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Note to all home bread makers.
The weather is warming up so please note the following.
All machines develop heat during kneading and proofing, even though the ingredients and machine might be within that optimal range before kneading is commenced. During hot weather, the extra heat generated by the bread making process causes variable loss of loaf quality because the yeast works too quickly. Due to the cumulative effect of temperature, it can be expected that as temperature of the environment rises above 25 to 27 degC there will be an increasing detrimental affect on loaf quality. To reduce or eliminate heat effects, use refrigerated water to create a cold dough and use the machine in a cooler environment if possible.
However with the Panasonic bread machine, if the room temperature exceeds 25Deg C, and adding refrigerated water - the machine will still automatically alter the baking cycle to the 3 hour cycle resulting in a sub standard loaf for a Panasonic.
The problem with excessive fermentation is very airy bread that stales quickly and is difficult to slice.


text:
The Monastery, the Ethiopian Empress, and a Tale of Two Architects
Gabriel Polley
Deep in the Jordan Valley, east of Jericho, at a site known as Qasr al-Yahud, there is a gem of modernist Palestinian architecture. The Ethiopian Monastery of the Holy Trinity is a striking cuboid chapel, with narrow windows that almost touch the flat roof. The curving ambulatory, executed in white cement, is almost reminiscent of Tel Aviv's Bauhaus architecture, brought to Palestine by Zionist settlers. The story of this monastery's conception brings together an Ethiopian empress, a colonial British architect, and a Palestinian Jerusalemite refugee of 1948.
The Ethiopian Orthodox presence in Jerusalem stretches back centuries. The most prominent locations associated with Ethiopian Christianity are the Dar al-Sultan Monastery and the striking round church of Dabra Gannat on Ethiopia Street in West Jerusalem, completed in 1896. Ethiopia's late nineteenth-century rulers, Yohannes IV (r. 1872-1889) and Menilek II (r. 1889-1913), encouraged the expansion of the Ethiopian monastic and lay communities in and around late-Ottoman Jerusalem.
The construction of the Monastery of the Holy Trinity occurred in a very different context. Until the invasion by Mussolini's fascist forces in 1935, Ethiopia was one of only two African nations not under European rule, while Palestine had been under British occupation since 1917. Emperor Haile Selassie (r. 1930-1974) visited Palestine several times during the Mandate period: at Easter 1924, he spent several weeks in Palestine before his first diplomatic trip to Europe, and then came back in May 1936 as an exile from the Italian occupation of his country.
In September and October of 1933, Menen Asfaw (1883-1962), Selassie's wife and the Empress of Ethiopia, presided over the consecration of the Monastery of the Holy Trinity. Prior to 1933, the Ethiopian monks had resided in a cluster of huts, worshipping in a roundhouse known as the "reed church" (figs. 1 and 2). As an official of the Ethiopian Orthodox Church in Jerusalem told the Observer in 2018, Asfaw "saw their suffering," purchased the land for the monastery and financed its construction.
The monastery's architect was Clifford Holliday (1897-1960), an advisor on town planning to the British Mandate government. Holliday's plans shaped the growth of many Palestinian cities, including Jerusalem, Jaffa, and Lydda, as well as Zionist colonies like Netanya; the Jewish National Fund also contracted him to draw up a plan for Haifa's expansion.
The contractor for the monastery's construction could not have been more different than the colonial architect. Andoni Baramki (1894-1972) remains one of the best-known Arab Palestinian architects of the Mandate era. As Suad Amiry writes, his Jerusalem buildings were so numerous that "[a] drive along the Jerusalem-Bethlehem road created the impression that Andoni was the only architect in town." The Palestine Post reported that both Baramki and Holliday were awarded one of Ethiopia's highest honours by the Empress – the Imperial Medal of the Trinity – for their work on the monastery, which represented a stylistic departure from the elegant arches and balconies of Baramki's own architectural creations.[i]
Asfaw arrived in Jerusalem on September 26 of 1933, having travelled in a luxurious Egyptian Railways carriage and was officially received by the British authorities. During her time in the city, she stayed with her children (fig. 3) at the Ethiopian consulate on the Street of the Prophets, while the rest of her entourage, including Ethiopia's foreign minister, were based in Goldsmith House on King George Street, a British officers' club later dynamited by the Irgun, the Zionist terrorist organisation.[ii]
(fig. 4) By day Asfaw spent time with the Ethiopian community, waking up at 5:30AM to pray at the Church of the Holy Sepulchre and Dar al-Sultan; in the evenings, there were banquets held at the King David Hotel and artistic performances at the Edison Theatre, a Zionist establishment founded in 1932.[iii] The Empress met pro-British Palestinian figures, Jerusalem's mayor Ragheb Nashashibi and Ruhi Abdul-Hadi, at a reception in Government House. Also present was Italy's Jerusalem consul, two years before his country invaded Ethiopia.[iv] The centrepiece of Asfaw's visit was the consecration of the Monastery of the Holy Trinity on October 1. The Palestine Post reported the event as follows:
Members of the Executive Council of the Palestine Government were present at the service yesterday, as well as the Mayor of Jerusalem, and the heads of the Orthodox Syriac and Coptic Communities. A large crowd of guests witnessed the colourful pageant accompanying the consecration, candles being held also by the visitors. The service was followed by addresses by the head of the Abyssinian Community and the Abyssinian Consul.
The event was captured by photographers, the crowd assembling beneath the Ethiopian Lion of Judah over the monastery's entrance (figs. 5 and 6)
Asfaw travelled extensively around Palestine, to sites of religious importance such as Bethlehem and Nazareth.[v] In Tel Aviv, she was received by the city's mayor, Meir Dizengoff, and took tea at the Palatin Hotel where "British, Abyssinian and Zionist colours were flown. She watched a performance by the Palestine Opera Company (another Zionist institution) and presented the prima donna with 'a medal bearing the portrait of the Emperor of Abyssinia."[vi] After being courted by the Zionist movement (a precursor of the later strategic alliance between Israel and Ethiopia under Selassie's rule), Asfaw travelled northwards for several days to Lebanon and Syria; she started on her journey home on October 23rd.[vii]
Fifteen years later, with the departure of the British, the Nakba of 1948 descended upon Palestine. While Holliday's career continued as a town planner in Britain and other colonies, his former Palestinian colleagues were not so lucky. Among the 531 villages and eleven urban neighbourhoods ethnically cleansed by Zionist militias was Western Jerusalem, where Andoni Baramki had built his family home. The Baramki family fled, and their home, just over the Green Line, was derelict for many years before being transformed into today's "Museum on the Seam," whose exhibits celebrate Israel's occupation of East Jerusalem in 1967.
The June 1967 war, known to Palestinians as the Naksa, had severe implications for the Monastery of the Holy Trinity. Shortly after Israel's military occupation of the West Bank began, the site was sealed off by the Israeli army and laced with thousands of landmines to prevent the return of Palestinian refugees. After over half a century of abandonment, a correspondent for the Observer wrote that the monastery remained "hauntingly beautiful." Photos in the Times of Israel show its interior pockmarked by bullet holes.
With the de-mining of the area recently completed by a British NGO, it seems likely that the Holliday and Baramki's modernist creation, the monastery first opened by Ethiopian royalty, may once again be visited, prayed in, and inhabited by monks. This assumes that the monasteries of Qasr al-Yahud will regain their place among Palestine's pilgrimage sites when tourism resumes. Given Israel's plans to annex the Jordan Valley, the site will probably be slickly presented as another Israeli tourist attraction, with no benefit to local Palestinian communities. There will likely be nothing to indicate to visitors that the Palestinian who played a key role in the little building's construction lost everything and was made a refugee by Israel's creation.
[i] "Social and Personal," Palestine Post (8 Oct. 1933), p. 5.
[ii] "The Empress of Abyssinia," Palestine Post, 24 September 1933, p. 1; "Abyssinian Empress Visits: Pilgrimage to the Holy Sepulchre," Palestine Post, 28 September 1933), p. 5; "In Several Lines," Palestine Post, 29 September 1933, p. 5. See also John Shorack, "Goldsmith House – British Officer Club," Traces of War (n/d), https://www.tracesofwar.com/sights/101692/Goldsmith-House---British-Officer-Club.htm (accessed 02.07.2020).
[iii] "Abyssinian Empress Visits"; "Social and Personal" (8 Oct. 1933); Dorothy Kahn, "The Empress Who Was Never Interviewed: Ethiopian Consulate in Jerusalem Knows All About the 'Protocol,'"Palestine Post (22 Oct. 1933), p. 8.
[iv] "Social and Personal," Palestine Post, p. 5.
[v] "The Empress of Abyssinia"; "Social and Personal" (8 Oct. 1933)
[vi] "Abyssinia's Queen in Tel Aviv," Palestine Post (9 Oct. 1933), p. 5; "Empress at the Opera: Abyssinian Queen Enjoys Rigoletto," Palestine Post (10 Oct. 1933), p. 5.
[vii] "Social and Personal" (8 Oct. 1933); Kahn, "The Empress Who Was Never Interviewed." For the Israeli-Ethiopian 'alliance of the periphery,' see Avi Shlaim, The Iron Wall: Israel and the Arab World (London: Penguin Books, 2001), pp. 196-7.
Gabriel Polley is an activist and scholar whose research focuses primarily on Ottoman Palestine. He holds a PhD in Palestine studies from the University of Exeter, his thesis exploring British travel to Palestine in the nineteenth and early twentieth centuries.
Jerusalem's Wadi Al-Jawz Neighborhood .. Colonization and Investment
Towards a Liberationist Education
The Thirty-Third Anniversary of the Palestinian Popular Uprising
Remarks on Administrative Detention in Palestine

redpajama_set_name: RedPajamaCommonCrawl


text:
ADAM GOODMAN
The Deportation Machine
SHAFR 2020 – Virtual Roundtable – "Hollow Building Blocks: Immigration Restriction in the History of U.S.-Mexican Foreign Relations"
The United States has utilized multiple methods to stop the flow of Mexican immigration during the past century. During most-recent decades the United States has in various turns penalized U.S. businesses for employing undocumented Mexican migrants, militarized the U.S. Border Patrol to apprehend Mexican migrants, appropriated funds to build a barrier along the U.S.-Mexico border, attempted to make border crossing so inhospitable as to make the act of migration dangerous, and scaled up deportation rates of Mexican migrants. Present-day debates reflect how none of these methods of restriction have halted migration, even as they have created a great deal of animus between Americans, Mexicans, and the leaders who represent them.
Despite the lack of solutions, the diplomatic effects of immigration restriction in U.S.-Mexican relations have been long-reaching, and yet relatively understudied by historians of U.S. foreign policy. This roundtable will work to correct that scholarly shortcoming by discussing how Mexican immigration and efforts to restrict it have shaped foreign relations between the United States and Mexico. Panelists of this roundtable will provide broad and expansive, yet brief, comments on various historical episodes during the last century that demonstrate how the history of immigration restriction in U.S.-Mexican relations contextualizes the current controversy over a border wall and further attempts to restrict Mexican immigration.
Virtual roundtable presentations in lieu of the in-person SHAFR 2020 annual meeting:
Benjamin C. Montoya (Schreiner University)
Adam Goodman (University of Illinois at Chicago)
Laura D. Gutiérrez (University of the Pacific)
Mark Overmyer-Velázquez (University of Connecticut)


text:
{-# LANGUAGE CPP #-}
module HERMIT.Dictionary.Navigation.Crumbs
    ( -- * Navigating Using Crumbs
      crumbExternals
    ) where

import HERMIT.Core
import HERMIT.External

---------------------------------------------------------------------------------------

