New Delhi: The Narendra Modi government is surrounded by criticism about prices of petrol and diesel. At the same time, the petroleum minister Dharmendra Pradhan has put the ball in the back of Finance Minister Arun Jaitley saying that the price of petroleum products can be logical only when they are brought under the purview of the goods and services tax (GST). The central government had imposed GST on July 1 in place of all indirect taxes in the country, but petroleum products have been kept out of now.
In the last one month, the price of petrol has increased by more than seven rupees. The Modi government has implemented the daily review policy of petrol prices from June 16. Before that, fortnightly prices of petrol prices were peaked. Let's understand why there is a dispute about petrol prices? On Thursday (September 14th), petrol in Delhi costs Rs 70.39 per liter, Kolkata Rs 73.13 per liter, Mumbai Rs 79.5, and Chennai 72.97 liters. These prices of petrol are the highest since August 2014.
When the price of petrol was more than Rs 70 per liter in August 2014, the crude oil prices in the international market were $ 103.86 (about Rs. 6300) per barrel. On Thursday, the price of crude oil in the international market is $ 54.16 (Rs. 3470) per barrel. Since the year 2014, the Modi government has increased the excise duty of petrol by 126 percent and diesel by 374 percent. If you talk about gasoline, the Indian petroleum companies in the international market, as per the current price of crude oil, petrol is petrol cost to oil companies is around Rs 21 per litre. Crude oil refined and made to be used for usable purpose, the remaining expenditure comes to around Rs 10 a liter. That is, if the government does not take any tax, then petrol can be sold at around Rs 31 per liter. In addition to the excise duty of the Central Government under the existing tax system, the State Government imposes VAT on petrol and diesel at different rates. In Delhi, for instance, VAT is 27 per cent, while in Mumbai it is 47.64 per cent. That is why the price of petrol is different in different states.
If petrol-diesel is brought under GST, then the maximum tax will be only 28 percent, as all the products under GST are taxed at five, 12, 18 and 28 percent rate. If the government imposes 12 percent GST on petrol then the public can get gasoline at the rate of around 38 rupees per liter. If the central government imposes 18 percent GST on petrol, then the general public will get 40.05 rupees per liter. If petrol is 28 percent GST, then its price will be 43.44 rupees per liter. If the central government imposes an additional tax (cess) in addition to GST on petrol, its price may be more than two-four bucks from these estimated prices, but in that situation, petrol will also sell around Rs 20 less than the current rate. But the question of lakhs of taka is that it will happen?


text:
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redpajama_set_name: RedPajamaGithub


text:
Website Communication Terms.
Humans of SHS
January 10The Nutcracker
January 8Severe Weather Impacts Traveling Conditions During The Holliday and New Year Rush.
January 7New COVID-19 Variant
January 7Toys for Tots
The Inauguration
President Joe Biden enters his presidency
Emili Currey, Editor In Chief 2020-2021
The 2021 Inauguration is one for the history books, the amount of resistance towards the past president, and toward the new president, Joe Biden. The beginning of President Biden's inaugural Address was memorable and very patriotic using the words "hope" and "renewal". He addresses democracy and shows pride in being an american, his speech was a good start to a difficult presidency. With how Covid-19 has affected the world and the way people have reacted to his inauguration and President Trump's past actions, his presidency is sure to show some bumps in the road.
On January 20, 2021 Kamala Harris made history as the first African American Vice President, her and Biden were both sworn in on inauguration day. Biden made it clear that he would be making numerous changes to the white house, and promised to single in on those made by the previous President, Donald J. Trump. President Biden's 17 executive orders included: support for racial Equity, the opening of schools, preventing Sexuality and gender discrimination, Improving treatments for Covid-19 patients, and several more.
Former President Trump also made history that day as the first Previous President not to show up for the next president's inauguration, he was in Florida getting some sun. Although President Trump did not show, Former President Obama and First Lady Michelle did come to show support; As well as Former President Bill Clinton and Hillary Clinton. Covid has changed society and the way that even politicians and the President of The USA does things, so instead of people gathering to see the inauguration in person the Capitol created their own unique way of celebrating. Americans could watch from home and in their place stood thousands of American flags. 200,000 to be exact, they are a representation of the 56 states and all the territories.
Another reason the flags were to stand in the place of supporters was to avoid another risk like the one at the Capital previous to the event or another act of violence, with the New President there security could not risk Biden or Kamala being harmed in the process of the Inauguration.
Joe Biden has fulfilled his promises and has started filtering out Trump's cabinet and appointed positions starting with the US surgeon General, Jerome Adams, who had been in the position since 2017. He stated in a tweet "It's been the honor of my life to serve this Nation, and I will do all I can to ensure everyone has an equal opportunity to achieve and maintain health,". Doctor Vivek Murthy is now the US Surgeon General appointed by President Joe Biden.
President Biden has had a fresh start and is taking care of business even within his first 10 days of presidency. Americans hope he does the right things and keeps America the greatest country on Earth.
My Name is Emili and I am the new Editor in Chief I love writing stories and cannot wait to see what this year brings!
Football is Back!
Trash Pickup!
Telling Their Story
The Official Online Newspaper of Skyline High School
All WestSide Story Picks Reader Picks Sort: Newest

redpajama_set_name: RedPajamaCommonCrawl


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text:
Lars Kristofer Åström, född 9 oktober 1974, är en svensk sångare, gitarrist och låtskrivare från Luleå i Norrbotten. Utöver sin karriär som soloartist spelar han även i bandet Fireside. Han har inspirerats av artister som Nick Drake, Paul Simon, Elliott Smith, Townes Van Zandt, Mark Kozelek, Steve Earle, Bob Dylan, Hank Williams, The Stanley Brothers och Robert Johnson.

Biografi
Kristofer Åström växte upp Luleå. Han fick sin första skiva, The Boppers Keep on Boppin', när han var fyra år gammal. Han lyssnade intensivt på skivan i flera år.

I början av 1990-talet flyttade Åström till Stockholm. Framgången med Fireside gjorde att han och de övriga bandmedlemmarna ville ha närmare till spelningar och skivbolaget.

Fireside

Åströms musikaliska bana började i Luleå i början av 1990-talet som gitarrist, sångare och låtskrivare i bandet Fireside. Bandet rönte kommersiella framgångar och bidrog starkt till framväxten av musikscenen i Norrland, genom att de gjorde skivbolagsfolket uppmärksamma på de musikaliska kvaliteter som fanns i denna region. Bandet släppte sex album mellan 1994 och 2003, men ligger numera på is. Åström har i en intervju sagt att han tror att bandet säkerligen kommer att återförenas i framtiden. Firesides trummis säger dock att det inte finns några planer på en återförening.

Solo
Åström ville egentligen inte bli soloartist, men när Fireside gjorde ett uppehåll 1998 fick han chansen att ge ut låtar han skrivit under de tre föregående åren och som inte passade Firesides musikaliska stil. Resultatet blev solodebuten Go, Went, Gone, som utgavs på skivbolaget Startracks samma år. Skivan saknade nästan helt marknadsföring, men sålde trots detta 2 000 exemplar. Albumet fick positiva recensioner i pressen. På skivan märks kanske främst låten "Poor Young Man's Heart", som också släpptes som singel. Åström har i intervjuer sagt att han tycker att låttexten är på gränsen till patetisk. I anslutning till skivan följde en turné där en av de medverkande musikerna var Nikola Sarcevic från bandet Millencolin.

År 1998 bidrog Åström med bakgrundssång på sex låtar på The Bear Quartets studioalbum Personality Crisis. och året efter, 1999, på Monsters sista studioalbum Gone, Gone, Gone/A Bash Dem, där han spelade akustisk gitarr på tre låtar.

År 2000 medverkade Åström på The Bear Quartets EP I Don't Wanna, där han bidrog med bakgrundssång på titelspåret.

Genombrottet
År 2001 släppte Åström två album kort efter varandra, Leaving Songs och Northern Blues, där den sistnämnda grammisnominerades i kategorin årets pop/rock manlig. Leaving Songs var från början tänkt som en EP, men inspelningssessionerna genererade så mycket material att Åström valde att göra en hel skiva istället. Då Northern Blues sedan tidigare var tänkt som den kommersiella skivan valde skivbolaget att inte satsa några pengar på att marknadsföra Leavings Songs, något som Åström uttryckt besvikelse men också förståelse över. Northern Blues fick ett gott mottagande i pressen. Leaving Songs fick blandade recensioner.

År 2002 medverkade Åström med bakgrundssång på Dynamo Chapels singel Come Shine a Light och på låten "Number" på The Bear Quartets studioalbum Ny våg.

År 2003 utgavs EP-skivorna Dead End och Plastered Confessions. På den senare återfinns en cover på Steve Earle-låten "Another Town". Åström har i intervjuer sagt att just Earle är en förebild, inte bara musikaliskt, utan också åsiktsmässigt. I samma intervju anges även Bob Dylan som inspiratör.

År 2003 fick Åström 60 000 kr i stöd av Kulturrådet.

Loupita
År 2004 utgavs skivan Loupita, Åströms första soloskiva utan kompbandet Hidden Truck. På skivan medverkar Mattias Friberg från bandet Logh och Britta Persson. Den senares sånginsatser på Loupita blev starten för en egen solokarriär och ledde fram till ett skivkontrakt med Startracks, där den av Åström producerade EP:n Found at Home utgavs 2005.

Från Loupita släpptes en singel, The Wild, på vilken Åström sjunger duett med Britta. Albumet som helhet fick goda recensioner. Bland övriga inspelningar samma år återfinns EP:n There For  och en tolkning av Bear Quartet-låten "Twinreceiver" på tributeskivan Money Talks.

