer ready to work for two-and-a-half weeks, and Paul keeps coming to me and saying, "This guy can't direct, man. This is awful. There's no usable footage." He said, "You go in there." So I said, "I'm not going to go in and fucking intimidate this guy. I'm going to stay here until he wants me to work." So after two-and-a-half weeks, it's a Friday, and Paul and I are having dinner and he said, "I'm closing down production." So I said, "What? I haven't even worked yet!" He said, "There's no usable footage." But, he said, "You could make it in three-and-a-half weeks. But we've got all of these locations. We can't move them." I said, "I'm going to move them all to the center of Vancouver." So, it's like, boom! I move all the locations, rewrite the whole thing, and shoot it all in three-and-a-half weeks. I do it and I get it into competition at Cannes, but Canada refused to put their flag behind it. Then they renounce it as a Dennis Hopper movie. Afterward, we tried to distribute it, but we couldn't get it out for a wide distribution—it's about incest, so no one wants to touch it. Now, I'm sitting in my house in Taos, New Mexico, going, "Man, this is it. I'm broke." Then, suddenly, I started painting. I didn't know what else to do. I'd painted before, but all of my earlier paintings were destroyed in the Bel Air fire in '61. I tried to paint again after that, but I couldn't do it. And then I started assembling objects with photographs, because at the time they wouldn't let us show photographs with paintings. Back then, you couldn't even show Man Rays with paintings.
BRANT: The year 1986 is a big one for you. It's the year Blue Velvet came out. It's the year you did Hoosiers. It's the year where a number of things change for you.
HOPPER: It's the year that I got sober—it's the first year I was sober.
BRANT: So it's a pivotal year in all these respects. How did you wind up playing Frank Booth in Blue Velvet? It's an unforgettable performance, but also a very personal one. What was it like for you working clean for the first time in years?
HOPPER: It was a scary time. I'd used drugs for so long as an acting device. People would ask me about drugs and things and I used to joke and tell them, "Well, I'm really an alcoholic and I used drugs to cover it up." Which, I'm afraid, was actually true. But once I got sober, I had no devices to use, so I really had to go back to the work I'd done with Lee Strasberg in order to not have to take a hit of coke or smoke a joint or have a drink in order to go do what I needed to do—so I could just go do it. Then, in the case of Frank Booth, I'm now playing this alcoholic without alcohol, a drug addict without drugs, because I was clean.
SHAFRAZI: How did you get the role in Blue Velvet? I heard that you called up the director, David Lynch.
HOPPER: I'd also done River's Edge that same year [1986], which is also a really good movie. I never met David Lynch before. I just called him up. He was already in North Carolina shooting with Kyle MacLachlan, Laura Dern, and Isabella Rossellini. They were having lunch when I got him on the phone. I said, "David, I know we've never met, but you don't have to worry about me playing Frank Booth, because I am Frank Booth." So the story I heard is that David came back to the lunch table and said, "I just had a wonderful conversation with Dennis Hopper. He told me that he was Frank Booth. It's going to be great for the movie, but I don't know how we'll ever have lunch with him." [all laugh]
People would ask me about drugs and things and I used to joke and tell them, 'Well, I'm really an alcoholic and I used drugs to cover it up.'Dennis Hopper
SHAFRAZI: What was it like that first day?
HOPPER: The first day on the set I meet Kyle MacLachlan and Isabella Rossellini, and David as well. Fred Caruso is producing. And the first scene we have to do is the heavy scene where Frank comes in, demands his bourbon, and does the whole thing with the rape. We're doing the scene and Isabella exposes herself, which—whew, that was a shock, because she really did and nobody could see it but me. [laughs] Obviously she and David had worked that out. But it was a surprise to me. I don't know whether it helped or hindered . . . [all laugh]
SHAFRAZI: What about the laughing gas?
HOPPER: David brought in this helium-only gas that made you sound like Donald Duck. I said, "David, you know, I thought of this as nitric oxide or amyl nitrate." And he said, "What's that?"