-- | 'External's for individual 'Crumb's.
crumbExternals :: [External]
crumbExternals = map (.+ Navigation)
    [ external "prog" ModGuts_Prog
        [ "Descend into the program within a module." ]
    , external "prog-head" ProgCons_Head
        [ "Descend into the first binding group in a program." ]
    , external "prog-tail" ProgCons_Tail
        [ "Descend into the tail of the program." ]
    , external "nonrec-rhs" NonRec_RHS
        [ "Descend into the right-hand side of a non-recursive binding." ]
    , external "rec-def" Rec_Def
        [ "Descend into the (n-1)th definition in a recursive binding group." ]
    , external "def-rhs" Def_RHS
        [ "Descend into the right-hand side of a recursive definition." ]
    , external "app-fun" App_Fun
        [ "Descend into the function in an application." ]
    , external "app-arg" App_Arg
        [ "Descend into the argument in an application." ]
    , external "lam-body" Lam_Body
        [ "Descend into the body of a lambda." ]
    , external "let-bind" Let_Bind
        [ "Descend into the binding group of a let expression." ]
    , external "let-body" Let_Body
        [ "Descend into the body of a let expression." ]
    , external "case-expr" Case_Scrutinee
        [ "Descend into the scrutinised expression in a case expression." ]
    , external "case-type" Case_Type
        [ "Descend into the type of a case expression." ]
    , external "case-alt" Case_Alt
        [ "Descend into the (n-1)th alternative in a case expression." ]
    , external "cast-expr" Cast_Expr
        [ "Descend into the expression in a cast." ]
    , external "cast-co" Cast_Co
        [ "Descend into the coercion in a cast." ]
    , external "tick-expr" Tick_Expr
        [ "Descend into the expression in a tick." ]
    , external "alt-rhs" Alt_RHS
        [ "Descend into the right-hand side of a case alternative." ]
    , external "type" Type_Type
        [ "Descend into the type within a type expression." ]
    , external "coercion" Co_Co
        [ "Descend into the coercion within a coercion expression." ]
    , external "appTy-fun" AppTy_Fun
        [ "Descend into the type function in a type application." ]
    , external "appTy-arg" AppTy_Fun
        [ "Descend into the type argument in a type application." ]
    , external "tyCon-arg" TyConApp_Arg
        [ "Descend into the (n-1)th argument of a type constructor application." ]
    , external "fun-dom" FunTy_Dom
        [ "Descend into the domain of a function type." ]
    , external "fun-cod" FunTy_CoDom
        [ "Descend into the codomain of a function type." ]
    , external "forall-ty-body" ForAllTy_Body
        [ "Descend into the body of a forall type." ]
    , external "refl-type" Refl_Type
        [ "Descend into the (n-1)th argument of a type constructor coercion." ]
    , external "coCon-arg" TyConAppCo_Arg
        [ "Descend into the function of a coercion application." ]
    , external "appCo-fun" AppCo_Fun
        [ "Descend into the coercion function in a coercion application." ]
    , external "appCo-arg" AppCo_Arg
        [ "Descend into the coercion argument in a coercion application." ]
#if __GLASGOW_HASKELL__ > 710
    , external "coForall-kindco" ForAllCo_KindCo
        [ "Descend into the kind coercion of a forall coercion." ]
    , external "coForall-co" ForAllCo_Co
        [ "Descend into the body of a forall coercion." ]
#else
    , external "coForall-body" ForAllCo_Body
        [ "Descend into the body of a forall coercion." ]
#endif
    , external "axiom-inst" AxiomInstCo_Arg
        [ "Descend into the (n-1)th argument of a coercion axiom instantiation." ]
    , external "unsafe-left" UnsafeCo_Left
        [ "Descend into the left-hand type of an unsafe coercion." ]
    , external "unsafe-right" UnsafeCo_Right
        [ "Descend into the right-hand type of an unsafe coercion." ]
    , external "sym-co" SymCo_Co
        [ "Descend into the coercion within a symmetric coercion." ]
    , external "sub-co" SubCo_Co
        [ "Descend into the coercion within a sub coercion." ]
    , external "trans-left" TransCo_Left
        [ "Descend into the left-hand type of a transitive coercion." ]
    , external "trans-right" TransCo_Right
        [ "Descend into the right-hand type of a transitive coercion." ]
    , external "nth-co" NthCo_Co
        [ "Descend into the coercion within an nth projection coercion." ]
#if __GLASGOW_HASKELL__ > 710
    , external "inst-left" InstCo_Left
        [ "Descend into the left coercion of a coercion instantiation." ]
    , external "inst-right" InstCo_Right
        [ "Descend into the right coercion of a coercion instantiation." ]
#else
    , external "inst-co" InstCo_Co
        [ "Descend into the coercion within a coercion instantiation." ]
    , external "inst-type" InstCo_Type
        [ "Descend into the type within a coercion instantiation." ]
#endif
    , external "lr-co" LRCo_Co
        [ "Descend into the coercion within a left/right projection coercion." ]
    , external "univ-dom" UnivCo_Dom
        [ "Descend into the domain type within a universal coercion." ]
    , external "univ-ran" UnivCo_Ran
        [ "Descend into the range type within a universal coercion." ]
    , external "forall-body" Forall_Body
        [ "Descend into the body of a quantified clause." ]
    , external "conj-lhs" Conj_Lhs
        [ "Descend into left-hand side of a conjunction." ]
    , external "conj-rhs" Conj_Rhs
        [ "Descend into right-hand side of a conjunction." ]
    , external "disj-lhs" Disj_Lhs
        [ "Descend into left-hand side of a disjunction." ]
    , external "disj-rhs" Disj_Rhs
        [ "Descend into right-hand side of a disjunction." ]
    , external "antecedent" Impl_Lhs
        [ "Descend into antecedent of an implication." ]
    , external "consequent" Impl_Rhs
        [ "Descend into consequent of an implication." ]
    , external "eq-lhs" Eq_Lhs
        [ "Descend into left-hand side of an equivalence." ]
    , external "eq-rhs" Eq_Rhs
        [ "Descend into right-hand side of an equivalence." ]
    ]

---------------------------------------------------------------------------------------

redpajama_set_name: RedPajamaGithub


May 11, 2018 - 11:00 am .- After a New York judge said that courts must seriously consider whether animals deserve some legal protections afforded to people, Catholic philosophers say that human beings are unique, and that, when it comes to law and ethics, that matters.
Mar 18, 2018 - 04:24 pm .- Margaret, the fictional stray cat adopted by a fictional Pope in a new children's book series, gets an up-close and personal look at the Vatican and the Papal office that most Catholics could only imagine.
Mar 8, 2017 - 11:12 am .- The newest member of St. Francis Monastery in Cochabamba, Bolivia, is furry and has four legs.
May 18, 2016 - 12:16 pm .- While Pope Francis might have chastised animal-lovers who treat their pets better than people in last week's general audience, that didn't stop him from giving a good pat on the head to Magnum – the Saint Bernard with VIP access to today's audience.
May 14, 2016 - 06:06 am .- People in need deserve more love from us than the animals do, Pope Francis has said.


text:
Infrastructure and buildings (1)
Show more Show more Hazard / Impact
Show more Show more Variables
Statistically downscaled (2)
Weekly (2)
Ecosystems and biodiversity
Forest Change adaptation tools (Opens in a new Window)
Forest Change adaptation tools provides information about the impacts of climate change on Canada's forests and on how to adapt to changing climate conditions. Adaptation tools and resources for forest managers are available here. The tools and resources provided include maps, databases, web applications and synthesis reports. They are grouped under three broad systems: climate, forest and human.
Government of Canada: Natural Resources Canada
Forest Change Data Catalogue (Opens in a new Window)
The Forest Change Data Catalogue includes downscaled climate projections using various climate models as well as data on drought, fire, forest communities, and tree distribution. Data are also available on other topics including regional fire risk and evacuations, species-specific vulnerability to climate change, and provenance trial data with respect to climate change. Point and gridded data are available for both historical and future periods.
Data product Additional resources
LC MAP - Landscape Conservation Management and Analysis Portal (Opens in a new Window)
The Landscape Conservation Management and Analysis (LC MAP) Data Catalog tool includes resources for Landscape Conservation Cooperatives (LCC). LC MAP was originally developed by the U.S. Geological Survey in coordination with the Great Northern LCC and is broadly available for ScienceBase users to share, access, and analyze common datasets. LC MAP allows users to discover, assess, edit, analyze, and model common data themes and provides powerful geospatial analysis capabilities of ArcGIS 10 and its broad array of extensions.
Local Environmental Observer Network (Opens in a new Window)
Local Environmental Observer Network (LEO) is a network of local observers and topic experts who share knowledge about unusual animal, environment, and weather events. With LEO, users can connect with others in your community, share observations, raise awareness, and find answers about significant environmental events. Users can also engage with topic experts in many different organizations and become part of a broader observer community. To download data, users must register.
Alaska Native Tribal Health Consortium
Centre for Climate and Health
Mapping the Occurrence of Canada's Forest Pathogens (Opens in a new Window)
Mapping the Occurrence of Canada's Forest Pathogens contains distribution maps for almost 3000 forest fungi and mistletoes, many of which cause forest diseases. Over 60 years of historical ground observations and aerial overviews are available. Users can search the database for species of interest and access results in various ways, including viewing data in a table format, exploring results with an interactive map viewer, and downloading data for analysis in raster format.
Tool Additional resources
Northwest Boreal Science and Management Research Tool (Opens in a new Window)
The Northwest Boreal Science and Management Research Tool contains curated scholarly articles, datasets, state and federal resource reports, land management plans, and more. Each entry includes geographic information about the area of study, allowing users to draw a box on a map to narrow searches to information directly related to a specific region in Alaska, the Yukon, British Columbia, and Northwest Territories. This project is a collaboration among Alaska Resources Library & Information Services (ARLIS), Alaska Climate Science Center, DataBasin, and Northwest Boreal Landscape Conservation Cooperative.
Northwest Boreal Landscape Conservation Cooperative
Paleo-environmental records of climate change across Canada (Opens in a new Window)
Paleo-environmental records of climate change across Canada contains paleogeographic data from the last 18,000 years. Historical data from across Canada have been assembled, synthesized, published, and web-enabled to help guide climate change adaptation strategies.
Plant Hardiness Zone Maps of Canada (Opens in a new Window)
Plant Hardiness Zone Maps of Canada provide gridded information about where different types of plants can grow. They combine climatic information from across Canada and are available for two historical periods: 1961-1990 and 1981-2010. Projected future range maps are also available for a number of species of trees, shrubs, and perennial herbs. Climate profiles are available for plant species based on distribution data and climate models.