So Much For Staying Alive
År 2005 utkom albumet So Much for Staying Alive där Åströms tidigare lågmälda sound har ersatts av ett mer rockigt. På skivan återfinns exempelvis inte en enda akustisk gitarr. Skivan fick ett mediokert mottagande. En begränsad upplaga av albumet innehöll bonus-skivan The Thorskogs Sessions, bestående av heminspelningar. Förutom egna låtar återfinns här en cover på Faithless låt "Mass Destruction". Från skivan släpptes en singel, The Good You Bring, som förutom titelspåret även innehöll låten "Walpurgis Night", en låt som också finns med på albumet Loupita. Kristofer Åström & Hidden Truck fick 2005 65 000 kr i bidrag av Kulturrådet.

År 2006 släpptes EP:n Black Valley. Samma år medverkade Åström på Britta Perssons skiva Top Quality Bones and a Little Terrorist. Grunderna till skivan spelades in med två mikrofoner hemma i Åströms kök. Åström medverkade även, med låten "Vällingklockan", på skivan Påtalåtar, en hyllningsskiva till den svenske proggartisten Ola Magnell.

År 2006 bidrog Åström även med bakgrundssång på Nikola Sarcevic' studioalbum Roll Roll and Flee.

Rainawaytown
År 2007 släpptes skivan Rainawaytown, som mottogs väl. Det tidigare kompbandet Hidden Truck hade här ersatts av The Rainaways. Albumets titel är en referens till Göteborg och till tiden för inspelningen av skivan, då det enligt Åström regnade "fruktansvärt mycket". Regnovädret gjorde att studion svämmade över och bandet fick flytta inspelningen.

På hösten samma år turnerade Åström tillsammans med Christian Kjellvander. Han bidrog även med sång på låten "Under the Rain" på Abalone Dots skiva From a Safe Distance samt "Om en guldfisk" och "Mod" på Bröderna Lindgrens Vuxen barnmusik.

År 2008 regisserade Åström musikvideon till Division of Laura Lees låt "Caress/Hotnight" från skivan Violence Is Timeless.

Sinkadus
År 2009 släpptes albumet Sinkadus, ett album som spretade mer i olika musikaliska inriktningar än tidigare alster. Skivan tog två år att färdigställa. Bland medverkande musiker märks kanske främst Britta Persson och Nina Kinert. På skivan återfinns även en cover på Thin Lizzys låt "A Song for While I'm Away". I en intervju säger Åström att låten "sade något som jag inte riktigt kunde säga själv. Den sade allt jag ville säga..." I anslutning till albumet agerade Åström förband åt A Camp på deras Europaturné och även åt Laleh på hennes Sverigeturné. Skivan fick överlag goda recensioner och snittar på 3,4/5 på kritiker.se. Senare samma år utkom EP:n When Her Eyes Turn Blue och Åström turnerade då med Lowood. Han bidrog även med sång på låten "It's a Mess", som finns med Lowoods debutalbum Close to Violence.

Åström fortsatte samma år samarbetet med Bröderna Lindgren, denna gång genom att bidra med sång på låten "Jag vet", utgiven på skivan Meningen med livet.

Åström tilldelades 2010 priset i kategorin årets singer-songwriter på Manifestgalan för albumet Sinkadus. I september samma år lade han upp låten "Painbringer" på sin hemsida, en låt han kände kunde passa inför det kommande riksdagsvalet. Han uppmanade vidare sina fans att komma ihåg "att hjärtat sitter till vänster".

Åström har producerat skivan Beg, Borrow and Steal (2010) med countrygruppen Cookies 'N' Beans och även bidragit med låtmaterial.

From Eagle to Sparrow
Den 22 februari 2011 annonserade Åström på sin hemsida att han jobbar med en ny skiva som planeras att ges ut under 2011. Den 13 maj tillkännagavs att albumet kommer att heta From Eagle to Sparrow, men ett utgivningsdatum specificerades däremot inte. 14 september meddelades att skivan inte kommer att ges ut under 2011 som planerat, utan istället 3 februari 2012. Den 4 januari 2012 presenterade Åström, via sin webbplats, låtlistan till albumet, och meddelade även att utgivningsdatumet blivit framflyttat till den 24 februari 2012.

From Eagle to Sparrow mottogs generellt väl av kritikerna. Musikaliskt var skivan en tillbakagång till det mer avskalade akustiska sound som präglat Åströms tidiga produktion. I november 2013 släpptes samlingsalbumet An Introduction to Kristofer Åström.

Personligt
 Åström har i en intervju sagt att han lider av scenskräck.
 Åström är vegetarian.
 Åström är ett fan av Luleå Hockey och Boston Bruins.

Diskografi

Album
 1998 – Go, Went, Gone
 2001 – Leaving Songs
 2001 – Northern Blues
 2004 – Loupita
 2005 – So Much for Staying Alive
 2005 – The Thorskogs Sessions
 2007 – Rainawaytown
 2009 – Sinkadus
 2012 – From Eagle to Sparrow

Samlingsalbum

EP
 2003 – Dead End
 2003 – Plastered Confessions
 2004 – There For
 2005 – Black Valley
 2009 – When Her Eyes Turn Blue
 2016 – Pipe Dream

Singlar
 1999 – Poor Young Man's Heart
 2001 – What I Came Here For/Leaving Song
 2002 – Connected
 2002 – All Lovers Hell
 2004 – The Wild
 2005 – The Good You Bring
 2007 – Just a Little Insane
 2009 – Twentyseven
 2009 – Kristofer Åström/All Fox (splitsingel med All Fox, Åström medverkar med låten "Twentyseven")
 2012 – Strong & Tall
 2015 – Fine Line
 2015 – For Tomorrow
 2015 – Mother/Hardly Getting Over It
 2018 – Hold on Lioness
 2020 – Inbetweener
 2020 – Another Love
 2020 – In the Daylight
 2021 – Michelle
 2021 – First Down

Samlingar
 2003 – Startracks (låtarna "One Good Moment" och "8 Long Years")
 2004 – Money Talks (låten "Twinreceiver")
 2004 – Picknick (låtarna "Idiot Talk" och "Cardiac")
 2006 – If We Were Oceans (låtarna "She Came With a Friend of Mine" och "Just Like Me")
 2006 – Påtalåtar (låten "Vällingklockan")
 2006 – Oh No It's Christmas Vol. 1 (låten "I Saw Mommy Kissing Santa Claus")
 2007 – Poem, ballader och lite blues – Återbesöket (låten "Blues för Inga-Maj")

Åströms musik på film
Åströms musik har använts i flera filmer. I kortfilmen En kärleksaffär (2002) inkluderades fyra låtar av Fireside: "Big Blue Elephant", "Silver Muscle Car", "A Week at the Most" och "Not in My Palace". Samtliga är skrivna av Pelle Gunnerfeldt och Kristofer Åström, förutom "Not in My Palace" som enbart är skriven av Åström. I Överallt och ingenstans (2003), ytterligare en kortfilm, fanns två låtar från Åströms soloalbum Northern Blues med: "All Lovers Hell" och "She Loves Me". I filmen Uttagningen (2005) fanns låten "Kilotin" av Fireside med, skriven Gunnerfeldt och Åström.

Källor

Fotnoter

Externa länkar
 Officiell webbplats

Svenska rockgitarrister
Svenska munspelare
Svenska låtskrivare under 2000-talet
Svenska rocksångare
Män
Födda 1974
Levande personer
Musiker från Luleå
Svenska gitarrister under 2000-talet
Svenska sångare under 2000-talet

redpajama_set_name: RedPajamaWikipedia


text:
Q: Multithreading Can't Find JAXB-API on AWS ECS Docker Container Only I am using JAXB for transforming and marshaling XML in a library which I have created that is used in a Spring Boot application. The application runs on AWS in a Docker container with ECS and currently uses CompletableFuture with the default thread pool to run through the library. The code is something like this:
CompletableFuture<Result> result = CompletableFuture.supplyAsync(() -> apiClient.callApiToGetXmlToTransform(someParameters))
                                                              .thenApplyAsync(searchResultStream -> transformResult(searchResultStream));

transformResult then has some mapping logic for transforming the incoming XML to the output format I need (Result). Everything works perfectly fine locally and no errors are thrown. However when the same code is run on AWS ECS in a Docker container the first thread transforms and returns correctly, but all additional threads throw this JAXB error:
Caused by: javax.xml.bind.JAXBException: Implementation of JAXB-API has not been found on module path or classpath.
at javax.xml.bind.ContextFinder.newInstance(ContextFinder.java:278)
at javax.xml.bind.ContextFinder.find(ContextFinder.java:421)
at javax.xml.bind.JAXBContext.newInstance(JAXBContext.java:721)
at javax.xml.bind.JAXBContext.newInstance(JAXBContext.java:662)
at

I have all the necessary JAXB dependencies on my build.gradle in both the library and the application. Why is this error being thrown just on the multiple threads on AWS and not locally?

redpajama_set_name: RedPajamaStackExchange


HENDERSON - Ever since it was installed, there have been mistakes on the Husband Kimmel statue that sculptor Raymond Graf has wanted to fix.
HENDERSON - The vigilant statue of World War II Admiral Husband E. Kimmel that has stood watch on the Henderson riverfront for a year and a half has been hauled away.
But don't worry. In a few weeks, it'll be back and better than ever.
They aren't big or noticable to those who don't look closely, but Graf is making good on his pledge to fix up his creation to the way it was meant to be.
There's a big "button" on the lower back of Kimmel's uniform jacket. It looks like an odd place for a button, and that's because it's not supposed to be there.
It's actually a support attachment point leftover from the clay model that the statue was made from. It was covered with a clay button and was supposed to be taken off and smoothed over when the statue was cast in bronze. It even has the word "Remove" and an "X" on it. This would be the most noticeable problem. "It went through four different sets of eyes, you know, the wax person, the metal person, the sandblaster and then the final patina guy," said Graf. "All four of those read 'Remove X' and did not take it off ... that doesn't look like it belongs on the suit, right?"
Graf said the original binocular hinge must have fallen off or been cut off, and the foundry just made their own. (Trust us, these two details would be hard to spot unless you really knew what to look for.) As for how he will fix the alignment? He said he would literally use a two-by-four and a sledge hammer to "bang" it into alignment. "Bronze is soft enough."
Graf, who obviously has the eye of an artist, said he couldn't let the imperfections stand.
"That is pretty obvious stuff that shouldn't be there," he said Wednesday, adding he felt the need to fix it because "I more or less guarantee my work for 3,000 years."
"It's going to be here for a long time," he said. "If anarchists and metal scarfers don't get to it, you know, they have found statues at the bottom of the ocean that are around 3,000 years old. So the metal itself, the piece, the metal that it is made out of, will last."
He said in this instance, he didn't have a chance to inspect the statue until it was unveiled at the site in 2016.
Graf, talking and sweating just feet away from children frolicking in the riverfront splash fountain on Wednesday, said the repairs could probably be made here. But it's better to take it back to his studio in Louisville and take his time.
Graf has also created a life-sized statue of John James Audubon for Henderson's Audubon Mill Park on the riverfront and more than a dozen bronze Audubon bird statues scattered around town.
"Statues stay up and hopefully they are there for the longevity of the city. It becomes a part of the fabric of it," he said. "As much of an identity to the city as your waterfront. It's part of Henderson. It's kind of cool."


