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Die Schöne und das Biest (Originaltitel: Beauty and the Beast) ist ein Musical, das von der Autorin Linda Woolverton, den Textern Howard Ashman und Tim Rice sowie dem Komponisten Alan Menken in Anlehnung an den gleichnamigen Walt-Disney-Zeichentrickfilm geschrieben wurde. Der Stoff basiert auf einem französischen Volksmärchen gleichen Namens. Es feierte am 18. April 1994 unter der Regie von Robert Jess Roth am Palace Theatre auf dem Broadway in New York seine Weltpremiere und erreichte bis heute rund 25 Millionen Menschen in 13 Ländern. Das Musical wurde für neun Tony Awards nominiert und gewann 1998 den Laurence Olivier Award.

Handlung

Zusammenfassung
Im Musical geht es um die märchenhafte Liebesgeschichte zwischen der schönen Belle und einem verwunschenen Prinzen, den eine Zauberin wegen seiner Unfreundlichkeit einst in ein Biest verwandelte. Erst wenn das Biest anderen Menschen Liebe gibt und sie von anderen empfängt, kann der Fluch gebrochen werden. Als Belle in seinem Schloss Unterschlupf sucht, versucht er mit Hilfe seiner Schlossdiener, Belles Herz zu erobern.

Erster Akt
In einer kalten Winternacht sucht eine alte hässliche Frau im Schloss eines Prinzen Zuflucht, obwohl sie als Gegenleistung nichts als eine Rose bei sich hat. Arrogant und herzlos weist sie der Prinz ab, weil sie hässlich ist. Die alte Frau warnt ihn, dass wahre Schönheit aus dem Herzen kommt, aber der Prinz lässt sich nicht beirren. Daraufhin verwandelt sich die Frau in eine wunderschöne Zauberin und der Prinz bittet um Vergebung. Doch die Zauberin belegt das gesamte Schloss mit einem furchtbaren Fluch. Der Prinz verwandelt sich in ein schreckliches Biest und sein Gefolge in Hausrat wie Teetassen, Besen, Gabeln und Möbel. Erst wenn das Biest vor dem Fall des letzten Blütenblatts der verzauberten Rose zu lieben lernt und auch selbst Liebe empfängt, kann der Fluch gebrochen werden. Wenn die Rose alle Blüten verloren hat, sind die Schlossinsassen für immer ihrem Schicksal ergeben. Als einziges Fenster zur Außenwelt bleibt ihm ein magischer Spiegel, der ihm alles zeigt, was er sehen will. Als die Jahre vergehen, fällt das Biest in Depression und fragt sich, wer ein solch abscheuliches Monster wie ihn lieben könnte.

Derweil wohnt Belle mit ihrem Vater Maurice in einem kleinen französischen Dorf. Die Dorfbewohner beäugen sie wegen ihrer Vorliebe für Bücher argwöhnisch, doch wissen sie, dass sie die Schönste im Dorf ist. Das bemerkt schließlich auch Gaston, ein Jäger und der Besitzer der Taverne. Er drängt sie, ihn zu heiraten, aber Belle findet ihn unanständig und eingebildet.

Maurice testet indes seine verrückte Erfindung, jedoch gibt sie kurz darauf ihren Geist auf. Er redet sich ein, dass er nie etwas zustande bringen wird und ihn die Leute nie so akzeptieren werden, wie er ist. Doch Belle macht ihm wieder Mut und gemeinsam singen sie von ihrer gegenseitigen Zuneigung (Was auch geschieht, engl. No Matter What). Nachdem Maurice seine fahrbare Erfindung repariert hat, will er sie auf einem Wettbewerb vorführen. Belle schenkt ihm zum Abschied einen selbstgestrickten Schal. Maurice verfährt sich mit seiner Erfindung im Wald und wird von Wölfen aufgegriffen. Panisch vor Angst rennt er blind durch den Wald und landet zufällig beim Schloss des Biestes.