BRANT: [laughs] He had no idea.
HOPPER: David was like a Boy Scout. He doesn't take drugs. He meditates. He'd give direction like, "Dennis, if you say that, when you say that word . . ." And I'd say, "David, that word is fuck." He'd be like, "Yes, I know, and when you say that word . . ." He wouldn't even say it. But he'd written this film . . . You know, you'd do this very, very dark scene, and he'd be like, "Howdy-doody! Solid gold! Let's do one more!" It makes you think that whatever he has inside, he really keeps buried. [all laugh]
BRANT: So you went straight from doing Blue Velvet to playing a very different kind of character in the alcoholic basketball coach you play in Hoosiers.
HOPPER: I did Blue Velvet right before Hoosiers. I didn't even go back to Los Angeles—I went straight to Indianapolis.
SHAFRAZI: You initially turned down Hoosiers.
HOPPER: I didn't think it was right for me. I got nominated twice [that year] for the Golden Globe—once for Hoosiers and once for Blue Velvet—so I cancelled myself out. I got nominated for the Academy Award only for Hoosiers. On the morning they announced the Oscar nominations, they sent a camera crew to my house because they thought I would get nominated, but I thought I would get nominated for Blue Velvet. So they had the camera on me when they announced the nominations and I was like, "Hoosiers? Yeah, right, Hoosiers!" [all laugh] But it was a great experience. David Anspaugh, the director, he was good. In the beginning it was a role that I thought Harry Dean Stanton should've done. But Harry said, "Aren't you from Kansas?" And I said, "Yeah." He said, "Didn't you have a hoop on your barn?" I said, "Yeah." He said, "I think you may be the guy that David Anspaugh's looking for."
BRANT: At that point you'd made it all the way back and you've worked regularly since then. You did Chattahoochee [1989] with Gary Oldman, The Indian Runner [1991] with Sean Penn, Speed, True Romance, you were in David Salle's movie Search and Destroy [1995], you played Bruno Bischofberger in Julian Schnabel's first film, Basquiat. In the last decade, you even got back into doing some TV with 24 and Crash. And you've consistently worked as an actor ever since.
HOPPER: The unfortunate thing was that, well, I got married, and I couldn't turn anything down at one point because of financial needs. I think I did a lot of damage, very honestly, to my career because I never had the opportunity to say, "No, I don't want to do that. I should wait for something else." So I did a lot of crap. I used to tell people, "A lot of the films I've made you only see in Eastern Europe and Fiji." They're making pretty good movies in Eastern Europe right now, so I've got to change that line.
SHAFRAZI: You've also continued to work and grow as an artist.
HOPPER: Yeah, and that's changed a lot, too. When I was starting out, the movie people really didn't collect. As a matter of fact, if you even mentioned art, they used to show you the elevator. They want to know about a commercial venture. But now so many actors and directors and people in the movie business collect art and are involved in the art world, as you know, Tony. It's very different than it was.
BRANT: You might not have touched so many nerves in pop culture if you didn't do everything you've done. For example, being in the video game Grand Theft Auto, which my son was involved with. How many millions of people played that game? How important is something like that culturally?
HOPPER: That's another thing that the agency tried to stop me from doing. They said, "You don't want to do a video game at this point," or "You don't want to do commercials." But, in my view, pop art opened everything up.
SHAFRAZI: The fact that you've viewed making movies and making art that way is a big reason why both you and your work have stood out.
HOPPER: Well, it has definitely led me to try a lot of things that I might not have tried otherwise, and to push myself, even when the work or my life in general wasn't exactly where I wanted it to be. Even when I was doing movies where the material wasn't great, I always tried to take shit and make gold out of it—and every once in a while, I'd hit a film that was like an undiscovered gem. I always tried to do the best job that I could.
Read the entire interview with Dennis Hopper here.
Awkwafina Plans Her Own Funeral
Catherine Cohen and Alan Cumming Talk Boys, Balls, and World Domination
That Time Nicole Kidman Set Absinthe on Fire