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text:
Climate & ESG
Entente Discordiale: a French seat v an English governing law
How to get your money back in a cryptocurrency demise or cryptocurrency fraud?
With the initial dazzling rise of digital assets, courts had to grapple with how to adapt traditional remedies such as injunctions to assets that are often held and transacted anonymously. The crypto crash in 2022 has not reduced the importance of injunctions against...
The penultimate instalment in the "admissibility or jurisdiction debate" in Hong Kong: permission to appeal to the Court of Final Appeal granted in C v D
The case of C v D concerns the issue of whether or not an arbitral tribunal's decision with respect to compliance with a pre-arbitral tier in a multi-tiered dispute resolution clause is final. The issue is significant and goes to the heart of one of the key...
Locating stolen cryptocurrency: how disclosure orders can help
In the latest word on cryptocurrency disputes, the English High Court in LMN v Bitflyer Holdings Inc and others granted a disclosure order against six cryptocurrency exchanges for know your client ("KYC") and location information relating to cryptocurrency that had...
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The current trending buzzword in the digital assets space in Singapore is "crypto winter" (with its seasonal variations aplenty: see crypto ice age and even crypto spring by the FT). With that topic on everyone's mind, increasingly we are having conversations with...
C'est la guerre!
Winter is coming and with it the narrow Channel or La Manche between England and France is looking chillier by the day – not least because of the fallout from Brexit and the ongoing debate over access by French fishing boats to UK fishing grounds. The British Royal Navy had to intervene when French threats were made to block access to Jersey and cut off the island's electricity supply. And the British have complained that the threatened detention of their fishing vessels in France would represent an unacceptable breach of the Brexit trade deal – the French have been encouraged to respond that they only intend on doing so in a 'specific way and limited way.' Further problems have appeared in relation to the control of migrants and refugees making their way from France to England in dangerously unstable vessels – it is said the French are not doing enough to stop them from departing and the Brits are doing too much in attempting to push them back.
Eyebrows have also been raised with recent attempts by the French to seize upon the changed environment following Brexit as a golden opportunity to assert linguistic supremacy; a group of French politicians is pressing for la langue française to push aside English and German and become the EU's sole working language.
There is a distinct air of frisson in the air and the recent AUKUS agreement involving the US, Britain and Australia (with the consequential cancellation of a key nuclear-propelled submarine deal with France) has not improved the temperature.
Kabab-Ji SAL ("Kabab-Ji") v Kout Food Group ("Kout") [2021] UKSC 48 (27.10.21)
Into this furore has jumped the English Supreme Court with a judgment (link here) although recognising the distinct likelihood of contradictory decisions from the English and French courts considers any finding by the French Court of Cassation to be mostly irrelevant. It is not the language of diplomacy.
The judgment follows last year's Supreme Court decision in Enka v Chubb [2020] USKC 38 ("Enka") that looked at how to determine which law governs the scope and validity of an arbitration agreement. The main distinction in this instance being that although the same issue has arisen – it is not in the context of an arbitration which has yet to take place (i.e., as was the position in Enka) – but in the context of an arbitration which has taken place and in relation to which attempts were being made to enforce the resulting arbitration award.
Main Issues
The matter arose out of an underlying contract that was governed by English law but which contained an arbitration agreement in respect of which the parties had agreed Paris as the arbitral seat (i.e., the procedural home of the arbitration which determines the governing procedural law). Kout's case was that the governing law of the contract should apply to issues concerning the validity of the arbitration agreement and that as a matter of English law, it was not a party to the arbitration agreement. Kabab-Ji's case was that as the agreed seat of the arbitration was in Paris, the parties intended French law to apply to the arbitration agreement and French law dictated that Kout was a party to that agreement. This issue has been the subject of litigation the world over, see our article here which discusses the Hong Kong, Singapore, and English approaches in earlier cases.
Some Background Facts
Following a corporate restructuring, the original party to a series of franchise contracts with Kabab-Ji, became a subsidiary of Kout. Kabab-Ji therefore argued, and the Tribunal agreed, that as a matter of French law, Kout was a party to the arbitration agreements contained in the franchise contracts and as a matter of English law, there was a 'novation by addition' whereby Kout had become an additional party to the franchise contracts by way of conduct. In contrast, Kout's position was that not only did French law not apply to the arbitration agreement but that as a matter of English law, there could be no novation in relation to the franchise contracts in the absence of a written agreement – conduct alone would not suffice and accordingly, Kout owed no obligations to Kabab-Ji. This was supported in part by the dissenting third arbitrator (an Irish senior counsel).
Following an award issued in favour of Kabab-Ji and various attempts to enforce the award in France and in England, an impasse was reached with the Paris Court of Appeal dismissing Kout's objections, but the English High Court and Court of Appeal accepting them. As matters stood, a further appeal was pending before the French Court of Cassation when the English Supreme Court was also asked to review the case.
Supreme Court ("SC") Judgment
In a relatively straightforward application of the conclusions from Enka (set out at para 170 of that judgment ), the SC confirmed that in the absence of any choice by the parties, the law governing the underlying contract and not the law of the seat will apply to the arbitration agreement (which formed part of the underlying contract).
The choice of a different country as the seat of the arbitration is not, without more, sufficient to displace the inference that the law chosen to govern the underlying contract was also intended to govern the arbitration agreement.
One exception to this may be where there is a serious risk that such an approach would result in the arbitration agreement being treated as ineffective under the law of the underlying contract – if this were to be the case, it may be that the law of the seat would be applied instead (i.e., an application of the so-called validation principle pursuant to which the law that gives effect to the parties' agreement to arbitrate will be applied).
The Court came to these conclusions despite the fact that in Enka, its reasoning was based on an application of common law principles whereas in Kabab-Ji v Kout, it applied provisions set out in England's 1996 Arbitration Act (which in turn transposed provisions from the 1956 New York Convention on the Recognition and Enforcement of Foreign Arbitral Awards (article V(1)(a)) ("New York Convention")). Kabab-Ji accepted the same general principles would apply in both scenarios.
The Court took the view that as any form of agreement as to the law that should govern the arbitration agreement would suffice, a general choice of law in relation to the underlying contract would suffice to indicate the parties' intention regarding the arbitration agreement contained in that contract.
As for the fact that unlike in Enka, the arbitration in this case had already taken place and an award had been issued, the Court considered it would be illogical to apply a different approach dependent only on whether an award had been made or not.
With respect to the validation principle, the Court took the view that while it may be a relevant consideration in cases where there is no dispute as to the parties' intention to arbitrate, it should not be used to create an agreement which would not otherwise exist – it is a principle of contractual interpretation, not formation: "There is no reason to approach the question whether parties to a dispute have made any agreement at all with each other with any presumption that they did so. Applying such a presumption would simply beg the question which the court has to answer in this case." (§51 of the judgment)
Similarly, an argument by Kabab-Ji that the parties' agreement to adopt the UNIDROIT principles in the context of the arbitration should not be extended to include an assumption that the parties had both actually agreed to arbitrate. While the underlying franchise contract indicated the UNIDROIT principles were among the rules which the arbitrators could apply to the arbitration, the SC made clear that this did not mean the UNIDROIT principles were applicable to the "logically prior" question of whether Kout had entered into a legally binding arbitration agreement.
In any event, having determined that English law applied to the agreement, the Court then went onto hold that a 'no oral modification clause' could not as a matter of English law be circumvented by the conduct of either side – it meant what it expressed and a written agreement to modify the arrangements was necessary: Kout had not become an additional party to the franchise agreements by way of a novation through conduct.
With a Gallic shrug, the SC acknowledged the likelihood of the French Court of Cassation finding in favour of Kabab-Ji and the risk of there being a contradictory judgment from their French cousins but took the view that an adjournment by the English Court of Appeal to wait and see would not have been necessary. It noted that in applying French law, a French court ruling could not give rise to an issue estoppel that would be binding on the English courts as they were not addressing the same issues. And if the French court were to apply English law, it would obviously be helpful for it to have the benefit of a judgment from the English courts. In short, the French judgment would be mostly irrelevant.
The SC judgment underlines the view in England that under the New York Convention, no concept of deference towards the seat of an arbitration is incorporated into its framework. And practically, the judgment underlines the importance of always including an express governing law provision in an arbitration agreement – it is often not done but such a straightforward provision can save parties significant sums and time on an otherwise avoidable and ancillary issue. Indeed, in Asia, we see institutions like the HKIAC expressly incorporating a choice of law clause in respect of the arbitration agreement in their model clause.