Lumière, der Oberkellner des Schlosses, der sich in einen Kerzenständer verwandelt hat, lässt ihn unter den Protesten von Herr von Unruh, dem Hausmeier, der nun eine Uhr darstellt, in das Schloss hinein. Die Diener des Hauses, alle in Form von Hausratsgegenständen, sorgen für ihn. Babette, ihres Zeichens ein Staubwedel, wärmt ihn auf und Madame Pottine, eine freundliche Teekanne, gießt ihm ein wenig Tee in ihren Sohn, der eine Teetasse ist. Als schließlich das Biest in den Raum kommt, ist es außer sich. Maurice habe Hausfriedensbruch begangen und er sperrt ihn als Gefangenen in das Schlossverlies.

Im Dorf macht sich derweil Gaston bereit, Belle zu heiraten. Als er sie sieht, besingt er sie mit einem selbstdarstellenden Heiratsantrag (Ich , engl. Me). Sie weist ihn erneut ab und lässt ihn verwirrt zurück. Als sie sich versichert hat, dass er außer Reichweite ist, beteuert sie ihren Wunsch nach Reisen und Entdecken und dass sie dem Provinzleben entkommen will (Belle Reprise). Kurz darauf begegnet sie Lefou, dem Handlanger von Gaston, der Maurices Schal trägt. Belle realisiert, dass ihrem Vater etwas zugestoßen sein muss, und sie bittet Lefou, sie dahin zu führen, wo er den Schal gefunden hat. Doch er will nicht und Belle macht sich allein auf den Weg. Auch sie führt es zum Schloss, wo sich Lumière und Herr von Unruh gegenseitig trösten. Bis die letzte Rosenblüte fällt, ist nicht mehr viel Zeit.

Als Belle das Schloss betritt, erkennen die Schlossdiener, dass sie als junge Frau diejenige ist, die den Fluch brechen könnte. Belle gelangt in das Verlies und findet dort ihren Vater, doch das Biest ist nicht bereit, ihn ohne Weiteres gehen zu lassen. Aus Angst, ihr Vater könne im Kerker sterben, opfert sich Belle und bietet sich anstelle ihres Vaters als Gefangenen an. Das Biest ist einverstanden und Maurice darf gehen. Belle muss von nun an für immer im Schloss bleiben. Lumière überredet das Biest, Belle doch wenigstens eine angemessene Bleibe zu geben, wenn sie schon für immer bleibt. Sie wird auf ihr Zimmer gebracht und angewiesen, an diesem Abend mit dem Biest zu speisen. Sie versucht ihre neue Situation zu akzeptieren (Zuhause, engl. Home). Sie macht mit Madame de la Grande Bouche Bekanntschaft, einer Operndiva, die sich in einen Kleiderschrank verwandelt hat. Die Diener versuchen Belle ausgehfertig zu machen, doch sie will nicht mit dem Biest speisen.

In der Dorftaverne ist Gaston deprimiert, weil ihm Belle einen Korb gegeben hat. Die Leute muntern ihn wieder auf, indem sie ein Loblied auf ihn singen (Gaston). Maurice stürmt herein und versucht den Anwesenden zu erklären, was mit Belle passiert ist. Doch die Dorfbewohner denken, er ist verrückt, und Maurice entscheidet sich dafür, Belle allein zu retten. Gaston hat in diesem Moment eine Idee, die er Lefou mitteilt (Gaston Reprise).