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text:
package net.stickycode.resource.codec;

import net.stickycode.exception.TransientException;
import net.stickycode.resource.ResourceCodec;

@SuppressWarnings("serial")
public class ResourceDecodingFailureException
    extends TransientException {

  public ResourceDecodingFailureException(Throwable e, Class<?> type, ResourceCodec<?> codec) {
    super(e, "Failed to decode to {} using {}", type.getSimpleName(), codec);
  }

}


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Request Tyco Electronics IM07GR: RELAY TELECOM DPDT 24VDC 2x2a SMT 2x2a online from Elcodis download IM07GR pdf datasheet, view , Signal Up to 2 Amps @ 30 VDC specifications. a 00a 00a 00a 00a datasheet 00a 01a 01a 2x2a 01a 01a 01a 01a 0a2 0a2. Warning: Substitutes are given as a guide only - please refer to original manufacturers data sheets to ensure that a substitute is safe and appropriate for your application. Signal Relays AXICOM. DIVISION OF: BAKER MANUFACTURING COMPANY, LLC ® MODEL HRC2 2x2a. Datasheets all chapters of the De nitions section, product data is subject to the terms of the disclaimer available at. Signal Relays Components datasheet pdf data sheet FREE 2x2a from Datasheet4U. Radio tubes are valves. On the type of descriptive data are summarized, eg in the data sheet.
Tube 2X2A Half- 2x2a Wave Vacuum Rectifier, USA 1924, UX) , Röhre 2X2A ID4272, UX- Base ( 4 Pins ( 2 thick Power- supply shown. HR Series Pump Data sheet template. companyDatasheets and product specificationaccording to IECand 2x2a to be usedonly together with the ' Definitions' section. 2x2a datasheet. Request Tyco Electronics IM03GR: RELAY TELECOM DPDT 5VDC SMT online from Elcodis Signal, download IM03GR pdf datasheet, view Up to 2 Amps @ 30 VDC specifications.
Datasheets and product specification. It is equipped with two input channels which can be.
Mint boxed high- voltage rectifier tubes manufactered in USA by Mullard. These 4- pin high- voltage half- wave rectifiers with top cap plate, are tested on Navy type high- impact shock machine up to 250G impact acceleration. Tube bases are printed in white with Mullard logo 2X2A MAD. 7201 diode datasheet, cross reference,. AXICOM V23079- A1011- B301 V23079- A1011- B301 v23079 JEDEC SMT reflow profile V23079D1001BX2A V23079- E1208. 2x2A DC Motor Shield for Arduino.
Share 0 Tweet Pin it 0. There is another version of 2x2A motor shield ( Twin) which uses different pins to avoid conflicting pin.
This 2x2A DC Motor Shield for Arduino allows Arduino to drive two channel DC motors. It uses a L298N chip which deliveries output current up to 2A each channel.