While French, the 'language of love' was once also seen as the natural language of diplomacy and government – two of many English words derived from French over the centuries (as much as 30%) – it would seem that for the moment, as is currently evident in other public arenas, there is little love lost between the most senior courts in both jurisdictions these days.
As they say, "Ooh la, la!"
Patric McGonigal
Starting off life at the Irish Bar (in the legal sense..), an inveterate explorer, Patric has lived & arbitrated in most of the major arbitral centres, in London, Shanghai, Hong Kong, Singapore and Japan – he also spent part of his youth working in NY (although in those days, working in a windsurfing shop, the only 'submissions' he made were to potential customers!). These days, based in Asia's disputes hub, Patric splits his time virtually between helping his clients in Singapore and Japan find efficient, business friendly solutions to their cross-border disputes. When not working, Patric's attention is focussed on his gradually diminishing collection of Japanese & Irish whisk(e)y and since Covid, limiting his travels to cycling around Singapore's east coast.
https://pulse.kwm.com/author/patric-mcgonigal/
Administration of Arbitration in China by SIAC: Daesung Industrial Gases Co Ltd v Praxair (China) Investment Co Ltd
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Adventures In Editing, Part IV
Twenty years ago this past spring, Bantam Books rocked the science fiction world by publishing HEIR TO THE EMPIRE by Timothy Zahn, a continuation of the story told in the STAR WARS trilogy of movies, which had ended eight years before. It was authorized, but not devised, by Lucasfilm Ltd., producer of the wildly successful pictures.
You might have trouble believing this, but by the early Nineties, STAR WARS had fallen off the top-of-mind cultural map. People still loved the movies, but thanks to home video they'd seen them as many times as they wanted, often to the point of gluttony. As a production company, Lucasfilm had been concentrating on the third Indiana Jones feature, which was released in 1989, and on a television series based on a younger version of the character. Industrial Light + Magic and Skywalker Sound, its visual and audio effects divisions, were very busy, but mostly with commissioned work from outside. Lucas Licensing, the arm which had made George Lucas's fortune when he presciently retained merchandising rights to STAR WARS and its characters, was also doing much of its work for others; I seem to remember that a sports league, maybe even the NFL, was a client at the time. All these LFL people were savvy and shrewd professionals, but without new product to drive demand, the STAR WARS brand lay fallow.
In publishing, the STAR TREK brand had stayed alive for decades for Simon & Schuster's Pocket Books – new novels were still being written about the characters in the original Sixties television iteration! – but that fire was periodically stoked by new tv series and feature films, which would in turn inspire new groups of novels in a virtuous circle. In addition, STAR TREK had the luxury of being an episodic story: the characters would begin in stasis, something would happen to threaten the calm, they'd solve the problem and get back to normal. In other words, you can watch episodes of the original series in any order you like (except for the pilot, which uniquely is a two-parter), and they'll still make sense. With the exception of some two- or three-show "arcs," the latter STAR TREK series also followed this template, making it far easier to publish episodic novels, since the only requirement was to fix anything you broke by the end of the book.
STAR WARS, in contrast, has never been a group of disparate episodes, but rather one long story. There is a preferred order in which to experience the original movie trilogy – indeed, on initial viewing it's even necessary. Nowadays there are six movies, and if you were brand new to the concept, you'd need to watch them all in order. So if you want to add to this saga, it's much, much harder now. But there was only the trilogy when Bantam suggested to Lucasfilm, "just let us play with some time after the third film." (At this point, George was still maintaining that his planned epic was a nine-film saga.) It was Lou Aronica who wore them down. Del Rey Books, the original STAR WARS novelizers (the first one came out before the film!), had rights to anything pertaining to the completed films, but that wasn't what Lou was proposing. He said, "Let's continue the story with your characters, only in book form." Also, please remember, Lucas Licensing wasn't doing much STAR WARS business at the time. Finally, LFL's Lucy Autrey Wilson (see below) took a flyer on Lou's suggestion — and turned on a revenue stream that is still flowing today.
In one sense, it was a courageous decision on Lucasfilm's part. What if Lou's project bombed? That would tarnish the brand, which was still one of the best-loved trademarks in the world, and a licensee losing money on STAR WARS would have a chilling effect on other potential partners in the future.
But that's not what happened.
When HEIR TO THE EMPIRE landed in bookstores, it was an instant sensation. It leaped onto the New York Times bestseller list and stayed there, peaking at #1. We heard that at a couple of megastores, customers were actually helping the staff uncrate cartons to get at their copies. It turned out that after eight years, there was a huge pent-up demand for new STAR WARS stories, untapped by anyone else. We had put a bargain price on the first printing to help get the book kicked off (I have a copy with the original low-price-promoting "belly band" still affixed: wonder if it qualifies for Sotheby's yet?); at each reprint we nudged the retail price up a little bit, until it cost as much as a regular hardcover. The torrent of customers remained at full strength. As with the smash success of New Line Cinema's THE FELLOWSHIP OF THE RING years later, the initial hardcover publication of HEIR TO THE EMPIRE alone earned back Bantam's entire guarantee to Lucasfilm for the whole literary trilogy and thus started paying royalties: all else – a paperback reprint, an audio version, and two more new books – was gravy, after normal overhead. (Editing, proofing, buying paper, printing, binding, shipping, distributing, etc. You incur such costs with every single book, even the Holy Bible. Well, you might retain the original edit there.)
In other words, STAR WARS was white-hot once again. Or maybe it had never cooled off at all; it was just that nobody was obliging with new stories. And, of course, Tim Zahn hit a homer, crafting a terrific cosmic-scale epic that had the look and feel of STAR WARS. There is a direct causal link between the publication of this novel and LFL's three prequel movies.
The entrance to Skywalker Ranch. Yes, security is watching you.
Soon Galoob, Hasbro, Dark Horse Comics, and other licensees got on – or, for some, back on – the STAR WARS train, and Bantam eagerly contracted for more books. From the beginning, Lou and Betsy Mitchell, who edited the Zahn trilogy, had a clear idea of how the program might differ from Pocket's STAR TREK franchise. First, they would put a lid on frequency of publication, in order to make each release an important event (and give each book a better chance of making the New York Times bestseller list; every single Bantam STAR WARS novel did exactly that). Hardcovers would henceforth be self-contained stories, while paperback original tales would appear in the form of trilogies, to be completed within a year. For authors, they insisted on finding established sf pros who happened to like STAR WARS; the pro part came first. (Tim Zahn was a Hugo winner, for example.)
By the time Betsy left Bantam and I inherited her list (see Part III), she and Lou had mapped out the first wave of the new STAR WARS cycle. I came aboard for the second book of our first paperback-original trilogy, DARK APPRENTICE by Kevin J. Anderson, and I worked on the STAR WARS property (alongside the other sf projects detailed in Part III) for about five years thereafter. My colleague Janna Silverstein was already working on forthcoming hardcovers by Dave Wolverton, Kathy Tyers and Vonda McIntyre, and I had the rest. (When Janna's first SW entry, Dave's THE COURTSHIP OF PRINCESS LEIA, hit #1 ahead of a new release by Danielle Steel, who did and does sell books by the palletload for Bantam's sister company Dell, Ms. Steel — obviously mistaking it for a traditional romance — icily asked her publicist, "Who is this Princess Lee-ah?") Not long afterward, Janna herself left for an opportunity out west, and I pretty much became the STAR WARS guy, spending about a third of my time on Lucasfilm properties. (I also edited Indiana Jones novels, and a trilogy by George and Chris Claremont based on WILLOW.)
The Main House, where George Lucas's office is located.
Working in somebody else's universe is different from whole-cloth worldbuilding, and some authors don't care for it: I was turned down more than once by people I'm sure would have done a great job. You have to follow guidelines set down by the copyright holder – which, to reemphasize, isn't you – who has final and ineluctable approval over whatever you do. There's a great deal of inventiveness possible in shared-world storytelling, but it's all at the pleasure of the licensor. No means no, and if that loss of freedom bugs you (note that we only invited established authors who were accustomed to owning their copyrights), this part of the business isn't for you. For example, we wanted to do a novel telling the backstory of Yoda. If you're a STAR WARS fan, wouldn't you like to read that? Me too. But George Lucas declined, saying he wanted Yoda's origins to remain mysterious, and he was true to his word: in the three prequel movies we don't find out much more than we'd already inferred. End of story. Another disadvantage is that royalties on "work-for-hire" projects are either shared with the licensor, as was the case with STAR WARS (at least while I was there), or not paid at all (a flat fee is the only remuneration), so you earn less on each copy sold. Most of the royalty income on STAR WARS books went to Lucasfilm, but the volume was so great that STAR WARS authors still received handsome checks, and just as important, their work was almost certainly read by more people than ever before. They got a smaller piece of a mammoth pie. If you were already a major bestseller, you could probably make more money with your own stuff, but only a tiny few authors are able to use that kind of math. And then there's the intangible: some authors just love STAR WARS. Look who agreed to novelize THE PHANTOM MENACE: the hugely bestselling Terry Brooks! I'm not saying the dough didn't flow, or that Terry didn't possibly bring some of his own readers to the event, but clearly there was a desire on his part to work in George's galaxy. (By now the property was back where it started, at Del Rey – a storied imprint launched by Terry's first novel, THE SWORD OF SHANNARA; the publisher surely used this opportunity to promote him further – and I have no idea how his agreement was forged. I'm only observing from the outside.)