Im Schloss ist Herrn Unruh inzwischen eine Aufziehkurbel gewachsen, was ihn sehr traurig macht. Das macht den Dienern des Hauses klar, dass sie für immer in der Gestalt der Gegenstände bleiben müssen, wenn der Fluch nicht bald gebrochen wird. Da erscheint das Biest und will wissen, wo Belle ist. Als er erfährt, dass sie nicht zum Essen kommt, stürmt er in ihr Gemach und befiehlt ihr, am Dinner teilzunehmen. Das jedoch lehnt sie weiterhin ab, selbst nachdem sich das Biest dazu überwunden hat, »bitte« zu sagen. Das Biest wird daraufhin sehr verärgert und droht ihr, sie werde gar nichts zu essen bekommen, wenn sie nicht mit ihm speise. Die Hausdiener sehen ihre Chancen schwinden, eines Tages wieder normale Menschen zu sein, doch Madame Pottine muntert sie wieder auf, nicht aufzugeben. Das Biest sieht in den Spiegel und erblickt Belle, wie sie sich ihm weiterhin verweigert (Wie lang noch soll das gehen?, engl. How Long Must This Go On?).

Als Belle schließlich hungrig wird, wagt sie sich in das Schloss, wo sie auf die Diener trifft. Ihre Frage nach dem Abendbrot wird sofort von Herrn Unruh zurückgewiesen, aber die anderen überreden ihn letztendlich zum Einlenken. Während Lumiére feierlich das Menü serviert, unterhalten er und alle anderen Diener des Schlosses Belle mit einer fulminanten Cabaret-Show (Sei unser Gast, engl. Be Our Guest).

Nach dem Essen wird Belle unter der Führung von Herrn Unruh durch das Schloss geführt. Während der Tour setzt sich Belle heimlich beim Westflügel ab, dem einzigen Teil des Schlosses, den ihr das Biest eindringlich verboten hatte zu betreten. Dort sieht sie schließlich die verzauberte Rose. Als sie versucht, sie zu berühren, stürmt das Biest wütend herbei und schreit sie an, sie soll verschwinden. Als sie versucht, den Flügel zu verlassen, ergreift es sie unsanft. Erschrocken, dass er sie so grob berührt hat, verlässt sie das Schloss eiligst. Das Biest begreift, dass es etwas falsch gemacht hat, doch es ist zu spät, sich zu entschuldigen (Wie kann ich sie lieben, engl. If I Can't Love Her).

Zweiter Akt
Auf ihrer Flucht gerät Belle in ein Rudel Wölfe, doch das Biest kommt ihr zu Hilfe. Sie hat die Gelegenheit zur Flucht, aber sie bemerkt, dass das Biest verletzt ist, und bringt ihn zurück zum Schloss. Dort pflegt sie es und das Biest bietet ihr die Schlossbibliothek zum Stöbern an. Die Schlossdiener bemerken die neue Freundschaft zwischen den beiden (Wer hätt's gedacht, engl. Something There).

Belle kommt auf die Idee, zusammen mit dem Biest ein Buch zu lesen; doch sie bemerkt, dass es nicht lesen kann. Sie bietet ihm an, es ihm beizubringen; doch erst mit dem Versprechen, sie werde mit ihm speisen, kann sie ihn dazu überreden. Die Schlossdiener freuen sich darauf, bald wieder richtige Menschen zu werden (Mensch wieder sein, engl. Human Again).

Währenddessen treffen sich Gaston und Lefou mit dem Leiter des Irrenhauses, Monsieur d'Arque. Gaston bittet ihn, Maurice für verrückt zu erklären und ihn einzusperren, um Belle damit zu zwingen, ihn zu heiraten (Maison des Lunes, engl. Le Maison de Lunes).