text:
You are here: Home / Orchestra / Festivals / Schools / Performings Arts / Theatre / Broadway / Roald Dahl's Charlie and the Chocolate Factory begins performances Tuesday, March 28, 2017 and officially opens Sunday, April 23, 2017 at Broadway's Lunt-Fontanne Theatre (205 West 46th Street)
Roald Dahl's Charlie and the Chocolate Factory begins performances Tuesday, March 28, 2017 and officially opens Sunday, April 23, 2017 at Broadway's Lunt-Fontanne Theatre (205 West 46th Street)
December 26, 2016 Comment Off 51 Views
COMPLETE CASTING ANNOUNCED FOR
Roald Dahl's Charlie and the Chocolate Factory
TWO-TIME TONY AWARD WINNER CHRISTIAN BORLE AS WILLY WONKA
WILL BE JOINED BY
Tony Winner JOHN RUBINSTEIN as Grandpa Joe EMILY PADGETT as Mrs. Bucket
KATHY FITZGERALD as Mrs. Gloop F. MICHAEL HAYNIE as Augustus Gloop
BEN CRAWFORD as Mr. Salt EMMA PFAEFFLE as Veruca Salt
ALAN H. GREEN as Mr. Beauregard TRISTA DOLLISON as Violet Beauregard
JACKIE HOFFMAN as Mrs. Teavee MICHAEL WARTELLA as Mike Teavee
AND INTRODUCING
JAKE RYAN FLYNN, RYAN FOUST and RYAN SELL as Charlie Bucket
In a cast of 36 that includes
YESENIA AYALA, DARIUS BARNES, COLIN BRADBURY, JARED BRADSHAW, RYAN BRESLIN, KRISTY CATES, MADELEINE DOHERTY, PALOMA GARCIA-LEE, STEPHANIE GIBSON, TALYA GROVES, CORY LINGNER, ELLIOTT MATTOX, MONETTE McKAY, KYLE TAYLOR PARKER, PAUL SLADE SMITH, STEPHEN CARRASCO, KRISTIN PIRO, AMY QUANBECK, MICHAEL WILLIAMS AND MIKEY WINSLOW
PERFORMANCES BEGIN TUESDAY, MARCH 28, 2017
OPENING NIGHT SUNDAY, APRIL 23, 2017
AT BROADWAY'S LUNT-FONTANNE THEATRE
A WONKA-SIZED EVERLASTING SHOWSTOPPER
BASED ON THE BEST-SELLING NOVEL BY ROALD DAHL
(New York, NY) Warner Bros. Theatre Ventures, Langley Park Productions and Neal Street Productions, the producers of the new musical Roald Dahl's Charlie and the Chocolate Factory, announced today that two-time Tony Award winner Christian Borle (Willy Wonka) will be joined by a cast of 35 that includes Tony Award winner John Rubinstein as Grandpa Joe (Pippin), Emily Padgett as Mrs. Bucket (Side Show), Kathy Fitzgerald as Mrs. Gloop (9 to 5), F. Michael Haynie as Augustus Gloop (Wicked), Ben Crawford as Mr. Salt (Shrek), Emma Pfaeffle as Veruca Salt (Finding Neverland), Alan H. Green as Mr. Beauregard (School of Rock), Trista Dollison as Violet Beauregard (A Bronx Tale), Jackie Hoffman as Mrs. Teavee (On The Town), Michael Wartella as Mike Teavee (Tuck Everlasting) and introducing Jake Ryan Flynn, Ryan Foust and Ryan Sell making their Broadway debuts as Charlie Bucket, with Yesenia Ayala (Broadway Debut), Darius Barnes (Cinderella), Colin Bradbury (Come Fly Away), Jared Bradshaw (Jersey Boys), Ryan Breslin (Newsies), Kristy Cates (Finding Neverland), Madeleine Doherty (The Producers), Paloma Garcia-Lee (Natasha, Pierre & the Great Comet of 1812), Stephanie Gibson (Cinderella), Talya Groves (Motown), Cory Lingner (On The Town), Elliott Mattox (Broadway Debut), Monette McKay (Memphis), Kyle Taylor Parker (Kinky Boots), Paul Slade Smith (Finding Neverland), Stephen Carrasco (Fiddler on the Roof), Kristin Piro (An American In Paris), Amy Quanbeck (Broadway Debut), Michael Williams (On The Town), and Mikey Winslow (On The Town).
Roald Dahl's Charlie and the Chocolate Factory begins performances Tuesday, March 28, 2017 and officially opens Sunday, April 23, 2017 at Broadway's Lunt-Fontanne Theatre (205 West 46th Street).
Directed by three-time Tony Award winner Jack O'Brien, Roald Dahl's Charlie and the Chocolate Factory features music by Grammy, Emmy and Tony Award winner Marc Shaiman, lyrics by Grammy and Tony Award winners Scott Wittman and Marc Shaiman, a book by Artistic Director of Edinburgh's Royal Lyceum theatre David Greig and choreography by Tony Award nominee and Emmy Award winner Joshua Bergasse. The production includes additional songs by Leslie Bricusse and Anthony Newley from the 1971 Warner Bros. motion picture.
Roald Dahl's Charlie and the Chocolate Factory will feature scenic and costume design by five-time Tony Award nominee Mark Thompson, lighting design by four-time Tony Award nominee Japhy Weideman, sound design by Andrew Keister, puppet design by Obie and Drama Desk Award winner Basil Twist, projection design by Jeff Sugg, orchestrations by three-time Tony Award winner Doug Besterman and music direction and supervision by Nicholas Skilbeck. Casting is by Telsey + Company/Rachel Hoffman, CSA.
For more than 50 years, Roald Dahl's story of Charlie and the Chocolate Factory has captured imaginations around the world, and now for the first time Broadway audiences are invited to experience Willy Wonka's delightful and semi-dark chocolate world first-hand. Willy Wonka, world famous inventor of the Everlasting Gobstopper, has just made an astonishing announcement. His marvelous—and mysterious—factory is opening its gates…to a lucky few. That includes young Charlie Bucket, whose life definitely needs sweetening. He and four other golden ticket winners will embark on a mesmerizing, life-changing journey through Wonka's world of pure imagination. Get ready for chocolate waterfalls, exquisitely nutty squirrels and the great glass elevator, all to be revealed by Wonka's army of curious Oompa-Loompas.
The Broadway production of Roald Dahl's Charlie and the Chocolate Factory is produced by Warner Bros. Theatre Ventures (Mark Kaufman), Langley Park Productions (Kevin McCormick) and Neal Street Productions (Sam Mendes, Caro Newling).
The playing schedule for Roald Dahl's Charlie and the Chocolate Factory is as follows: Monday through Saturday at 8pm, with matinees on Wednesday and Saturday at 2pm. Beginning Tuesday, April 25, 2017, the playing schedule is as follows: Monday and Tuesday at 7pm, Friday and Saturday at 8pm, and Sunday at 6:30pm, with matinees on Wednesday and Sunday at 1pm and Saturday at 2pm. Beginning May 31, 2017, Wednesday matinee performances will be at 2pm. Please note: There will be no performances on Wednesday, March 29 at 2pm, Wednesday, April 5 at 2pm, Monday, April 17 at 8pm, Monday, April 24 at 8pm, Monday, May 29 at 7pm, Monday, June 5 at 7pm, and Tuesday, July 4, 2017. There will be added performances on Thursday, April 27 at 7pm, Thursday, June 1, 2017 at 7pm, Thursday, June 8 at 7pm and Thursday, July 6 at 7pm.
Tickets for Roald Dahl's Charlie and the Chocolate Factory range from $69 – $160, and are available at www.Ticketmaster.com (877.250.2929).
The Olivier and Evening Standard Award-winning London production of Roald Dahl's Charlie and the Chocolate Factory, directed by Sam Mendes and choreographed by Peter Darling, is one of the West End's most popular and successful stage musicals and has broken house records at Theatre Royal Drury Lane where it has been seen by over 2.1 million people since it opened in June 2013. Now in its fourth and final year, it currently sits alongside Miss Saigon and 42nd Street in the top three longest-running productions of the last 50 years at the historic venue, one of London's largest theatres.
ABOUT ROALD DAHL AND HIS LEGACY
Roald Dahl was a spy, ace fighter-pilot, chocolate historian and medical inventor. He was also the author of Charlie and the Chocolate Factory, Matilda, The BFG and many more brilliant stories. He remains the World's No.1 storyteller. Born in Cardiff of Norwegian descent, Roald Dahl (1916–1990) joined the RAF at the age of 23 and began writing, initially for adults, after being injured in a plane crash during WW2. Sitting in a hut at the bottom of his garden, surrounded by odd bits and pieces such as a suitcase (used as a footrest), his own hipbone (which he'd had replaced) and a heavy ball of metal foil (made from years' worth of chocolate wrappers), he went on to write some of the world's best-loved children's stories. His first children's story, James and the Giant Peach, published in 1961, was a hit and every subsequent book became a best-seller. Today, his stories are available in 58 languages and, by a conservative estimate, he has sold more than 250 million books. Many of these stories have also been adapted for stage and screen, including the 1971 film classic Willy Wonka and the Chocolate Factory, Wes Anderson's acclaimed Fantastic Mr Fox, and the multi-award winning Matilda The Musical from the RSC with music by Tim Minchin. The latest Roald Dahl story to hit the big screen is Steven Spielberg's #1 box office blockbuster The BFG. Entitled Roald Dahl 100, 2016 marks 100 years since the birth of Roald Dahl. Celebrations continue around the world, with lots happening in cities across the US, delivering a calendar packed with gloriumptious treats and surprises for everyone. We believe in doing good things. That's why ten percent of all Roald Dahl income* goes to our charity partners. We have supported causes including: specialist children's nurses, grants for families in need, and educational outreach programmes. Find out more at roalddahl.com. The Roald Dahl Charitable Trust is a registered UK charity (no. 1119330). * All author payments and royalty income net of third party commissions. www.roalddahl.com
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CHRISTIAN BORLE (Willy Wonka) won two Tony Awards for his performances in Something Rotten and Peter and the Starcatcher. In the fall of 2016 he will star in the Lincoln Center production of Falsettos. Other Broadway credits include Mary Poppins, Legally Blonde, Spamalot, Thoroughly Modern Millie, Amour, Footloose, and Jesus Christ Superstar. Off-Broadway credits include Sweeney Todd (PBS' "Live at Lincoln Center"), Angels in America (Signature Theatre), Elegies: A Song Cycle (Lincoln Center), and On The Town and Little Me for City Center Encores!. Television credits include "The Gilmore Girls," "Smash," "Masters of Sex," "The Good Wife," "Sofia The First," Disney Junior's "Lucky Duck," "The Sound of Music Live!," and "Peter Pan Live!" Film work includes The Bounty Hunter, Michael Mann's Blackhat.
JOHN RUBINSTEIN (Grandpa Joe). Broadway: originated title role in Pippin (1972), Children of a Lesser God (Tony Award & Drama Desk), Caine Mutiny, Ragtime, Hurlyburly, M. Butterfly, Fools, Love Letters, Pippin (2014). Off-B'way/regional: Counsellor-at- Law (Lortel Award), Wicked (L.A.). 30 films; two TV series: "Family," "Crazy Like A Fox," 300 TV episodes. Stage and TV director; film composer and conductor; college professor (USC); audiobook narrator; married to Bonnie Burgess; father of Jessica, Michael, Peter, Jacob, and Max.
EMILY PADGETT (Mrs. Bucket). Broadway: Bright Star (Lucy Grant) SideShow (Daisy Hilton) Rock of Ages (Sherrie Christian) Legally Blonde, Grease. Off-Broadway: Sweet Charity directed by Leigh Silverman. Regional: SideShow (La Jolla, San Diego Theatre Critics Circle Award) (Kennedy Center, Helen Hayes Nomination) Waterfall (Pasadena Playhouse) White Noise (Royal George Theatre) First National Tour: Grease (Sandy) Flashdance The Musical (Alex Owens) TV: "Louie."
KATHY FITZGERALD (Mrs. Gloop). Broadway: Wicked (Madame Morrble), 9 to 5 (Roz; Outer Critics Nom. Best Featured Actress), The Producers (Shirley Markowitz), Swinging on a Star (Drama Desk Nom. Best Featured Actress). Off-Broadway: Damn Yankees (Doris) Encores, Disaster! (Shirley) Triad, Donnybrook (Irish Rep.). Regional: Pirates! (Ruth) Muny, Emmet Otter (Ma) Goodspeed, Christmas Carol (Fezziwig) McCarter, The Tempest, Twelfth Night, School for Wives, Search for Signs. National Tour: Wicked (Morrible; Broadway World Award). TV/Film: "Smash", "Mercy", "One Life to Life", "Curb your Enthusiasm", "The Next Three Days", Our Idiot Brother and The Producers.
MICHAEL HAYNIE (Augustus Gloop). Broadway: Wicked, Holler If Ya Hear Me. Off-Broadway:Carrie (MCC),Dogfight (Second Stage) and others. Regional: Quasimodo in The Hunchback of Notre Dame (Ogunquit), Found (PTC). TV/Film: Peter Pan LIVE! (NBC), Not Fade Away (Paramount). Thanks Ms, JP, Nicolosi and Co, the (M)orons, &. @fmichaelhaynie
BEN CRAWFORD (Mr. Salt). Broadway: Shrek the Musical (Shrek), Big Fish (Don Price, Ed Bloom u/s), On The Twentieth Century (Bruce Granit, Max Jacobs u/s), Les Miserables (Valjean, Javert u/s). New York/Regional: Jasper in Deadland, 35MM, Irma La Duce, Merrily…, 110 in the Shade, Evita. 35MM, Writing Kevin Taylor, Frozen soundtracks.
EMMA PFAEFFLE (Veruca Salt) graduated from the Conservatory of dance at SUNY Purchase '12 and continued on to the international tour of West Side Story. She later joined Ballet Hispanico for a season. She was in the original cast of Finding Neverland as "Wendy/Emily" at A.R.T and continued onto Broadway for the full run.