When you play in somebody else's sandbox, you begin with a core group of characters already fixed in the minds of the readers, so the only players you have to fully flesh out are the ones you've invented. To some authors, that's a great standing start; it's actually possible to build a nice career on work for hire. To others, it's delimiting and dilutes their own creativity. What we were looking for were writers who could successfully straddle those two points of view, and bring all their creative skills to a new kind of playdate. End of sandbox metaphor. (Once an editor, always an editor.)
All this may sound simple to you: just watch a couple of movies and start your engines. Trust me: if you think it's easy, that's only because you haven't tried it. This stuff can't be tossed off. You start with research, as with most any other project, and an expanding universe like STAR WARS reminds me of the apocryphal schoolkid's complaint: "History's lots harder now, Grampa! There wasn't so much of it back when you were in school!" With STAR WARS, this is literally true: the story gets longer and more complex with each new fictional addition. Lucasfilm was able to send "Care Packages" to new writers, but they comprised an ever-tougher batch of information as time went on, and you had to be a quick study, because the assumption had to be that your audience had read everything that had gone before. Otherwise, you would hear from the fans. On the first STAR WARS book to appear after Betsy left, Kevin Anderson's JEDI SEARCH, our cover artist had mis-drawn a battle ribbon on the uniform of a military woman. It didn't take a week for the first letter to arrive correcting us. (Lots of heraldry had already been invented by West End Games's designers for their roleplaying edition of STAR WARS.) Doggone it, how could Bantam be so stupid?
If your first reaction is to laugh or sneer at such fan nerdosity, your heart's in the wrong place. We considered ourselves stewards of STAR WARS's fine reputation. That's a requirement for any effective work for hire, or in fact any genre which has ardent devotees, including mystery and romance. Fans can tell when they're being patronized, and they hate it. So rather than making fun or blowing it off, that instant we added West End's designs to our Care Packages for artists, to try and make sure it never happened again. The attention to detail was so intense that when we hired Mike Stackpole to do a series of novels based on LFL's X-wing "flight simulator" video game, he spent enough time with the software so that his first novel depicted the actual first few training missions in the game itself. Most readers couldn't know that, only gamers, and only if they were able to lift out of the story long enough to notice. But we knew.
At ILM, Han Solo in carbonite, where we left him in SHADOWS OF THE EMPIRE.
This is not to say we didn't have a good time or joke around. Our publisher could do a brilliant Wookiee growl. In his former position as publisher of Pocket Books, he'd worked on STAR TREK long enough to pick up a few Klingon phrases, including one he translated as, "license to print money." The Lucasfilm folks had perfectly normal senses of humor too, but we never allowed that to bleed into the work itself unless it served the story. Humor is part of the mix that makes STAR WARS so enjoyable, and our writers cracked some good ones, as had the original screenwriters. (For a property like MEN IN BLACK, humor is so important that it's part of the sell.) But bringing new work into a franchised universe is, in one way, like performing a farce: from THE PRODUCERS to ANIMAL HOUSE to NOISES OFF, the distinctive elements only work if every character takes the situation absolutely seriously.
There were times when it felt like I'd crammed so much arcana about, say, Boba Fett, into my brain that it filled up, leaving no room for everyday stuff like my own phone number. But you simply cannot know it all, not if you want to occasionally leave your reading room and interact with other people. Fortunately, we had tremendous colleagues at Lucasfilm. Howard Roffman, a talented attorney and marketing wizard who came on board during THE EMPIRE STRIKES BACK, was now the head of Lucas Licensing, and Lucy Autrey Wilson, who retired early this year, was its director of publishing, our key contact with LFL and a tough negotiator at contract time. Lucy was one of Lucasfilm's first employees and can remember typing up pages of the STAR WARS – guess we'd better get used to calling it "Episode IV" – screenplay on an IBM Selectric while most of the rest of LFL was in Tunisia shooting; her name rolls by in the end credits. Working directly on our books was the amazing Sue Rostoni – also just retired this summer – and her cohort Allan Kausch. I watched Sue become a very, very good editor before my eyes; at first she would nitpick at facts she knew were wrong, and then as she gathered more confidence, was able to cut right to plot holes and uncharacteristic behavior even at the outline stage, saving everybody hours and hours in the bargain. So each of my STAR WARS books was looked at very carefully by two editors; Sue could overrule me on a point of "fact," but you could count our disagreements that deserved a conversation on the fingers of one hand. Plus she edited comics, too, and I have no idea how you do that. I don't remember Sue ever missing a deadline by so much as a day; that's one of the hallmarks of a real pro. Allan was the historian of the STAR WARS universe. He had a huge horizontal timeline stretched along the wall behind his desk, and kept notebook after notebook of cross-referenced characters and events from the books, movies, comics, games, animated spinoffs, you name it. Allan was dear to my heart because he was a Dickhead. I mean, of course, a devotee of Philip K. Dick, one of the most influential science fiction writers ever. Allan helped unearth some long-lost work and used love and persistence to get it published. (He has most recently edited a collection of Michael Moorcock's nonfiction that will go on sale next spring.)
My bride Linda (l.) with Lucy Autrey Wilson, the godmother of the STAR WARS publishing program.
What was George Lucas's personal involvement in all this? If you guessed zip, you'd be wrong. Obviously he didn't use his valuable time reading manuscripts, but he did lay down fictional parameters. At first, we set our stories five years after the end of RETURN OF THE – oops, Episode VI. Then we began asking permission to "fill in mortar" at earlier places in the saga. We were not to disturb the filmed story, which came to be known as "canon," and we never did: our books supplemented or added to it, but to our knowledge we never printed anything that challenged any fact or motivation in the movies. Quite the contrary, in fact. For example, Kevin Anderson emphasized the point that in Episode IV, Han Solo had every right to brag about his ship making the Kessel Run in "less than twelve parsecs" (the parsec is a unit of distance, not time, but it sounded to non-scientists like the latter): the Millennium Falcon was so agile that it could move closer to heavenly bodies and black holes for a more direct line, thus reducing the distance traveled (and finishing faster, too). So there, fanboys! No, from the beginning we'd give the Lucasfilm people our ideas, then they'd prepare a one- or two-page checklist of the most important, story-affecting points, allowing George to answer YES or NO. "Can Han and Leia get married?" YES. "Can they have kids?" YES. "Can Han join the Empire?" NO. (Just kidding about that last one.) We even contributed to the canon. In his first book, Tim Zahn gave a name to George's planet-sized city that was Headquarters of the Empire (West End Games had it listed as the generic "Imperial Planet"). Tim called the place "Coruscant" (it means shiny or glittering), and when it came time to depict the location in the Special Edition of Episode VI in 1999, George simply retained Tim's proper name, and we were thrilled. We had all been pronouncing it core-us-KANT with the hard C; when our audio people needed to confirm the word before recording HEIR TO THE EMPIRE, George responded, core-us-SANT with a silent C, so buddy, that's how you utter the word to this day, including the actors from Episode I on.
George's personal parking space. He's not here at the Ranch today, but he might be down at the Presidio visiting ILM or Lucas Licensing. Anyhoo, it's still frickin RESERVED.
These books sold. They sold, and they sold, and they sold some more. It didn't take long before the Locus bestseller list was casually topped by Bantam's STAR WARS books, all the time. They ran rings around sf books that didn't have the benefit of a media tie-in, with Pocket's STAR TREK books in a rejuvenated second place. Charlie Brown, Locus's publisher, finally decided that to indicate which "serious" sf books were selling would require a separate bestseller list, and now you have disparate Locus lists for media, gaming, etc. Our STAR WARS publishing program caused that to happen. I once asked Charlie how you could tell which books were "science fiction" and which were "other." "Check the copyright," he said, in the most concise definition I've yet heard.
We had great fun with a nifty idea. One day, Lucas Licensing mused, we have these partners. Let's put them all together and see what happens. We all decided to tell the same story, "SHADOWS OF THE EMPIRE," set between Episodes V and VI, so Han Solo is frozen in carbonite, but we get to use Darth Vader. We sent Steve Perry (I already loved his work; see this "interview" with "the Emperor") out to Skywalker Ranch to powwow with them. We pubbed Steve's novel, Hasbro did action figures, Dark Horse did comics, West End did games, etc., etc. It was a movie tie-in with everything but the movie. This was so close to what STAR WARS fans wanted in their heart of hearts that they said, in their thousands, give us more movies! And in the fullness of time, that's exactly what happened. So much for the view that books don't matter.
But STAR WARS matters too. I'll never forget taking a bunch of quietly-sneering-but-still-starstruck sf authors to Skywalker Ranch for dinner during the 1993 Worldcon in San Francisco. Bantam rented a bus or two, and we all made the 45-minute afternoon ascent over the Golden Gate Bridge into Marin County, off the highway at the Lucas Valley Road exit (pure coincidence, as it turns out), and up Zorklike twisty turns into the Lucasfilm property. David Brin (one of my cherished but still inherited authors – see Part III) had learnt to play the "Darth Vader Theme" on his harmonica, and he serenaded us as we pulled up. We enjoyed a tech demo reel and then a wonderful catered dinner in an unutterably beautiful solarium setting. Our LFL hosts were jazzed to meet such notables as Marion Zimmer Bradley, at least at the tables I visited as one of the Bantam co-hosts. Amazingly, the adulation tended to flow back toward the writers. This was a phenomenon most of them had never expected of the evening, but trust me, it was genuine. I'm sure that's part of the reason why you continue to see big, big, Hugo-winning names take up STAR WARS stories, because the respect really does run both ways.
STAR WARS, and books based on it, remains a magnificent, uplifting milieu that looks to become a permanent cultural icon. I'm glad that books re-lit the torch, and proud that I got to help carry it part of the way.
NEXT: I work on some cool fiction.