The RJAH Charity purchases a limited number of charity places every year in the London Marathon.
In return for a place, our runners are asked to raise at least £1,500 for the hospital charity.
Please note: our places in the 2019 London Marathon are currently full.
Do you want a London Marathon place?
If you are able to commit to that amount, have a keen interest in running and can commit to the training, please fill out an application form.
Do you already have a London Marathon place?
If you are lucky enough to secure your own place, either through the ballot, via your running club or a 'good for age' place and would like to run for the RJAH Hospital Charity, please contact rjah.fundraising@nhs.net.
All runners will be provided with a welcome letter and free RJAH Charity running t-shirt. Runners are also able to borrow collection tins for any events they may have.
If you would like to donate to the 2019 RJAH London Marathon team, you can do so through our JustGiving page.


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text:
Bula pontifícia - documento expedido pela Santa Sé
Bula (medicamento) - folha com informações sobre medicamentos
Bula (Guiné-Bissau) - um dos setores da Guiné-Bissau
Bula (banda) - banda de rock brasileira

Desambiguação
Desambiguações de topônimos

redpajama_set_name: RedPajamaWikipedia


RE/MAX Results, the nation's largest RE/MAX franchise by transaction sides according to the Swanepoel Mega 1000, is arming its agents with a new tool to provide its agents and customers with buyer demand insight through real estate data and analytics startup Buyside.
Buyside's platform aggregates buyer activity across major real estate search portals, brokerage websites and other platforms to reveal to agents prospective buyers for a specific home.
RE/MAX Results, the ninth biggest brokerage in the country in transaction sides according to the Real Trends 500, with more than 24,000 transactions in 2018, hasn't been shy about arming its agent with top technology. The company is listed as one of the clients who use the customer relationship management (CRM) tool Contactually, a popular CRM used by many other top brokerages and was acquired by Compass earlier this year.
RE/MAX corporate is currently developing an end-to-end platform available to its franchisees, parts of which will begin to launch this year.
RE/MAX Results is also the fourth top-15 brokerage in the country to adapt Buyside's platform, according to a spokesperson for Buyside.
In February, RE/MAX Alliance in Colorado, one of the country's other top RE/MAX brokerages, began offering Buyside to its agents.
Central products from Buyside include home valuation sites that allow prospective sellers to understand the approximate value of their home using automated valuations. The platform also includes a buyer market analysis report which helps listing agents navigate pricing scenarios while showing that client a list of matching buyers.
Through the platform's backend, listing and buying agents are connected when their prospective clients are a match for a property, which Buyside says ensures a more targeted marketing of the home and a quicker sale.


Shannon Watts, the outspoken gun control advocate who heads Moms Demand Action, has repeatedly lied about Dana Loesch, saying Dana is on the payroll of the NRA and is being paid by gun manufacturer Magpul.
This weekend Dana confronted Shannon Watts at the NRA Convention in Indianapolis.
Watch Shannon run from Dana.


text:
Q: how to read a int[] chunk by chunk Suppose an int[] is passed in, and I have function f(int[] array), if I don't know the length of array, how can I execute it chunk by chunk? or is there any better way do it? Thanks

A: In Java, you can get the length of the array from the array, simply by using:
int theArrayLength = array.length;

A: What do you mean by "execute it" and "chunk by chunk"? You can always iterate over the array using an index.
for(int i = 0; i < array.length; i++) {
  bar(array[i]);
}

A: *

*Check if the array is null, and if so, throw an exception (e.g. IllegalArgumentException)

*Use enhanced for-loop

Example -
void f(int[] array){
    if(array == null){
        throw new IllegalArgumentException();
    }

    for(int arrayItem : array){
        // iterate through array chunk-by-chunk
    }
}

Using this approach, you can iterate through the array chunk-by-chunk without explicitly knowing the length of the array.