ALAN H. GREEN (Mr. Beauregard). Original Broadway Casts: School of Rock, Sister Act, Play On. 1st National Tours: Spelling Bee, Swing, Smokey Joes Café. Recent Regional: Disney's Freaky Friday, Broadway Bounty Hunter. International: Miss Saigon. TV: "Peter Pan Live!," "30 Rock," "Unforgettable," "Law and Order SVU," lots of National Commercials. Rice University Graduate. www.ALANHGREEN.com.
TRISTA DOLLISON (Violet Beauregard). Broadway: A Bronx Tale, Disney's The Lion King, Avenue Q. NY/Regional: A Bronx Tale (World Premiere) Sister Act (Deloris), Faust (City Center), Dreamgirls (Lorrell). She is a proud member of Broadway Inspirational Voices.Thanks to her husband, family & friends for their loving support. Grateful. Proverbs 18:16.http://www.facebook.com/TristaDollison
JACKIE HOFFMAN (Mrs. Teavee) B'Way: On The Town, The Addams Family, Xanadu and Hairspray (Theatre World Award). Off-B'Way: Once Upon A Mattress, A Chanukah Charol, The Gingerbread House, The Book of Liz (Obie Award), Straightjacket, LCT Festival and One Woman Shoe. Regional: MUNY, Old Globe, Second City (Jeff Award). Films: Birdman, The Sitter, Extra Man, A Dirty Shame, Garden State, Legally Blonde II, Kissing Jessica Stein and Mo' Money. TV: " Feud!," " Gilmore Girls," " Difficult People," "Elementary," "Girls," "New Normal," "Family Guy," "The Good Wife," "Inside Amy Schumer," "Raising Hope," "Melissa & Joey," "30 Rock," "Starved," "Hope & Faith," "Curb Your Enthusiasm," "Strangers With Candy," "Dilbert," "TV Funhouse," "Conan O'Brien." CD: Live at Joe's Pub. www.jackiehoffman.com; Twitter: @jackiehoffman16.
MICHAEL WARTELLA (Mike Teavee). Broadway: Tuck Everlasting, Wicked. Off-Broadway: RENT, The Kid (The New Group), Seussical (Theaterworks/USA), Oliver Twist (TFANA). Regional: Chasing Rainbows (Flat Rock Playhouse, Goodspeed Opera House), Midsummer, A Prayer for Owen Meany, Denver Center Theatre Company. Film/TV: "Mysteries of Laura," Blood Night: The Legend of Mary Hatchet, Loving Leah.
JAKE RYAN FLYNN (Charlie Bucket) is thrilled to be making his Broadway debut in this dream role. Regional credits: Singing in the Rain, Mary Poppins, Billy Elliot, Shrek, A Christmas Carol. TV: Ryan in the ABC Pilot "Broad Squad." National Beautyrest commercial starring alongside, Tom Brady. Special thanks to entire Charlie Creative Team, Telsey and Co, Dwayne Clark, Sharon Carry, Kevin Hill and everyone at NSMT Much love and thanks to Mom, Dad, Joe, Mikey and Patrick.
RYAN FOUST (Charlie Bucket) is thrilled to be making his Broadway debut in the title role of Charlie and the Chocolate Factory. A native of Tampa, Florida, some of Foust's favorite regional theater credits include Annie for Kids (Rooster), Beauty and the Beast (Chip), Cinderella Kids (Jaq), Peter Pan (Michael), and Cats (Victor/Bill Bailey). This past November, Ryan competed in the Florida State Junior Thespian District competition where he earned two Superior marks and Critics Choice Awards. Ryan has garnered top academic recognition nationally as a part of the Duke TIP program and enjoys playing soccer and cross fit training when he's not involved with a show.
RYAN SELL (Charlie Bucket) is thrilled to be making his Broadway debut, and honored to be originating the role of Charlie Bucket! Previously: Charlie & the Chocolate Factory Developmental Lab, Mame (Young Patrick starring Leslie Uggams), Peter Pan (Michael Darling), Beauty & the Beast (Chip). Special thanks and gratitude to David Doan/ Mallory Tucker (CESD), Jody Prusan, Telsey & Co. and the entire Charlie team for believing in me and giving me my golden ticket! Love to Mom, Dad, Pop, Gog, Uncle Mike, Megan & Avery.
YESENIA AYALA (Ensemble). Broadway Debut! Off-Broadway: Sweet Charity (The New Group), Trip Of Love (Ipanema Girl). Tour: West Side Story (National/International). Other: BOMBSHELL: In Concert, Radio City Christmas Spectacular (NYC). 2016 Astaire Award Nominee (Off-Broadway). ECU Alum. For my family and Paris.
DARIUS BARNES (Ensemble) Broadway: Memphis, Spider-Man: Turn Off the Dark, R+H's Cinderella. Off-Broadway: Sweet Charity; TV: NBC "SMASH", "Conqueror" (Estelle, music video); Regional: A Midsummer Night's Dream (Guthrie), Cabin in the Sky (Encores!); New York City Ballet.
COLIN BRADBURY (Ensemble). NYC: Come Fly Away; Bombshell; Trip of Love; The Jack Cole Project; Radio City Christmas Spectacular; Girl Crazy. TOURS: The Book of Mormon; Come Fly Away; A Chorus Line; White Christmas; 42nd Street. REGIONAL: Ogunquit; Papermill; TUTS; PCLO; Gateway; McCarter.
JARED BRADSHAW (Ensemble). 8 years with Jersey Boys, playing all 10 featured roles in the show, and 3 years with Forbidden Broadway playing everyone else! (cast album). Favorite roles: Last Five Years, The Music Man, Jekyll and Hyde. www.jaredbradshaw.com.
RYAN BRESLIN (Ensemble) is thrilled to be back on Broadway! Broadway: Newsies (OBC Race) The Book of Mormon. TV: "Person of Interest" (CBS). Film: Hail, Caesar! (Coen Brothers). Love to family, friends, mentors, HC, and HCS.
KRISTY CATES (Ensemble). Broadway: Wicked (OBC), Finding Neverland. Chicago: Wicked (Elphaba). Other: Jerry Springer the Opera (Carnegie Hall), Marvelous Wonderettes (Missy), Ragtime (Mother), Boeing Boeing (Gloria). CD of MT @NYFA. Love to Avalon, friends, family, students. For TEAMPKG.
MADELEINE DOHERTY (Ensemble). 6th Broadway show, original casts: The Producers, Christmas Carol, Sister Act, Gigi. 10th Anniversary Les Miserables. 5 National Tours, 2 Off- Broadway, over 50 regional productions, 3 movies, 1 son, 1 grandson. 3 unions.
PALOMA GARCIA-LEE (Ensemble). Broadway: Natasha, Pierre & The Great Comet of 1812, On The Town, Nice Work If You Can Get It, The Phantom of the Opera. Love & thanks to Paul, my parents, CTG, Rachel, and the splendopulous Charlie team. @palomagarcialee
STEPHANIE GIBSON (Ensemble). Broadway: Cinderella (Gabrielle), Addams Family, Spamalot. Tours: Chorus Line (Judy), Happy Days (LoriBeth). Regional: Into The Woods (TUTS) Cabaret (Cape Playhouse), Young Frankenstein (MUNY), Rocky Horror Show (Bucks County Playhouse). TV/Film: "Up All Night," "Person of Interest," The Union.
TALYA GROVES (Ensemble) is overjoyed to be part of this company! It's a dream come true!! Previously seen in Motown the Musical (Broadway/First National). Proud Pace alum. Many thanks to: creative team, Rachel Hoffman/Telsey+Company, Team Boals, and mama.
CORY LINGNER (Ensemble). Broadway: An American In Paris (Adam u/s), On The Town (Chip/Ozzie u/s); Off-Broadway: Once Upon A Mattress (Jester, Astaire Award nom.); TV: Tony Awards, Macy's Parade, "SNL." BFA in Musical Theatre from OU.
ELLIOTT MATTOX (Ensemble). Broadway Debut! Asolo Rep: Guys and Dolls; MUNY: Young Frankenstein, Wizard of Oz, Hello, Dolly!; Cape Playhouse: The Drowsy Chaperone; Lyric Theatre Oklahoma: Spamalot, Bye Bye Birdie; Music Theatre Wichita. B.M., Oklahoma City University.
MONETTE McKAY (Ensemble) OBC debut. Broadway: Spider-Man: Turn Off the Dark, Memphis, Mamma Mia! Nat'l Tour: Mamma Mia! TV/Film: HBO's "The Night Of," "Law and Order: CI," "Pimp," and an upcoming Marvel Netflix series. Co-founder of NYC Artists of Color Collective. www.monettemckay.com
KYLE TAYLOR PARKER (Ensemble) starred as Lola in Kinky Boots on Broadway, First National (IRNE), and Canada. Other: Dream Girls (Lyric Theatre), Finnian's Rainbow (Irish Rep), Chita A Legendary Celebration, In the Heights (Tour), HAIR (ATC). Endless thanks to God, Jeff, Telsey, Professional Artists and WAM. For more follow @ktpway or visit www.kyletaylorparker.com
PAUL SLADE SMITH (Ensemble). Broadway: Finding Neverland (original company: Henshaw/Nana; final company: Charles Frohman/Captain Hook). Tours: Wicked, Phantom. Regional: Steppenwolf, Goodman, American Repertory Theatre, Chicago Shakespeare. Playwright: The Outsider, Unnecessary Farce. For Erin and, of course, Charlie.
STEPHEN CARRASCO (Swing). Broadway: Fiddler on the Roof, Kinky Boots, Ghost, Billy Elliot, and White Christmas. BFA Syracuse University. Specials thanks to Rachel, Nikki, and Leefur (the best husband ever!). Follow Stephen on Instagram @StephenCarrasco or at www.stephencarrasco.com.
KRISTIN PIRO (Swing). Kristin LOVES chocolate! Broadway: Catch Me If You Can, Rocky, An American in Paris. Off-Broadway/Tours: Memphis, Flashdance, Saturday Night Fever, Trip of Love. Love as always to my family, CGF, & David
AMY QUANBECK (Swing). Broadway debut! Minnesota native. UCIrvine, BFA Dance Performance. NYC: Then She Fell. National Tours: Wicked (Asst. Dance Captain), Dirty Dancing (Asst. Choreographer/DC), Radio City Christmas Spectacular (Clara). Thanks to Jono, family, Telsey, & DDO! AmyQuanbeck.com
MICHAEL WILLIAMS (Swing). South Carolina native thrilled to be a part of this amazing vision! Broadway: On the Town, Wicked, West Side Story. National Tour: Wicked, Twyla Tharp's Come Fly Away. Regional: Barrington Stage's Pirates of Penzance. Unconditional Love and thanks to Mom, Dad, and Mrs. W.
MIKEY WINSLOW (Swing). Bway: On The Town; American Idiot; West Side Story. Nat'l Tour: Wicked. TV/Film: "SNL;" Dirty Dancing. Thanks to TKO, my family and my friends for all their love and support. @mikeywinslow mikeywinslow.com
MARC SHAIMAN (Music/Co-lyricist) wrote the music and, with partner Scott Wittman, co-wrote the lyrics for the musical Hairspray, which won Tony and Olivier Awards for Best Musical and for which the team was awarded a Tony and Grammy Award for their score. They also collaborated on the Broadway musical Martin Short: Fame Becomes Me and, most recently, Best Musical Tony-nominated Catch Me If You Can, for which Marc was also nominated as co-orchestrator. Marc is a five-time Oscar nominee for his work on Sleepless in Seattle, The First Wives Club, Patch Adams, The American President and South Park: Bigger, Longer & Uncut. Additional film credits include When Harry Met Sally, Beaches, Misery, City Slickers, The Addams Family, A Few Good Men, Sister Act, George of the Jungle and The Bucket List. He is an Emmy Award winner for co-writing Billy Crystal's Oscar medleys, and has most recently been an Emmy, Grammy and Golden Globe nominee for the original songs he co-wrote with Scott Wittman for the television show "Smash." Additional Grammy and Emmy nominations have resulted from his collaborations with Bette Midler and Harry Connick Jr (with whom he appeared at the Royal Albert Hall). Marc's Prop 8: The Musical can be seen at FunnyOrDie.com.
SCOTT WITTMAN (Co-lyricist) co-wrote (with Marc Shaiman) the lyrics for the Tony, Grammy and Olivier-winning musical Hairspray. He also served as an executive producer on the hit film starring John Travolta. They teamed up again on Broadway for Martin Short: Fame Becomes Me, which he also directed, and Catch Me If You Can, which received a Tony nomination for Best Musical. For their original songs on NBC's musical drama "Smash," Scott and Marc were nominated for an Emmy, Grammy and a Golden Globe Award. On "Smash" they have composed songs for Jennifer Hudson, Uma Thurman, Bernadette Peters and Liza Minnelli. Their original score for the Marilyn Monroe musical Bombshell was released on Sony Records. For Patti LuPone, Scott has created and directed two Broadway shows, three recordings and two sold-out Carnegie Hall concerts. He also directed Patti LuPone in her one-woman show at Donmar Warehouse.
DAVID GREIG (Book). His award-winning work includes The Strange Undoing of Prudencia Hart (Tron, National Theatre of Scotland), Midsummer (Traverse, Soho and Tricycle), Dunsinane (RSC at Hampstead and National Theatre of Scotland), Damascus (Traverse and Tricycle), Outlying Islands (Traverse and Royal Court), The American Pilot (RSC), Pyrenees (Paines Plough), The Cosmonaut's Last Message to the Woman He Once Loved in the Former Soviet Union (Donmar Warehouse and Paines Plough) and The Architect and Europe (Traverse). Adaptations include Creditors (Donmar Warehouse), The Bacchae (Edinburgh International Festival), Tintin in Tibet (Barbican, Playhouse and UK tour), When the Bulbul Stopped Singing (Traverse), Caligula (Donmar Warehouse) and Peter Pan (National Theatre of Scotland, Traverse and Barbican). Work for children and young people includes The Monster in the Hall (TAG), Yellow Moon (TAG), Gobbo (National Theatre of Scotland) and Dr Korczcak's Example (TAG).