Other Adventures:
Part I Part II Part III Part V Part VI
This entry was posted on Friday, November 4th, 2011 at 2:54 pm and is filed under Books, Film, Publishing, Science Fiction, Writing.	You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
3 Responses to Adventures In Editing, Part IV
Steve Perry says:
Thankee kindly, boss. Nice to be in such august company.
Ken Houghton says:
Scuttlebutt of the time was that later _SW_ novels paid $60,000 flat–good but not necessarily great money, especially given the clearances and details required.
But, of course, you would be known as ever after "NYT Best Selling Author…"
They became a good career move. But I still suspect Zahn did his because he thought they needed to be done (which is why he was a brilliant first choice).
There was a period whereupon the fee was flat and sans royalty, but it was not the same for every writer. Hardbacks were worth more than paperbacks, and if you had a good agent and some clout, you could get a bigger fee.
This was mostly at Del Rey, who had to give away the store to get the rights for SWs books, and it has since changed. Nobody gets what Tim got for a royalty for the first one, though.
The no-royalty business caused some consternation. SFWA got uppity, and I think there was some fool notion they were going to bring George Lucas to his knees, but it wasn't David versus Goliath, but more like Goliath versus the Lilliputians. Writers who chose the SFWA side found themselves persona non grata at the Ranch. As did some who didn't agree with the SFWA stance but who didn't protest loudly enough.
And with the increase in titles, the guaranteed NY Times status faded. There are still titles that that do, but most do not.
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Previously on You and Me, Dupree:
How To Stick It To The Man
Fighting Ignorance With Ignoreance
Home, Strange Home
Acting Residential
My Sundance 2019
Celebrity Killed The Radio Star
My 10 Favorite Theatre Pieces Of 2018
Mex Without Tex
H & H UK
ksbeth on Fighting Ignorance With I…
Don Jeffery on Home, Strange Home
Tom Dupree on Acting Residential
Erik Michael Schroed… on Acting Residential
Leigh on This Stuff Tastes Like Ja…
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Are WordPress Themes Hard to Understand?
One of the things that seem to put people off using the WordPress software on their own site (as opposed to the hosted WordPress blog site) is the technical side of the process involving WordPress templates and themes. There's a lot of talk about code, PHP, CSS, and plenty of other confusing abbreviations that don't mean a lot to many people! This is unfortunate, as a WordPress blog can make such a big impact on web pages, and can even be used as a standalone website once you get your domain name and hosting sorted out.
Understanding the way WordPress works, installing the software, and figuring out how the templates fit into themes does require a bit of techie know-how. It is not as hard as it first appears though, and thankfully, for those of us who are a bit technically challenged, there are some excellent guides and resources that can help make the process a whole lot smoother.
The WordPress templates are the backbone of the themes used to build the WordPress blog pages. Themes come in all manner of styles and designs and can be customized by altering the layouts, installing WordPress plugins and by adding or changing the templates. WordPress templates are basically just a bunch of files that together make up the themes for your WordPress blog site.
-> style.css the stylesheet that makes up the layout for your WordPress blog.
These are just the basics; there are much more WordPress templates that can be added to customize your blog; for example, links, search forms, archive posts, and WordPress blog comments.
Have you decided on a website that will cater to the interests of the targeted visitors? Well, you can use the PHP & MySQL development programming language. By using the PHP & MySQL development programs you can create dynamic database management system that uses the open source type of language. There are so many utilities of the programming language that you can rely on experts, to make the right decision.
There are in-numerous organizations that render PHP and MySQL web development services. But the final choice has to be made by you. Don't get perplexed by the number of companies, claiming to be the best in the business. Consult for expert assistance before making the final choice.
There are various types of organizations, from big web designing firms to small freelancing companies. Both these types of organizations have their own advantages and disadvantages. It is for you to decide, which organization shall fulfill your criteria and requirement.
The big web hosting companies have the large infrastructure and huge expertise manpower. Hence these companies usually charge a heavy amount for their services rendered. The main focus of the big web hosting organizations is to highlight the process and not delivering the final product. At times you might find your project not panning out as you desired because of the communication problems.
While small companies offering freelancing services, charge a lot less for PHP & MySQL web development than the big size organizations, they lack manpower and expertise. If you want to achieve something out of the ordinary then you might get frustrated, as people involved in the project might not have the vast expertise and knowledge that experts from big organizations usually have. An important benefit of working with the small firms is that you have the scope of personal interaction with the designer.
While making a selection of the organization, you need to access the magnitude of your work and time within which you want to finish the project. The small firms have limited resources, and also they might be overloaded with work. It may also happen that you might be required to wait. That is why if you are looking for quick completion of a large sized project than you can definitely opt for large organizations.
Making the best choice for PHP & MySQL development programs will make your website popular and make your work easy too.
How did PHP become Popular?
PHP (it originally was an abbreviation of for Personal Home Page) was first written by Rasmus Lerdorf. These were Perl scripts to track users of his Web pages. On communication and suggestions from other people he rewrote it as a scripting language and added support for forms. As its popularity grew, a core group of developers created an API for it and turned it into PHP3. Presently we have version 5. (PHP5) and its growth is likely to continue.
PHP will run on all platform, including most UNIX, Windows(95/98/NT/2000) and Macs. As this uses the same code base, all scripts will run identically on all the platforms.
PHP is extendible. This allows programmers two ways of extending PHP to do some special processing, either by writing an extension module and compiling it into the executable or by creating an executable that can be loaded using PHP's dynamic loading mechanism.
PHP currently will load into Apache, IIS, AOLServer, Roxen, and THTTPD. Alternatively, it can be run as a CGI module. Lots of database interfaces. PHP currently will work with MySQL, MS SQL, Oracle, Informix, PostgreSQL and many others. These are binary level interfaces, and ODBC is also provided for those situations where the database is not supported.
If a PHP user wants to interface to the particular library, then it is easy to write an interface for it, and many have done so and contributed to the main PHP source repository. So you can find modules for graphics routines, PDF files, Flash movies, Cybercash, calendars, XML, IMAP, POP and a host of others. If the library you need is not supported, you can either write one yourself or employ your favorite programmer to do it.
The PHP Extension and Add-on Repository. Similar to the CPAN network for Perl, although still in its infancy, the idea of PEAR is to provide a set of PHP scripts that would be installed by default with the PHP installation Fast.
PHP has normally used an Apache module and this makes it very fast. It is entirely written in C and is quite small, so loads and executes quickly with small memory footprint. PHP is Open Source. Therefore programmers are not dependent on a particular manufacturer to fix things that don't work.
A scripting language has advantages and disadvantages. PHP also has some disadvantages. Some are direct disadvantages and some are indirect regarding functionality. PHP's main drawback is Error Handling. PHP has a very poor ability in this regard, but even this disadvantage can be overcome using a feasible advantage solution.
1. Use CSS (cascading attraction sheets).
If you follow through not apperceive CSS, ferret out it. CSS allows you to maintain the formatting of your town (e.g. the color or size of a blonde of text) on a disparate at variance page – a CSS document. Thus, with CSS you can impinge the formatting of a common-element by simply updating one piece of code on one page, rather than updating all the pages of your site. For example, if you want to change the background color of your website, you could just change your one CSS sheet and your entire website's background color would change. Another great aspect of CSS is that you can use it to set the default properties of HTML tags. This can be used to counter browser compatibility problem – that different browser (e.g. Internet Explorer, Google Chrome, etc.) use different default settings.
2. Test your website in all browsers.
Just now your website displays a singular rubric in one browser, doesn't cruel it commit an act that disposal in an also browser. You should permit that your website displays properly in all of the primary following browsers: Mozilla Firefox, Internet Explorer, and Google Chrome, and Opera.
3. Use opens source scripts if you need to plunge into an energizing website.
4. Don't benediction for free or tasteless web-hosting.
Okay, this isn't necessarily a star tip. However, hosting is the twin to design. Free hosts may emit your website with awkward ads. So, you won't be adequate to task your region as is. Also, free and cheap hosts often don't support dynamic websites. Unless your website is supposed to be a joke, don't use a free host.
5. Don't compose your email superscription on your website.
If you have a mailing directions that your customers can betterment to discharge you or your business, make public that on your website. Website's with a phone embrace or mailing directions loom much more reliable and honest than websites without contact information. However, don't publish your email address, because spammers will use web-crawlers will to pick it up. Instead, design a form on your website that customers can use to send messages or questions without giving your email address.
Unfortunately, the own disposal to alter to a brilliant designer is considering experience, but your vim can't render sloppy pages. Don't go to generate confused and dynamic websites without the ability. If you try to design a code, but find it hard and the code begins to come out sloppy, don't hesitate to just throw it out. It's better to have a simple, sleek, and functional website than to have a complex, sloppy, dysfunctional website.