A: doesn't java also know the arraya.length ?

A: You can find the length of any array in Java by doing
array.length


text:
Importation and Innovation
Frank R. Lichtenberg
Twitter LinkedIn Email
Working Paper 12539
DOI 10.3386/w12539
Issue Date September 2006
Importation of drugs into the U.S. would result in a decline in U.S. drug prices. The purpose of this paper is to assess the consequences of importation for new drug development. A simple theoretical model of drug development suggests that the elasticity of innovation with respect to the expected price of drugs should be at least as great as the elasticity of innovation with respect to expected market size (disease incidence). I examine the cross-sectional relationship between pharmaceutical innovation and market size among a set of diseases (different types of cancer) exhibiting substantial exogenous variation in expected market size. I analyze two different measures of pharmaceutical innovation: the number of distinct chemotherapy regimens for treating a cancer site, and the number of articles published in scientific journals pertaining to drug therapy for that cancer site. Both analyses indicate that the amount of pharmaceutical innovation increases with disease incidence. The elasticity of the number of chemotherapy regimens with respect to the number of cases is 0.53. The elasticity of MEDLINE drug cites with respect to cancer incidence throughout the world is 0.60. In the long run, a 10% decline in drug prices would therefore be likely to cause at least a 5-6% decline in pharmaceutical innovation.
Acknowledgements and Disclosures
This research was supported by Janssen, L.P., and by Pfizer, Inc. The publication of study results was not contingent on the sponsors' approval or censorship of the manuscript. The views expressed herein are those of the author(s) and do not necessarily reflect the views of the National Bureau of Economic Research.
MARC RIS BibTeΧ
Download Citation Data
Published Versions
Frank R. Lichtenberg, 2007. "Importation And Innovation," Economics of Innovation and New Technology, Taylor and Francis Journals, vol. 16(6), pages 403-417. citation courtesy of
Households and Firms
Market Structure and Distribution
Health, Education, and Welfare
More from NBER
In addition to working papers, the NBER disseminates affiliates' latest findings through a range of free periodicals — the NBER Reporter, the NBER Digest, the Bulletin on Retirement and Disability, and the Bulletin on Health — as well as online conference reports, video lectures, and interviews.
The Economics of Digitization
Author: Shane Greenstein
The NBER Economics of Digitization Project, established in 2010 with support from the Alfred P. Sloan Foundation,...
The 2020 Martin Feldstein Lecture: Journey Across a Century of Women
Claudia Goldin, the Henry Lee Professor of Economics at Harvard University and a past president of the American...
Summer Institute 2020 Methods Lectures: Differential Privacy for Economists
The extent to which individual responses to household surveys are protected from discovery by outside parties depends...