JACK O'BRIEN (Director) has won 3 Tony Awards for his direction of Hairspray, Henry IV and The Coast of Utopia. His other Broadway credits include It's Only A Play, Macbeth, The Nance, Dead Accounts, Catch Me If You Can, Impressionism, Dirty Rotten Scoundrels (Tony nomination), Imaginary Friends, The Invention of Love (Tony nomination and Drama Desk winner), The Full Monty (Tony nomination), More to Love, Getting Away With Murder, The Little Foxes, Damn Yankees, Two Shakespearean Actors (Tony nomination), and Porgy and Bess (Tony nomination). Off-Broadway credits include Pride's Crossing and Hapgood (Lucille Lortel Award). Other productions include Il Trittico at the Metropolitan Opera, Guys and Dolls at Carnegie Hall, Much Ado About Nothing for The Public's Shakespeare in the Park, and Love Never Dies and Hairspray (Olivier nomination) in London. Mr. O'Brien was the Artistic Director of the Old Globe Theatre from 1981 till 2007. He has directed six movies for PBS's "American Playhouse." His book, Jack Be Nimble, is published by Farrar, Strauss and Giroux.
JOSHUA BERGASSE (Choreographer) won the Emmy Award for Outstanding Choreography for NBC's "Smash." Joshua's New York theatre credits include On The Town (Tony nomination); Gigi; Little Me and It's A Bird..It's a Plane..It's Superman! (City Center Encores!); Guys & Dolls and The Sound of Music (Carnegie Hall); and Off-Broadway's The Bomb-itty of Errors, Captain Louie and Cagney. Additional theater credits include Up Here (La Jolla Playhouse), Fame the Musical (tour); Bull Durham (Alliance Theatre – Suzi Bass Nomination); Nerds (Philadelphia Theatre Company – Barrymore nomination); Secondhand Lions (Fifth Avenue Theatre); West Side Story (Stratford Festival); On The Town, Guys & Dolls, Carousel and The World Goes 'Round (Barrington Stage). Also for television, Bergasse choreographed for FOX's "So You Think You Can Dance." Most recently, Josh choreographed "Sinatra: Voice for a Century" for PBS's Live From Lincoln Center.
MARK THOMPSON (Set/Costume Design) Designs include: Mamma Mia! (worldwide), Joseph and the Amazing Technicolor Dreamcoat (worldwide), Doctor Dolittle (London), Bombay Dreams (London and Broadway), Art (worldwide), The Children's Hour (London), The Lady in the Van (London), La Bête (London and Broadway), God of Carnage (London and Broadway) and Funny Girl (Chichester Festival Theatre). For the NT: One Man, Two Guvnors (also West End and Broadway), London Assurance, She Stoops to Conquer, England People Very Nice, What the Butler Saw, The Rose Tattoo, The Madness of George III, The Day the Earth Stood Still, The Alchemist, The Duchess of Malfi, Life x 3, Arcadia, Once in a Lifetime, Henry IV Parts I & II and The Wind in the Willows. For the Donmar Warehouse: The Blue Room (also Broadway), Company (also Albery), The Front Page and Uncle Vanya/Twelfth Night (costumes only). For the Royal Court: Tribes, Birthday, Mouth to Mouth, Hysteria, The Kitchen and Six Degrees of Separation. For the Almeida: Rope, Betrayal and Party Time. For the RSC: The Unexpected Man, Measure for Measure, Hamlet, The Wizard of Oz, Much Ado About Nothing and The Comedy of Errors. Opera includes: The Mikado (Lyric), Macbeth and The Queen of Spades (Met), Peter Grimes (Opera North), Montag aus Licht (La Scala), Hansel and Gretel (Sydney Opera House) and Carmen (L'Opera Comique, Paris). Film includes: costume design for The Madness of King George. Mark is the winner of four Olivier Awards and two Critics' Circle Awards. He has been nominated for five Tony Awards. Roald Dahl's CHARLIE AND THE CHOCOLATE FACTORY was awarded the 2014 Olivier Award for Best Costume.
JAPHY WEIDEMAN (Lighting Design). Broadway: Bright Star, The Visit (Tony Nom), The Nance (Tony Nom), Of Mice and Men (Tony Nom), Airline Highway (Tony Nom), Sylvia, Old Times, The Heidi Chronicles, Macbeth (Drama Desk Nom), Cyrano de Bergerac, and The Snow Geese. Off-Broadway: Lincoln Center Theatre, The Public Theatre, NYTW, Second Stage, Playwrights Horizons, MTC, MCC, LAByrinth, and The Vineyard. Opera: Don Giovanni, Life is a Dream (Santa Fe Opera), Manchurian Candidate, Doubt (Minnesota Opera). International: West End, Royal Shakespeare Co (Stratford), La Scala (Milan), Nederlands Opera (Amsterdam), Edinburgh International Festival.
BASIL TWIST (Puppet Design) is a third generation puppeteer and the sole American to graduate from the École Supérieure Nationale des Arts de la Marionnette in Charleville-Mezieres, France. Basil's work was first spotlighted in New York by "The Jim Henson International Festival of Puppetry" with his award winning The Araneidae Show, followed by the critically praised and multiple award winning Symphonie Fantastique, Petrushka, Master Peter's Puppet Show, Dogugaeshi, La Bella Dormente Nel Bosco, Behind the Lid and Arias With a Twist. On Broadway he created and staged the puppetry in The Addams Family for which he won a Drama Desk Award and staged the puppetry for the beloved Pee-Wee Herman Show. He has received an Obie, a Drama Desk Award, five UNIMA Awards, two Bessie Awards, a New York Innovative Theatre Award, a Henry Hewes Award, a Guggenheim, a USA Artists fellowship and was most recently awarded a Doris Duke Performing Artist Award. He is the director of the Dream Music Puppetry Program at HERE in New York.
DOUG BESTERMAN (Orchestrations) Doug is the recipient of three Tony Awards for his orchestrations for Fosse, Thoroughly Modern Millie and The Producers. Broadway: Aladdin, Rocky, Rodgers + Hammerstein's Cinderella, Bullets Over Broadway, On a Clear Day…, Elf, Sister Act, How to Succeed…, Young Frankenstein, Tarzan, Dracula, Seussical, The Music Man, King David, Big, Damn Yankees and Gentlemen Prefer Blondes. International: Rocky (Hamburg), Guys and Dolls (London) and Der Schuh des Manitu (Berlin). Other productions: Flashdance (US tour), Carrie (New York), Roman Holiday (Minneapolis), Calvin Berger (New Jersey), Minsky's (Los Angeles), An American in Paris (Houston) and the ballets Take Five – More or Less, But Not for Me, Double Feature, and Frankie and Johnny…and Rose for choreographer Susan Stroman. Film and television includes: Nine, The Producers, Chicago, Captain America, Mulan, Anastasia, Pocahontas, Lincoln, Cinderella, Annie, Geppetto, South Pacific, Superstar and Scrubs. Doug has written arrangements for Christine Andreas, Toni Braxton, Beyoncé Knowles, Barry Manilow, Mandy Patinkin, Barbra Streisand and the Boston Pops Orchestra.
WARNER BROS. THEATRE VENTURES (Producer). Continuing Warner Bros.' mission of presenting the finest entertainment across all media and platforms to global audiences, Warner Bros. Theatre Ventures (WBThV) is the company's live stage play division, which develops and produces first-class musicals and other stage productions. With access to Warner Bros.' vast library of iconic film and television properties, as well as extensive relationships with top theatrical talent, WBThV is well-positioned as a dynamic and resourceful creative entity in the live theater arena. Currently represented by the London production of Roald Dahl's CHARLIE AND THE CHOCOLATE FACTORY now in its fourth and final smash years at the Theatre Royal Drury Lane, WBThV is also co-producing the Tony and Olivier Award winning Best Play The Curious Incident of the Dog in the Night-Time on Broadway. Recently WBThV was represented by the critically acclaimed Broadway production of Oscar-winner William Goldman's adaptation of Misery directed by Will Frears, starring Bruce Willis and Laurie Metcalf. As part of its ongoing development activities, WBThV is constantly exploring production opportunities, working in various capacities with award-winning theater, film and television producers. The division's roster of upcoming projects includes dramas, comedies and musicals based on both library titles and original concepts. WBThV has previously been represented on Broadway with the Tony Award-winning musical The Bridges of Madison County as well as the holiday hit Elf, which broke box office records at the Al Hirschfield Theatre during its initial run. The division also co-produced the original musical Secondhand Lions at Seattle's 5th Avenue Theatre and is readying productions of Dave, 17 Again, Beetlejuice and Dog Day Afternoon for the stage. WBThV also licenses third-party stage rights to the various properties held within the studio's vast media library, including such productions as Hairspray, The Bodyguard, Top Hat, Singin' in the Rain, The Wizard of Oz, The Color Purple, 42nd Street and Honeymoon in Vegas, Gigi, Doctor Zhivago, as well as the upcoming Diner.
LANGLEY PARK PRODUCTIONS (Producer). Kevin McCormick is President of Langley Park Productions, a studio-based production company at Warner Bros. McCormick recently produced the romantic drama The Lucky One, starring Zac Efron, and the 2011 comedy Arthur, starring Russell Brand and Helen Mirren. He was also a producer on The Gangster Squad, starring Sean Penn, Josh Brolin, Ryan Gosling and Emma Stone. Previously, McCormick was President of Production at Warner Bros. Pictures. Assuming that post in January 2008, he had day-to-day oversight of, and responsibility for, Warner Bros. Pictures' creative team and the movies produced by the company, including such award-winning and critically acclaimed films as Gran Torino; The Dark Knight, which broke box office records worldwide and is currently the third-highest-grossing film of all time, domestically; The Hangover, which is, domestically, the highest grossing R-rated comedy of all time; and the worldwide hit Sherlock Holmes. Among the studio's other films during his tenure were Get Smart, the top-grossing Harry Potter franchise, The Informant!, Watchmen and Terminator Salvation. In addition, he oversaw the division's London office and reported directly to Jeff Robinov, President, Warner Bros. Pictures Group. McCormick joined Warner Bros. Pictures in 1999 as Executive Vice President, Production, overseeing such notable films as Tim Burton's Sweeney Todd: The Demon Barber of Fleet Street, Michael Clayton, Blood Diamond, The Last Samurai, Matchstick Men, Insomnia, Syriana, and Burton's Corpse Bride and Charlie and the Chocolate Factory. McCormick began his career as an executive producer on the film Saturday Night Fever.
NEAL STREET PRODUCTIONS (Producer) was formed in 2003 by Sam Mendes, Pippa Harris and Caro Newling to produce film, television and theatre, with Nicolas Brown joining as fourth director in the company's tenth year. In 2015, Neal Street moved under the umbrella of parent company, All3Media. Previously Sam Mendes and Caro Newling established and ran the Donmar Warehouse 1992-2002. Recent theatre includes: Charlie and the Chocolate Factory by Marc Shaiman, Scott Wittman, David Greig, produced with Warner Brothers Theatre Ventures, world premiere Theatre Royal Drury Lane May 2013, opening Broadway April 2017. Also Shrek The Musical by Jeanine Tesori and David Lindsay-Abaire produced with DreamWorks Animation Broadway 2008, Theatre Royal, Drury Lane 2011, nationwide UK tour 2014-2016. The Bridge Project, a three-year transatlantic venture with the Old Vic/Brooklyn Academy of Music presenting five classic plays for worldwide stages across fifteen international cities, directed by Sam Mendes: The Winter's Tale/The Cherry Orchard with Simon Russell Beale and Rebecca Hall, The Tempest/As You Like It with Stephen Dillane and Juliet Rylance, and Richard III with Kevin Spacey. 2016/2017: The Painkiller by Sean Foley co-produced with Kenneth Branagh also featuring Rob Brydon, This House by James Graham co-produced with CFT/Headlong/Nimax at The Garrick Theatre. Previous productions include: Three Days of Rain with James McAvoy, The Vertical Hour with Julianne Moore and Bill Nighy, and world/UK premieres of The House of Special Purpose by Heidi Thomas, All About My Mother by Sam Adamson, The Hound of the Baskervilles by Steve Canny and Peepolykus, Days of Wine and Roses new version by Owen McCafferty, Anna in the Tropics by Nilo Cruz and Fuddy Meers by David Lindsay-Abaire. West End/Broadway transfers include: Merrily We Roll Along (Menier Chocolate Factory), South Downs/The Browning Version, Enron (Chichester Festival), Hamlet, Mary Stuart and Red (Donmar Warehouse) and Sunday in the Park with George. Film and television include: Heidi Thomas' series "Call the Midwife," John Logan's series "Penny Dreadful," Stuart A Life Backwards, Starter for Ten, Things We Lost in the Fire, Jarhead, Revolutionary Road, Away We Go, Blood, The Hollow Crown for BBC2 featuring Richard II (dir. Rupert Goold), Henry IV Part 1 & Part 2 (dir. Richard Eyre), Henry V (dir. Thea Sharrock), Henry VI parts 1 and 2 and Richard III (dir. Dominic Cooke) and the forthcoming Britannia written by Jez Butterworth.
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In : Orchestra / Festivals / Schools, Performings Arts, Theatre / Broadway
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text:
Bīdrūn (persiska: بیدرون) är en ort i Iran.   Den ligger i provinsen Gilan, i den norra delen av landet,  km nordväst om huvudstaden Teheran. Bīdrūn ligger  meter över havet och antalet invånare är .