text:
HEARTS AND HOPES
© 2018 Nola Ellen Education, Training and Consultancy
N o l a E l l e n
E d u c a t i o n, T r a i n i n g
& C o n s u l t a n c y
"I found the training very powerful and enlightening. Nola explained very complex issues in the most accessible way. I would recommend this course to anyone working with children, young people and communities"
— Henriette Mahamane,
Communities Team, Leeds City Council


text:
module SearchParser
  VERSION = "0.1.0"
end


text:
Next on The Scoop: Canine Influenza Is Here to Stay
Social Dog of the Week
Biggie Griffon Is Notorious on Instagram
This pugnacious pup bills himself as Mr. Steal Yo Girl and loves to pay homage to The Notorious B.I.G.
Phillip Mlynar	| Feb 9th 2016
Are you up on Biggie Griffon yet? If not, you're missing out on one of the most beguilingly entertaining accounts on Instagram. This pup might be diminutive in size, but he's proper large in status, as he channels the vibe of the late, great rotund rapper The Notorious B.I.G. In practice, that means a photostream packed with lyric puns and wild boasts about his playalistic lifestyle.
Thanks to the wonders of email and Biggie Griffon's remarkable ability to type, I conversed with this pup about his road to social media riches. If you don't know, now you literally know.
It was all a dream
Image via Instagram.
The Notorious B.I.G. might have represented Brooklyn, but Biggie Griffon is all about his West Coast roots. "I'm from the streets of San Francisco and specifically the Playa's Club in the heart of Fillmore," he says when asked about his background.
Speaking on his move from a hardscrabble upbringing to today's success and riches, he adds, "I was born to a crackhead before my parents adopted me, but now I'm the fresh prince of San Francisco in this beezy! Ya dig?"
Call him big poppa
When it comes to getting to the soul of Biggie Griffon and asking what motivates this most cocksure and confident of dogs, he paraphrases his rapping namesake to state: "Money, gardening tools, clothes — all a doggy knows …"
Notorious thugs
The Notorious B.I.G. passed away on March 9 in 1997 — a sad date that's now etched in the hearts of hip-hop fans across the world. But what would Biggie Griffon had gotten up to if he'd been able to hang with Big before he passed?
"Smoke blunts and chase some tail, of course," he says, as if it were ever in doubt.
Ready to Bark
Before he passed away, The Notorious B.I.G. recorded two albums. His debut, Ready to Die, takes the spoils over the bloated double album Life After Death. If he'd had the chance to record a guest verse on the "legendary album," Biggie Griffon says, "I'd drop mad bars about that life, ya know what I'm saying? And if you don't know … now ya know, doggie!"
Nasty boy
Biggie Griffon's favorite hashtag likes to boast that he's Mr. Steal Yo Girl. With that being the case, I asked him which particular celebrity pooches he has his eye on chasing?
"I'm not answering this," he said, somewhat bluntly. Then he explained, "I'd get busted by my main female dog and my side female dogs. Plus I'd rather pimp them all anyways."
If you skip through Biggie Griffon's Instagram account, you'll notice regular appearances from a striking white female pooch called Tofu.
It turns out their cohabiting relationship is not exactly all peaches and cream. "Tofu is the H.B.I.C.," Biggie told me, possibly while pouting. "I don't funk with her."
After coming across a picture of Biggie purportedly posing with some handmade sausages, I decided to ask him about the intricacies of the raw diet. Is it a fad? Or something he'd happily endorse?
This time deciding to invoke the spirit of the late, great, and exceptionally disheveled ODB, he exclaimed, "Ooh baby I like it raw!"
Glad we've cleared that one up.
I love the dough
Finally, being that Biggie Griffon is all about getting rich and chasing that almighty dollar, I asked him what he likes to spend his money on.
To that he decided to rap, in a fashion:
"I stack cheddar and no one does it better / I spend my money on that life / But if it don't make dollars then it don't make cents / sense."
Cruise on over to Biggie Griffon's Instagram account to get down with his playatastic lifestyle.
Read about more social dogs of the week:
James "Juicy" Franco the Terrier Mutt Is as Cool as His Namesake
Chinese Cresteds Emir and Taj Rule Tokyo's Instagram Scene
Chloe the Mini Frenchie Is a Jet-Setting Instagram Star
About the author: Phillip Mlynar writes about cats, music, food, and sometimes a mix of all three. He considers himself the world's foremost expert on rappers' cats.
Posted in Pix We Love, Dogster Exclusive, Celebrity Dogs, Dogs and Culture, Social Dog of the Week,
Do You Have a Lethargic Dog or a Dog Who Just Loves to Sleep?
Sassafras Lowrey	|


text:
New agreement will keep Reston Farmers Market at Lake Anne in 2023
Fatimah Waseem December 22, 2022 at 10:15am
The marketplace concept is inspired by farmers markets (Photo via Anne Preble/Unsplash).
Despite a hiccup in the planning process, the popular Reston Farmers Market will remain at the Lake Anne Plaza next year.
Last week, the Fairfax County Park Authority signed a new use agreement with the Lake Anne Reston Condominium Association (LARCA) to continue the market at its longstanding location in 2023.
"We signed a license agreement last week with the Fairfax County Park Authority and we look forward to hosting the County-run Farmer's Market in 2023," LARCA President George Hadjikyriakou wrote in a statement.
Contract negotiations were hung up by an issue revolving around insurance, according to Ben Boxer, a spokesperson for the county.
"Farmers Markets have received significant community support at all ten locations throughout the county and we are appreciative of the ongoing partnerships with our vendors and hosts that make this program such a remarkable success," Boxer said.
Both parties and the county did not comment further on the nature of the issues. Boxer noted that the context of the discussion was related to "contract negotiation," and Hadjikyriakou deferred additional comment to the county.
Earlier this year, a free summer concert series relocated to Reston Station after the Reston Community Center failed to reach an agreement with LARCA.
The market takes place at 1608 Washington Plaza North.
Fairfax County extends farmers market season into December for three sites
Vernon Miles November 14, 2022 at 11:45am
Farmers market (via Fairfax County)
While the onset of winter usually heralds the end of farmers markets, Fairfax County announced last week that three markets around the county will brave the chill to continue into December.
"The Fairfax County Farmers Markets have extended the season at three popular market locations," the Fairfax County Park Authority said in a release. "The Reston Farmers Market will remain open until Dec. 3, 2022; the Burke Farmers Market is open until Dec. 17, 2022; and the McCutcheon/Mt. Vernon Farmers Market will be open until Dec. 21, 2022."
Along with the extended season, some of the markets will be getting a handful of new vendors and new wintery items typically not available in the other seasons.
"Our farmers and producers will continue to bring an abundance of winter squash, greens, apples, potatoes, fresh-baked breads, locally raised meats, and unique prepared foods," the release said. "Extended season vendors will bring new products, such as macaroons, bagels, kombucha, Moroccan sauces and more. Be sure to visit Burke, Reston and McCutcheon/Mt. Vernon to support your favorite vendors through the season, and to welcome our new vendors."
The farmers markets with extended hours are:
Burke (5671 Roberts Parkway): April 16-Dec. 17, from 8 a.m. to noon
Reston (1609-A Washington Plaza): April 30-Dec. 3, from 8 a.m. to noon
McCutcheon/Mount Vernon (2501 Sherwood Hall Lane): April 20-Dec. 21, from 8 a.m. to noon
Customers and vendors had requested a continuation into December for the Mount Vernon market — typically the last one to close just before Thanksgiving, according to Park Authority spokesperson Judith Pedersen.
The Burke and Reston markets were also chosen for extensions, because they're held on Saturdays, are the park authority's largest, and "have vendors with enough products and product mix to sustain a vibrant market," Pedersen told FFXnow.
"Unfortunately, the weather is too unpredictable to extend through the winter," she said. "However, all vendors from the other markets are invited to participate in the extended season at these markets if they have product to sell."
Farm festival returns to Reston Farm Garden Market later this month
Fatimah Waseem September 6, 2022 at 2:15pm
The annual festival returns this year with ticketed time slots (courtesy Reston Farm Garden Market)
A fall staple is returning to the Reston Farm Garden Market later this month.
Owners Lowell and Bonita Weinstein announced today (Tuesday) that the annual fall festival will return on Sept. 24 through Oct. 30, bringing activities like a petting zoo, a train, moon bounces, and seasonal produce to the farm.
"We love the annual tradition of the Fall Festival and inviting families to experience joy and take home pumpkins, plants or favorite Apple Cider Donuts," Weinstein said. "We continue to offer a safe and clean experience for all of our guests."
Local food trucks will be part of the event for the weekend, along with seasonal products like pansies, natural jams, organic honey, pumpkins, seasonal decor, apple cider and apple cider tonights.
While the festival was not on pause last year due to the pandemic, this year does feature different time slots, says Diane Murphy, a spokesperson for the garden.
The festival will be open Friday through Sunday with five 90-minute online ticketed sessions, starting at 10 a.m. and ending at 6:30 p.m. Admission costs $28 per child and $7 per parent, although children 2 and under can get in for free.
Other activities that are not included in the ticket include face painting, balloons, animal feedings, doughnuts and apple cider.
Staff will clean bounce houses and surrounding areas during the 30 minutes between sessions. Tickets are available online for purchase.
The farm is located at 10800 Baron Cameron Avenue in Reston.
FFXnow.com May 3, 2022 at 7:30am
Construction cranes with Ukraine flag at Reston Station (staff photo by Jay Westcott)
Fairfax Resident Faces Prison for Unruly Airplane Behavior — "Last week, Kameron C. Stone, 30, of Fairfax, Virginia, was sentenced to one year in federal prison for interfering with flight crew and assault by striking and wounding in special aircraft jurisdiction after pleading guilty on February 8, 2022." [Department of Justice]
Vienna Crash Leads to Power Outage and Evacuations — "According to a Town of Vienna alert, a traffic crash resulted in live, downed wires in the area of Cottage and Elm Streets. Homes on Elm Street from Cottage to Plum Streets and Cottage Street from Cherry to Battle Streets were evacuated due to the potential for fire, according to the town." [Patch]
West Falls Project to Break Ground — "Developers are expected to break ground this month on the first of three mixed-use projects near the West Falls Church Metro station with a total investment of about $1.2 billion…Falls Church's George Mason High School was demolished and replaced by the nearby Meridian High School to make way for the first development, which is scheduled to break ground in mid-May." [Virginia Business]
Fairfax County Among Healthiest in Virginia — "According to the University of Wisconsin Population Health Institute 2022 County Health Rankings report, Fairfax County is ranked the fourth healthiest county out of 133 in the commonwealth. Falls Church City ranks as the healthiest locality, while Fairfax City ranks as 13th in healthiest outcomes." [Fairfax County Health Department]
Unemployment Numbers Decline — "Fairfax County's jobless rate ticked down slightly from February to March, among ongoing if incremental improvement from pandemic highs of 2020…the unemployment rate of 2.3 percent was down from 2.5 percent in February and well below the rate of 4.1 percent recorded a year ago." [Sun Gazette/Inside NoVA]
Reston Farmers Market Reaches 25 Years — "One of the people on hand for the opening of the 2022 season was Del. Ken Plum (D-42nd), who has represented Reston in the Virginia House of Delegates for 42 years. Plum and Reston founder Robert E. Simon were on hand 25 years ago for the opening of the first farmers market at Lake Anne Village." [Patch]
Fairfax County Libraries Celebrate Star Wars Day — Tomorrow (Wednesday) is May 4, and Fairfax County Public Library will let kids and kids at heart indulge their love for the still-ubiquitous space opera with a variety of activities, from origami Yoda at Tysons-Pimmit to an R2D2 photo op in Sherwood. Most events are open to all, though two that require registration have filled up. [FCPL]
It's Tuesday — Rain overnight. High of 74 and low of 56. Sunrise at 6:10 am and sunset at 8:04 pm. [Weather.gov]
Fairfax County adds composting drop-off site as farmers markets begin
David Taube April 14, 2022 at 3:45pm
At the Mosaic District FRESHFARM Farmers' Market (staff photo by Angela Woolsey)
A local effort to divert food from landfills, thanks to composting, is expanding.
Fairfax County is adding another farmers market, this one in Kingstowne, to its list of locations where people can drop off unused food for reuse.
People can drop off the food scraps during the farmers market hours, which for Kingstowne takes place 3 to 7 p.m. Fridays starting May 6.
Other farmers markets and sites that also allow for composting drop-offs include:
Burke — 8 a.m. to noon on Saturdays beginning this weekend (April 16)
Herndon — from 8 a.m. to 12:30 p.m. Thursdays as of April 28,
Mount Vernon — from 8 a.m. to noon on Wednesdays starting next week (April 20)
Mosaic District — from 9 a.m. to 2 p.m. Sundays year round
The I-66 Transfer Station and I-95 Landfill Complex — between 7 a.m. and 4 p.m. every day of the week.
Fairfax County said in a news release yesterday (Wednesday) that the pilot program diverted 22 tons of food scraps last year. According to the county, the amount of greenhouse gas emissions eliminated by the effort was equivalent to taking 50 cars off the road.
In another area of growth for farmers markets, more vendors are also slated to participate this year as the seasonal staples return across the region.
Photo via Philip Cohen/Wikimedia
Fairfax County ushers in spring with this year's farmers market schedule
David Taube March 24, 2022 at 3:45pm
The Fairfax County Park Authority's farmers markets are getting ready for another season.
Led by the Burke Farmers Market on April 16, the 10 markets will reopen throughout late April and the first week of May. This year's events will feature more vendors than in the past, according to Molly Cullen, a marketing and outreach coordinator for the county.
"We accepted about 20 new vendors, and we have about 80 returning vendors, so you're sure to find something unique and delicious," Cullen said in a Channel 16 video.
The county released the schedule for its farmers markets yesterday (Wednesday):
Mount Vernon: April 20-Dec. 21, 8 a.m. to noon, at the Sherwood Library (2501 Sherwood Hall Lane)
Oak Marr: May 4-Nov. 9, 8 a.m. to noon, at the Oak Marr Recreation Center (3200 Jermantown Road)
Wakefield: May 4-Oct. 26, 2-6 p.m., at Wakefield Park (8100 Braddock Road)
Annandale: May 5-Nov. 3, 8 a.m. to noon, at Mason District Park (6621 Columbia Pike)
Herndon: April 28-Nov. 3, 8 a.m.-12:30 p.m., in Old Town Herndon by the Red Caboose (700 block of Lynn St.)
McLean: May 6-Nov. 11, 8 a.m. to noon, at Lewinsville Park (1659 Chain Bridge Road)
Kingstowne: May 6-Oct. 28, 3-7 p.m. in the Giant parking lot (5870 Kingstowne Towne Center)
Burke: April 16-Dec. 17, 8 a.m. to noon, in the VRE parking lot (5671 Roberts Parkway)
Reston: April 30-Dec. 3, 8 a.m. to noon, at Lake Anne Village Center (1609-A Washington Plaza)
Lorton: May 1-Nov. 20, 9 a.m.-1 p.m., in the VRE parking lot (8990 Lorton Station Blvd.)