text:
Trump's Campaign Was Asked Why He Won't Release Medical Records. Their Response Is BEYOND HYPOCRITICAL
Iraq War Commander Blasts Trump, Gives Best Defense Of Kaepernick Yet
The Donald Trump campaign has had a field day with the absurd right-wing conspiracy theories regarding Democratic nominee Hillary Clinton's health, desperately attempting to spin the narrative to "disqualify" her from the presidency, since none of their other witch-hunts or smear campaigns have come up with anything.
But once again, the Trump campaign has found itself in a very uncomfortable position regarding Trump's own health records. Trump, who is two years older than Clinton, has announced he will release a health report from the studio of television "doctor" Dr. Oz, because Trump's entire campaign is more akin to a reality television show than a serious political effort.
Dr. Oz, the scam artist so well respected that real physicians signed a letter condemning him for "an egregious lack of integrity by promoting quack treatments and cures in the interest of personal financial gain," has announced that he will not be asking Trump any "questions he doesn't want to have answered."
When journalists pointed out the double standard of demanding detailed reports from Hillary Clinton while hiding the truth of Trump's health, campaign manager Kellyanne Conway had this astonishing response.
Conway asked about Trump's short drs letter: "I don't know why we need such extensive medical reporting when we all have a right to privacy"
— Eliza Collins (@elizacollins1) September 13, 2016
Apparently that right to privacy only applies to Donald Trump, since he has also refused to release his tax returns (which Hillary has done). The double standard that the media has applied to Hillary and to Trump is just unbelievable, and this issue of health records just goes to show that in America, a woman's body and her personal medical status is public knowledge while the man has a right to privacy.
How could it not be, when misogynist Republicans clearly believe that the decisions women make about what does and does not grow in their uterus should be up to them, not to the woman whose body it is?
Feminist author Sady Doyle makes another very interesting point on how American society perceives older women in a discussion with Salon's Amanda Marcotte.
"It's very strange to me because we know that campaigns are long and grueling and candidates are working seven days a week. They don't get a lot of sleep. They're constantly on airplanes and buses and shaking hands with strangers. We know they get tired. We know they get sick. But with Hillary there is this weird, conspiratorial, possessive attitude. The fact is that Trump is older than her…but she is the one we want to see as this withered up, useless old crone. We want to believe that an older woman is not capable of contributing to the world in any important way. For that reason, people are exaggerating and exaggerating concerns about her age, which is coded as physical fitness."
Even as a politician of inarguable qualification and decades-long dedication to public service, the American media and public can't see past Clinton as a woman, obsessing over her body just like we obsesses over women's bodies in every walk of life. Schools sending home teenage girls for having their collarbones exposed; segments on FOX News featuring crotchety old lechers discussing what they "will" or "won't" let their daughters wear while a nubile blonde twirls for their appreciation; religious extremists who obsess over whether or not women are allowed to use contraceptives – all levels of society treat women's bodies like public property, and this is just one more disgusting case of right-wing misogyny at play.
health records hillary style Trump
Colin Taylor September 13, 2016


text:
Q: Unable to define correct struct for asn decoding in golang I have the following ASN1 structure to decode using golang
SEQUENCE(2 elem)
     SEQUENCE(2 elem)
          OBJECT IDENTIFIER1.2.840.113549.1.1.1
          NULL
     BIT STRING(1 elem)
          SEQUENCE(2 elem)
               INTEGER(2048 bit) 20832…
               INTEGER  65537

and I am using the following struct to store the decoded data:
type OidAndNullSET struct {
    OID  asn1.ObjectIdentifier
    Null asn1.RawValue
}

type Seq struct {
    Set    OidAndNullSET
    BitStr asn1.BitString
}

func main() {
    mdata2 := []byte("MIIBIjANBgkqhkiG9w0BAQEFAAOCAQ8AMIIBCgKCAQEAhxW+fVIU3KiVWyHy5RZ6jMQrXbrpUNOrz8V29qhZ98G53o6yKeUc2dOXC/dX2w8lEXjf+Hys9BLAJJZc6dlV1vrVZM5C9fvCAMHlAcMW2AADLuG+SruM6URBedSAxMFVwAzsSApLEQSlfGyMvjT+UOrHEjBUMn4+IPiLW2G0o1pHxCkrUxub/RWpl5qO7BbuEQj4flbUGpOpFW+XOuYu78MRmEvl/E9SX8b04RrXZTxPMAqxAl/zRA7VgIVzwtcm6xjzFw8kvr7H4B/zb7Jvl32FhniXMOrPfSGI2xhrr92DTOaPXuPFH2DywbNj/O21fenykWYsB/bA8vH7/EmQdwIDAQAB")

    var n Seq
    _, err1 := asn1.Unmarshal(mdata2, &n)
    checkError(err1)

    fmt.Println("After unmarshal: ", n)
}

func checkError(err error) {
    if err != nil {
        fmt.Fprintf(os.Stderr, "Fatal error: %s", err.Error())
        os.Exit(1)
    }
}

I cannot find a proper structure to store a SEQUENCE* and getting following error

asn1: structure error: tags don't match (16 vs {class:1 tag:13 length:73 isCompound:false}).