Terrängen runt Bīdrūn är platt åt nordväst, men åt sydost är den kuperad. Terrängen runt Bīdrūn sluttar norrut. Den högsta punkten i närheten är Kāh Kūh,  meter över havet,  km sydost om Bīdrūn. Runt Bīdrūn är det ganska tätbefolkat, med  invånare per kvadratkilometer. Närmaste större samhälle är Lāhījān,  km öster om Bīdrūn. Trakten runt Bīdrūn består till största delen av jordbruksmark.

Medelhavsklimat råder i trakten. Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är augusti, då medeltemperaturen är  °C, och den kallaste är januari, med  °C. Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är november, med i genomsnitt  mm nederbörd, och den torraste är maj, med  mm nederbörd.

Kommentarer

Källor

Orter i Gilan

redpajama_set_name: RedPajamaWikipedia


text:
Effective treatment of pelvic lymphocele by lymphaticovenular anastomosis
Todokoro T., Furniss D., Oda K., Kawana K., Narushima M., Mihara M., Kikuchi K., Hara H., Yano T., Koshima I.
Objective Pelvic lymphocele can be a severe complication associated with surgical procedures such as pelvic lymphadenectomy. Lymphaticovenular anastomosis (LVA) is increasing in popularity as a surgical treatment for lymphedema. The aim of this study was to evaluate whether LVA is an effective treatment for lymphocele, which is caused by an obstruction of the lymphatic flow in a manner similar to the development of lymphedema. Methods Eleven female patients, who presented with lymphocele, were treated with LVA. Before the operation, 3 of them were treated with a percutaneous catheter. Lymphocele size and the volume of daily drainage were measured before and after LVA. Results The lymphocele was completely resolved in 6 patients and partially resolved in the remaining 5 patients. The mean size of the pelvic lymphocele changed from 400 ml (range 50-1050 ml) to 43 ml (range 0-120 ml) (P < 0.01). In the 3 patients who had percutaneous drainage catheters, the volume of fluid drained decreased from 340 ml/day to 20 ml/day after LVA. Conclusions Our technique is minimally invasive and is performed under local anesthesia. LVA is effective regardless of the size of the lymphocele. Therefore, LVA should be considered as a therapy for lymphocele because of its low invasiveness and its effectiveness in re-establishing circulation of lymphatic flow. Further studies should be performed to compare LVA with other minimally invasive techniques, such as percutaneous catheter and sclerotherapy. © 2012 Elsevier Inc. All rights reserved.
10.1016/j.ygyno.2012.11.014


text:
Christian Schwartz ist der Name folgender Personen:
* Christian Schwartz (Maler) (1645–1684), deutscher Maler und Vizeweinmeister
 Christian Schwartz (Schriftgestalter) (* 1977), US-amerikanischer Schriftgestalter
 Christian David Schwartz (* 1972), mexikanischer Kunstmaler, tätig in Deutschland
 Christian Friedrich Schwartz (1726–1798), deutscher Missionar

Siehe auch
 Christian Schwarz


text:
Marl forms manufacturing division
Date Announced: 23 Jul 2012
£1/4 million investment supports widening of North England electronics manufacturing and assembly business
Ulverston, UK - Marl International today announced the formation of Marl Manufacturing, a division focused on electromechanical electronic assemblies for harsh environments including defence, heavy industry and other demanding applications. Marl has invested £250,000 in expanding its design, prototyping, manufacturing and test facilities at its Ulverston, England site.
According to Managing Director Adrian Rawlinson, "Marl offers a world class electronic design and manufacturing capability on a single site. Our agility, speed and flexibility are unmatched which gives us the ability to respond to dynamically changing needs and expectations as projects evolve through their life cycle. The skills that Marl uses to develop LED assemblies for defence, industrial, lighting and other outdoor applications are transferable to other systems. Following the expansion of our facilities, we have extended our remit."
He continued, "We can offer fast turn-around and competitive pricing on small volumes, but with our sourcing and logistics expertise we can match offshore manufactured price levels on much higher volumes as well. We provide a very competitive and highly professional assembly and manufacturing service based in the UK to our wide base of customers. It doesn't have to have an LED in it for us to be able to manufacture it competitively," he concluded.
Marl has a successful history of manufacturing rugged electronic assemblies serving ultra-demanding defence applications as well as regular outdoor industrial and domestic electrical installations. For example, Marl has announced infra-red LED assemblies that provide energy efficient night vision for military vehicle crews. Marl LED assemblies have also been installed in nuclear power plant control panels, Formula 1 racing cars and a host of outdoor applications.
The newly formed Marl Manufacturing offers cable assembly, wiring looms and box build services as well as sub-assembly or complete system build including electronic PCB assembly. Design and manufacturing of bespoke housings to suit the application environment is a strength of Marl Manufacturing, given Marl's strength in addressing harsh environments.
About Marl International
Marl International has specialised in the design and manufacture of visible LED indication and illumination components and systems for nearly 40 years, to customers in the electronic, power generation, defence and telecommunications industries. Its highly trained and experienced team of over 120 design and manufacturing specialists operate from a dedicated technology park in Ulverston, England and stand ready to offer its customers a solution to any requirement. They are able to offer a range of standard products, customised to suit individual projects, or even design a specific component from scratch. Marl is a quality company. It is registered to BS EN ISO 9001:2008 standard and fully RoHS and WEEE compliant.
Marl International Limited, Marl Business Park, Ulverston, Cumbria, LA12 9BN, UK. Tel: +44 (0)1229 582430; Fax: +44 (0)1229 585155
E-mail:marketing@marl.co.uk
Web Site:www.leds.co.uk


text:
Q: Animated views resetting position after tapping textfield I have no storyboards and everything is programmatic. I have three TextFields, one of which is hidden(isHidden = true) and behind a login button, below the login button is a register button. If you tap the register button the login button slides down below the register button then the hidden textField shows using layoutSubViews() and setting isHidden to false.
My issue is that when tapping on any of the textfields the loginButton moves back to its original position. I have tried moving the textfield delegate to the viewcontroller, calling the setup() in willLayoutSubviews and didLayoutSubviews but the same thing still happens.
ViewController:
class WelcomeScreenViewController: UIViewController {

    private var currentUser: SplitterUser? {
        didSet {
            let nextViewController = MyBillsViewController()
            nextViewController.currentUser = self.currentUser
            present(nextViewController, animated: true)
        }
    }

    // swiftlint:disable line_length
    private let titleLogoLabel = TitleLabelLogo(frame: CGRect.zero, accessID: AccesID.titleLogoLabel)
    private let emailTextField = SplitterTextField(frame: CGRect.zero, accessID: AccesID.emailTextField)
    private let passwordTextField = SplitterTextField(frame: CGRect.zero, accessID: AccesID.passwordTextField)
    private let confirmPasswordTextField = SplitterTextField(frame: CGRect.zero, accessID: AccesID.confirmPasswordTextField)
    private let loginButton = SplitterButton(frame: CGRect.zero, accessID: AccesID.loginButton)
    private let registerButton = SplitterButton(frame: CGRect.zero, accessID: AccesID.registerButton)
    // swiftlint:enable line_length

    override func viewDidLoad() {
        super.viewDidLoad()
        setup()
    }

    private func setup() {
        view.backgroundColor = Color.mainBackground

        view.addSubview(titleLogoLabel)
        view.addSubview(emailTextField)
        view.addSubview(passwordTextField)
        view.addSubview(confirmPasswordTextField)
        view.addSubview(loginButton)
        view.addSubview(registerButton)

        applyCommonLayoutFeaturesToAllViews()
        placeTitleLogoLabel()
        placeEmailTextField()
        placePasswordTextField()
        placePasswordConfirmationTextField()
        placeLoginButton()
        placeRegisterButton()
        setupKeyboard()
    }

    private func applyCommonLayoutFeaturesToAllViews() {
        view.subviews.forEach { subview in
            subview.pinToSuperview(edges: [.left, .right])
            subview.translatesAutoresizingMaskIntoConstraints = false
        }
    }

    private func placeTitleLogoLabel() {
        let titleLogoLabelY = view.frame.height/4.5
        titleLogoLabel.pinTop(to: view, constant: titleLogoLabelY)
        titleLogoLabel.addHeightConstraint(with: Layout.titleLogoTextHeight)
    }

    private func placeEmailTextField() {
        emailTextField.centerYToSuperview()
        emailTextField.addHeightConstraint(with: Layout.textFieldHeight)
    }

    private func placePasswordTextField() {
        passwordTextField.pinTop(to: emailTextField,
                                 constant: Layout.textFieldHeight + Layout.spacer,
                                 priority: .required,
                                 relatedBy: .equal)
        passwordTextField.addHeightConstraint(with: Layout.textFieldHeight)
    }

    private func placePasswordConfirmationTextField() {
        confirmPasswordTextField.pinTop(to: passwordTextField,
                                        constant: Layout.textFieldHeight + Layout.spacer,
                                        priority: .required,
                                        relatedBy: .equal)
        confirmPasswordTextField.addHeightConstraint(with: Layout.textFieldHeight)
        confirmPasswordTextField.isHidden = true
    }

    private func placeLoginButton() {
        loginButton.pinTop(to: passwordTextField,
                           constant: Layout.textFieldHeight + Layout.spacer,
                           priority: .required,
                           relatedBy: .equal)
        loginButton.addHeightConstraint(with: Layout.buttonHeight)
        loginButton.addTarget(self, action: #selector(loginButtonTapped), for: .touchUpInside)
    }

    private func placeRegisterButton() {
        registerButton.pinTop(to: loginButton,
                              constant: Layout.buttonHeight + Layout.spacer,
                              priority: .required,
                              relatedBy: .equal)
        registerButton.addHeightConstraint(with: Layout.buttonHeight)
        registerButton.addTarget(self, action: #selector(registerButtonTapped), for: .touchUpInside)
    }

    @objc private func registerButtonTapped() {
        if confirmPasswordTextField.isHidden {
            animateLoginButton()
        } else {
            registerNewUser()
        }
    }

    @objc private func loginButtonTapped() {
        if !confirmPasswordTextField.isHidden {
            animateLoginButton()
            self.view.layoutSubviews()
        } else {
            //segue to next vc
        }
    }

    private func animateLoginButton() {
        if confirmPasswordTextField.isHidden {
            moveLoginButtonDown()
        } else {
            moveLoginButtonUp()
        }
    }

    private func moveLoginButtonDown() {
        //Move loginButton down revealing confirmationPasswordTextView behind it
        UIView.animate(withDuration: 0.3, animations: {
            self.loginButton.frame.origin.y += Layout.loginButtonYMovement
            self.confirmPasswordTextField.isHidden = false
        })
    }

    private func moveLoginButtonUp() {
        //Move the loginButton up, when it has finished moving hide the confirmationPasswordTextView
        UIView.animate(withDuration: 0.3, animations: {
            self.loginButton.frame.origin.y -= Layout.loginButtonYMovement
        }, completion: { _ in
            self.confirmPasswordTextField.isHidden = true
        })
    }
}

extension UIViewController {
    func setupKeyboard() {
        NotificationCenter.default.addObserver(self,
                                               selector: #selector(keyboardWillShow(sender:)),
                                               name: NSNotification.Name.UIKeyboardWillShow,
                                               object: nil)
        NotificationCenter.default.addObserver(self,
                                               selector: #selector(keyboardWillHide(sender:)),
                                               name: NSNotification.Name.UIKeyboardWillHide,
                                               object: nil)
    }

    @objc private func keyboardWillShow(sender: NSNotification) {
        self.view.frame.origin.y = Layout.welcomeScreenKeyboardMovement
    }

    @objc private func keyboardWillHide(sender: NSNotification) {
        self.view.frame.origin.y = 0
    }
}

TextField:
class SplitterTextField: UITextField, UITextFieldDelegate {

    var accessID: String!

    required init(frame: CGRect, accessID: String) {
        super.init(frame: frame)
        self.accessID = accessID
        setup()
    }

    required init?(coder aDecoder: NSCoder) {
        super.init(coder: aDecoder)
    }

    private func setup() {
        delegate = self
        backgroundColor = Color.textFieldBackground
        accessibilityIdentifier = accessID
        textAlignment = .center
        returnKeyType = .done
        placeholder = NSLocalizedString("\(accessID!)PlaceHolder", comment: "")
    }

    func textFieldShouldReturn(_ textField: UITextField) -> Bool {
        resignFirstResponder()
        return true
    }
}

I am lost for what else to try. Any ideas would be great. Thanks

A: Add a XIB file (so no Storyboard) which you type WelcomeScreenViewController as usual. Create the auto-layout constraints graphically (which is much easier).
Have a few of these constraints as outlets in your view controller code, which you then animate (together with the alpha of some subviews as needed).
I'm aware this is a completely different solution, but I think you're making things too complicated. UIViewController/XIB pairs are still a very nice and easy way to build UIs.