What got you into barefooting?
The excitement and adrenaline that it gives you, the wonderfully friendly and welcoming comunity you become a part of, along side the fact it'll never come to an end - there will always be ways to improve, more tricks to learn, more people to meet!
How did you learn to barefoot?
Who was your first barefoot instructor?
The first tournament in Barefooting would of been the UK nationals, September 2013. A very well run competition, unfortunately Barefooting isn't a huge sport in the UK, and I was the only female competing in both Juniour and Open division.
How did you feel the first time you barefooted?
Excitement, passion, adrenaline rush, happy!
Why do you continue to barefoot?
Because it's a fantastic sport, which can push you to your limits if you let it, it's great for character building. The intensity and adrenaline never stops!
Have you held any World Records?
Have you won any medals at a world championship?
David Small, because he always has a positive mind towards his skiing.
How often do you train ski?
Yes, Bibby. This story will not be let out.
A lot of hockey, & swimming.


One thing we always thought about was how much gear and accessories the average musician goes through while chasing dreams of making it to the big stage.
We at PMT hand select the most essential equipment needed by gigging musicians so that we can proudly offer players not only the biggest range, but also the best prices on the market. This was the thinking behind our own Black Rat brand.
We care about your goals and aspirations. We know that our Black Rat equipment will serve you well in your journey.


Tableware : Porcelain Plates Set Chinese Tableware Disposable Tableware Japanese Tableware Glass Dinner Set Japanese Dinnerware. Porcelain Tableware. Dinnerware Sets Manufacturers. Porcelain Dinner Service Sets. Ceramic Tableware Manufacturer.
By B15MiLl4hcodingcolor. Tableware. At Wednesday, October 17th 2018, 09:25:01 AM.


Siulvedė Ltd will be presented during the International Fashion Show "Who's next" to be organized in Paris (France) on 19-22 January, 2018.
More than 20 years after its creation, "Who's next" has become the leading international fashion trade show for womenswear in Europe. The event welcomes 50,000 visitors through its doors at the Porte de Versailles Exhibition Centre in Paris, with around 700 French and international ready-to-wear brands there for them to discover.
Brands, buyers, journalists and trendsetters hailing from over 100 different countries come together to discover and set each season's trends during 4 days of meetings, activities and parties.
The names Private-Studio-Trendy-Urban are disappearing from the January 2018 edition to make room for a brand-friendly environment, but without divisions. The general theme of Who's Next and Premiere Classe - Jazz and Sape Culture - will be presented in Hall 4 through the different musical trends within jazz. Strong, radical symbols of expression: Classic Jazz, Piano Bar, Bossa Nova, Lindy Hop and Street Jazz. Jazz and Sape Culture, complementary disciplines, emphasize individuality, activism, artistic qualities and profound expertise. The parallels with fashion are completely natural. In this context, Siulvede presents exceptional coats with natural camel wool padding.
During the "Who's next", the company will be presenting the new autumn/winter collection 2018-2019. The collection was created for an self-confident and trendy women.
Siulvedė participates at the "Who's next" with the partial financial support of the EU structural funds. The company implements the project "The enlargement of sales in the foreign market" The code of the project is Nr. 03.2.1-LVPA-K-801-02-0170. Within the project the company will be participating at 8 international fashion exhibitions abroad.


In every movie, there is always a poster that we see in cinemas near our town. These movie posters also play a role in catching the audience's attention and in making them want to check out the movie. But what you will see today isn't similar to what you see in theatres; today you will movie posters that will catch your artistic eyes instead.
Hydrogene is a graphic designer who creates a series of minimally designed movie posters where they are done with artistry and creativity. Go ahead and check some of them out in his featured works below. Come, take a peek, and enjoy.
Check out Hydrogene on his portfolio. You can share what you think on his works by leaving a comment below.


text:
Alfred Didry est un agriculteur et un homme politique français né le  à Éton (Meuse), et décédé le , dans sa ville natale.

Biographie
Agriculteur, Alfred Didry est attiré très tôt par les affaires publiques et devient juge de paix suppléant. En 1892, il est élu conseiller municipal de son village natal, puis premier adjoint au maire en 1894 et enfin maire en 1900, mandat qu'il exercera jusqu'en 1937. En 1904, il est élu conseiller d'arrondissement du canton de Spincourt, mandat qu'il détient jusqu'en 1925. En 1919, il retrouve sa ville en ruine et doit la reconstruire. Il reçoit alors le soutien de l'architecte Paul Noulin-Lespès et d'anciens élèves du collège d'Eton en Grande-Bretagne pour reconstruire les villes en ruines. Entre juin et septembre 1919, il est envoyé par le ministre de l'Agriculture acheter du bétail aux États-Unis. En 1919, il est élu comme seul candidat comme conseiller général dans le canton de Spincourt, il y est réélu en 1925 et 1931.

En 1924, il se présente, sous les couleurs modérées de l'Alliance démocratique, aux élections législatives sur une liste d'Union républicaine et nationale conduite par André Maginot. Élu, il rejoint le groupe de la Gauche républicaine démocratique. Il appartient à la Commission des régions libérées. Réélu au scrutin uninominal en 1928, il rejoint le groupe de l'Action démocratique et sociale, qui regroupe les éléments les plus conservateurs de l'Alliance.

Battu par un autre membre de l'Alliance démocratique, André Beauguitte, lors du renouvellement de 1932, en dépit du soutien posthume d'André Maginot dont les affiches de propagande annoncent curieusement : « Si la voix d'un mort compte encore pour quelque chose, je demande aux électeurs de l'arrondissement de Montmédy de voter en masse pour l'excellent républicain et mon ancien ami Alfred Didry », ce dernier se replie sur ses mandats locaux jusqu'à son décès dans sa ville natale en 1937.

Sources

Archives du Conseil général de la Meuse.

Liens externes

Personnalité de l'Alliance démocratique
Député de la Meuse (Troisième République)
Conseiller général de la Meuse
Maire de la Meuse
Naissance en avril 1862
Naissance dans la Meuse
Décès en juin 1937
Décès dans la Meuse
Décès à 75 ans