Any thoughts?

A: You defined base64-encoded ASN.1 stream and need to decode it before passing to Unmarshal. Consider the next definition:
mdata2, _ := base64.StdEncoding.DecodeString("MIIBIjANBgkqhkiG9w0BAQEFAAOCAQ8AMIIBCgKCAQEAhxW+fVIU3KiVWyHy5RZ6jMQrXbrpUNOrz8V29qhZ98G53o6yKeUc2dOXC/dX2w8lEXjf+Hys9BLAJJZc6dlV1vrVZM5C9fvCAMHlAcMW2AADLuG+SruM6URBedSAxMFVwAzsSApLEQSlfGyMvjT+UOrHEjBUMn4+IPiLW2G0o1pHxCkrUxub/RWpl5qO7BbuEQj4flbUGpOpFW+XOuYu78MRmEvl/E9SX8b04RrXZTxPMAqxAl/zRA7VgIVzwtcm6xjzFw8kvr7H4B/zb7Jvl32FhniXMOrPfSGI2xhrr92DTOaPXuPFH2DywbNj/O21fenykWYsB/bA8vH7/EmQdwIDAQAB")

Then it should work after adding "encoding/base64" to imports.


text:
Q: What is the best permissions to set for only creating and managing own databases? I want to create a login for a new user who could only create and manage their own databases. Other databases on the server should be read-only to that user. What would be a good set of roles/permissions to use to implement this?
Thank you for your help!
p.s. I am using SQL Server 2008 r2

A: If you grant the dbcreator server role to a login, that login can create databases.  Databases created by a login also (unless changed as part of the process) will be owned by that login, meaning that the login will be a member of the db_owner role for that database and have full rights to that database and all objects within it.
The primary issue here is that by granting the role, you will have no control over when and how the login creates databases, nor do you have any control on how many databases that login creates.  A login with dbcreator can create as many databases as there is space for.  My recommendation is that you create the database for the login and then grant that login db_owner rights in their database.  You can then grant the login db_datareader in the databases that it doesn't/shouldn't own.  This gives you better manageability along with accomplishing your stated goal.

A: Furthermore, dbcreator can alter and drop any database on the server. (Might be version dependent, checked on 2012.)
If you really want the users to be able to create their own databases you probably need to look into the explicit create database permission.

A: There's a server role called DBCreator. If you create your login with that Server Role I bet that'll do the trick. Although I've never used it myself.

A: If the CREATE ANY DATABASE permission (mentioned in a comment above) isn't fine grained enough or your paranoia level is high then I wouldn't recommend that approach.
Personally, I avoid granting permissions to users if at all possible.  It's much easier to audit Sql Server security if users have no special permissions, only role memberships.  In the cases where a user does require elevated permissions, I recommend using a certificate signed stored procedure. When a signed sp is executed the user inherits permissions from the cert. (See http://msdn.microsoft.com/en-us/library/bb669102.aspx for details.)
--Skeleton of a "secure" Stored Procedure to create databases
CREATE PROC CreateNewDatabase (@db_name sysname)
BEGIN

SET NOCOUNT ON

--Validate database name starts with "UserDB_"
if @db_name not like 'UserDB[_]%'
    raiserror......

--Create database, with known settings for recovery, filesize, growth, containment, etc.
declare @sql nvarchar(4000)
set @sql = N'CREATE DATABASE ' + .....
exec sp_Executesql @sql

--Grant permissions to the login
...

--Add DB to Maintenance plans and backup jobs, take full backup to start log chain.
...

--Send notification to DBA that a new DB has been created
...

--Etc, etc, etc.
...

END

Likewise, a different stored procedure could take care of dropping the DB when they are done with it.  It could perform any required cleanup tasks like saving a final full backup to an archive folder or sending notification emails.
This is a good approach when you want to delegate a very specific task to a non-dba, for example, to allow the helpdesk to reset passwords for a subset of sql logins.