A: You've set constraints on your views to lay them out. Auto layout uses the constraints to compute the frames of your views. Then you modify the frame of loginButton directly:
self.loginButton.frame.origin.y += Layout.loginButtonYMovement

The next time auto layout runs, it resets the frame of loginButton based on the constraints.
To move loginButton, you need to modify the constraints that set its frame. So for example you should save (in an instance variable) the top constraint you create in placeLoginButton. Then in moveLoginButtonDown, you can modify the saved constraint's constant, and in the animation block, call self.view.layoutSubviews().

redpajama_set_name: RedPajamaStackExchange


text:
Size trumps technology as big cars dent green gains
By Josh Gordon and Federal Politics
August 30, 2009 — 12.00am
AUSTRALIA'S enduring love affair with big cars means engine technology alone will not be enough to deliver necessary cuts in greenhouse gas emissions, a government report has warned.
The report, by the Bureau of Infrastructure, Transport and Regional Economics, has added weight to demands for tough new measures to encourage the production of smaller, more efficient vehicles, including mandatory emissions standards.
It said new cars sold today are one-third more efficient than equivalent models sold three decades ago. But potential cuts in fuel consumption made possible by better technology ''have not been fully realised'' because of steadily increasing consumer demand for more powerful vehicles. ''This is a worldwide trend in the automobile sector, and it cautions against undue reliance on technology alone to deliver reductions in fuel use and emissions,'' the report said.
The report, obtained by The Sunday Age, comes as the Government considers whether to follow the United States and introduce mandatory emissions standards for light vehicles.
The Government has also ordered Treasury Secretary Ken Henry to examine as part of his tax review a range of financial carrots and sticks to encourage consumers to buy smaller, more efficient vehicles, including linking stamp duty and registration charges to vehicle emissions.
The report, based on new data stretching back 30 years, found that a typical small car with a 55-litre tank such as a 2008 Toyota Corolla can be driven nearly 150 kilometres further than an equivalent model purchased in 1979. A larger Holden Commodore with a 73-litre tank can be stretched an extra 220 kilometres.
In total, fuel efficiency has increased by 32 per cent, with a new car averaging 7.1 litres per 100 kilometres in 2008 compared with 10.5 litres in 1979. The average efficiency for all light vehicles, including cars, vans and four-wheel-drives, is now about 8.1L/100km compared with well over 10 litres 30 years ago.
The improvement means an average new car purchased today will travel 5.1 kilometres per kilogram of carbon dioxide, compared with just 3.5 30 years ago.
But the gains have been offset by a proliferation of four-wheel drives and so-called sports utility vehicles.
With more than 1 million cars being sold a year, SUVs now account for about 20 per cent of all light vehicles sold, compared with 15 per cent in 2001. During the same period, the share of passenger cars sold has fallen from 72 per cent to 61 per cent.
Transport Minister Anthony Albanese said with rising fuel prices the trend had switched back to cars that were better for the environment and cheaper to run.
But he warned more would need to be done to reduce fuel consumption and greenhouse gas emissions from the transport sector, including helping ''Australians make more informed choices''.
It is believed Mr Albanese and Mr Rudd support mandatory environmental standards for light vehicles. This follows a US Government decision in May this year to set average fuel consumption for US vehicles at about 7L/100km (35.5 miles per gallon) by 2016.


Being charged with embezzlement or any other type of employee-related fraud can ruin you financially and professionally. Embezzlement is defined in Colorado codes as the withholding of property by a person who has been entrusted with that property. An example of this would be a company bookkeeper who is entrusted with maintaining a bank account and writes checks to themselves.
Fraud is considered an act of deception. This could involve stealing credit card numbers, identity theft, or misrepresenting identity for the purposes of gaining a financial reward. In many of these cases, forgery is also involved as a signature of a person other than the person who is facing the charges is required.
Before a prosecutor can charge a person with any of these crimes, each element of the crime must be proven. This means there will likely be a long financial investigation which may include your personal finances and the finances of the company you are accused of defrauding. It is imperative that immediately upon learning you are under investigation that you deal with a Denver criminal defense attorney to ensure your rights are being protected.
Generally, employee fraud and embezzlement charges are state charges and prosecuted by the local prosecutor with the help of the Economic Crimes Unit. Only in cases where the amount stolen is under $50 will the charges be classified as a misdemeanor. This means that a guilty finding will result in a life-long record as a felon which will impact your ability to find housing, obtain student loans and secure future employment.
If you have been notified you are under investigation for fraud or embezzlement, it is important to work with a Denver embezzlement attorney immediately. Jail time, fines and the loss of your reputation will have long-lasting consequences on your life and the lives of your family members. Only by working with an attorney immediately can we help mitigate some of the results of these charges.
One of the most important things a criminal defense attorney can do is to work with prosecutors immediately to demonstrate that you are not guilty of the charges or to help mitigate the charges in the event you have had a lapse in judgment. However, without sufficient time, this may be out of our control early on.
When people fall on hard financial times, they often are not thinking clearly and they are under a great deal of stress. This often leads them to make decisions without thinking about the long-term consequences of those results.
In the event you have done something that you would not do under normal circumstances and you are concerned about the possible outcome, even if you are not under investigation, you may want to consider consulting with a criminal defense attorney in Denver. Sometimes coming forward can mitigate the problem and help you avoid jail time.
Whether you are under investigation for embezzlement or fraud, you are concerned that something you have done at work could result in fraud or embezzlement charges or you have been arrested and are facing charges, contact the Law Office of Kevin Cahill at (720) 548-2990 immediately. We will fight aggressively to preserve your rights and to minimize the impact of these serious charges or help you mount a defense if you are being unjustly accused.


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Q: Remove colmns based on average number of elements in a row A bit strange question. Given a sample dataframe:
    df =

   1    1.1     2   2.1     3   3.1     4   4.1     5   5.1

  11     22    33    44    55    66    77    88    99    12
  12     13    14    15   Nan   Nan   Nan   NaN   NaN   NaN
  11     22    33    44    55    66    77   NaN   NaN   NaN

I want to drop columns containing NaN values. But sometimes my NaN's start from 3rd column, so I do not want to drop them. I want to do some approximation or mean. I want to check average length of the rows before NaN and drop the rest.
Example:

*

*1st row has 10 points

*2nd row has 4 points

*3rd row has 6 points

Thus average will be 7. So my data will be:
    df =

   1    1.1     2   2.1     3   3.1     4

  11     22    33    44    55    66    77
  12     13    14    15   Nan   Nan   Nan
  11     22    33    44    55    66    77

Ot maybe you can suggest other Data Preparing method

A: If the NaN's are going to always be last in rows (eg, you won't have the first column as a NaN, second column a value, then a NaN etc...), you could do something like:
df.iloc[:, :int(df.count(axis=1).mean())]

Which'll give you:
    0   1   2   3     4     5     6
0  11  22  33  44  55.0  66.0  77.0
1  12  13  14  15   NaN   NaN   NaN
2  11  22  33  44  55.0  66.0  77.0


Sam's Club is set to open the doors of its Dallas innovation center that is a quarter of the size of its average club at only 32,000 square feet and will act as the testing grounds for technology including cashierless, mobile checkout and augmented reality laced throughout the store.
The new location, which will be dubbed Sam's Club Now, will be the first of its kind to offer a mobile-first experience driven by the new Sam's Club Now app that will allow shoppers to scan each item with their smartphone and check out with a single scan by an associate of a QR code that encompasses their entire basket.
Additionally, the wholesaler will be testing smart shopping lists that use machine learning and past purchases to auto-fill a customer's shopping list as well as a voice search-driven navigation feature that will use a map to direct members to the item they are looking for.
"Eventually, we'll be able to use beacon technology and a member's smart shopping list to map the best route through the club," Jamie Iannone, CEO of SamsClub.com and EVP of membership and technology, wrote in a company blog post.
Augmented reality will be used to show shoppers different ways to use items around the store and will also feature information such as how items are sourced. Iannone shared that other fun plays on augmented reality are in the works, such as turning the shoppers' cart into a pirate ship or rocket.
The technology-driven system opens up a new position, the Member Host, who can be thought of as the "concierge of the club," Iannone said.
"We'll empower them with new technology that will allow them to serve members better and faster," Iannone wrote. "We've known for a long time our associates make the difference, and that won't change just because shopping preferences evolve."
Iannone said that since launching the Sam's Club Scan & Go app two years ago, the retailer has seen more than 90% of members who use it try it again on their next trip, and regular use was up 40% this year.
Michael Jaszczyk, CEO of GK Software USA, said the wholesaler's move toward mobility through scan and go and smart shopping "demonstrates how retailers are realizing that mobile phones are an essential tool for delivering an excellent customer experience."
The wholesaler will also test electronic shelf labels that instantly update prices and plans to use more than 700 cameras in-store to help manage inventory.
"We're committed to redefining work in all areas of the club," Iannone wrote. "We know our associates love being on the floor helping members. So we'll design and test new tech-empowered ways of working that give our associates and our members the best Sam's Club experience."
Iannone added that Sam's Club is using all available technology, including "computer vision, AR (augmented reality), machine learning, artificial intelligence, robotics, just to name a few," in order to "redefine the retail experience today and into the future."


We've just added a new article to the learning section of our site. It contains information on the different types of laying hens available in Ireland and where they can be purchased.
The article starts with a description of the different types of hens and the distinction between the two main categories. It then links to two further articles as follows.
(1) The list of available laying hens in Ireland. We have concentrated on hybrid hen varieties as these are the most common type of chicken to keep in a family garden for eggs. This list is information that isn't currently available in Ireland.
(2) A directory of suppliers of these types of hens in different parts of Ireland. We will develop this directory over time and welcome any feedback on suppliers or details of additional suppliers that you recommend.