Als das Biest sich für das Abendessen bereit macht, teilt er Lumiére und Herrn Unruh seine Bedenken mit, Belle könne über ihn lachen, wenn er ihr seine Liebe gestehe. Sie stärken sein Selbstbewusstsein, indem sie ihm bestätigen, wie ansehnlich er sich herausgeputzt hat. Belle erscheint und sie haben ein wunderbares Dinner. Sie tanzen miteinander (Die Schöne und das Biest, engl. Beauty And The Beast). In dem Moment, wo das Biest Belle seine Liebe gestehen will, klagt sie darüber, ihren Vater nicht sehen zu können. Das Biest erlaubt ihr daraufhin, in den magischen Spiegel zu schauen. Sie sieht, dass ihr Vater sich im Wald verlaufen hat. Hin- und hergerissen, was es eigentlich will, lässt das Biest sie ziehen und schenkt ihr den Spiegel. Herr Unruh, Madame Pottine und Lumiére treten auf den Plan, um ihm zu dem fantastischen Abendessen zu gratulieren, und sind niedergeschlagen, als sie erfahren, dass Belle fort ist. Madame Pottine bemerkt, dass er sie liebt und dass die Liebe nur noch erwidert werden muss.

Als Maurice und Belle wieder zu Hause sind, fragt Maurice Belle, wie sie dem Biest entkommen konnte. Sie erzählt ihrem Vater, wie das Biest sie hat gehen lassen und wie sich ihre Erwartungen vom Leben verändert haben (Wandel, engl. A Change in Me). Danach erscheint eine Gruppe aus dem Dorf, die Maurice in das Irrenhaus bringen möchte. Gaston bietet Belle an, ihren Vater zu retten, wenn sie ihn heiratet, doch sie lehnt ab. Belle will beweisen, dass ihr Vater nicht verrückt ist, und zeigt den Dorfbewohnern das Biest im Spiegel. Sie bekommen es mit der Angst zu tun. Gaston überspielt seine Angst und überzeugt die Leute, das Biest sei eine Bedrohung für die Dorfgemeinschaft und müsse getötet werden (Tod dem Biest, engl. Mob Song).

Die Leute aus dem Dorf ziehen zum Schloss und verwickeln die Schlossdiener in einen Kampf. Gaston kämpft mit dem Biest, doch das Biest, niedergeschlagen in dem Glauben, Belle werde nie zurückkehren, wehrt sich nicht. Er verteidigt sich nur selber, als Gaston davon spricht, Belle zu heiraten. Als das Biest Gaston schließlich töten will, realisiert er, dass er es nicht über sein Herz bringt. Gaston ergreift die Gunst der Stunde und rammt dem Biest einen Dolch in den Rücken. In dem Moment verliert Gaston das Gleichgewicht und fällt vom Dach. Inzwischen ist Belle bei dem Biest. Er legt seinen Kopf in ihren Schoß und ist dabei zu sterben. Belle beginnt zu weinen und sagt, dass sie ihn liebt, noch kurz bevor das letzte Blütenblatt der Rose zu Boden fällt. Das bricht den Zauber und das Biest verwandelt sich in einen schönen Prinzen. Auch die Schlossdiener werden wieder zu Menschen. Das Biest und Belle küssen sich. Am Ende ist Belle auch wieder mit ihrem Vater vereint und singt mit allen Figuren das Schlusslied (Die Schöne und das Biest Reprise, engl. Beauty And The Beast Reprise).

Auszeichnungen

 Tony Awards 1994
 Beste Kostüme (Ann Hould-Ward)
 nominiert für:
 Bestes Musical
 Bester Hauptdarsteller in einem Musical (Gary Beach)
 Bester Hauptdarsteller in einem Musical (Terrence Mann)
 Beste Hauptdarstellerin in einem Musical (Susan Egan)
 Bestes Musicallibretto (Linda Woolverton)
 Beste Originalmusik (Alan Menken, Howard Ashman und Tim Rice)
 Beste Musicalregie (Robert Jess Roth)
 Bestes Lichtdesign (Natasha Katz)
 Drama Desk Awards 1994
 nominiert für:
 Bestes Musical
 Bester Hauptdarsteller in einem Musical (Terrence Mann)
 Beste Hauptdarstellerin in einem Musical (Susan Egan)
 Beste Nebendarstellerin in einem Musical (Burke Moses)
 Beste Choreographie (Matt West)
 Beste Orchestration (Danny Troob)
 Beste Texte (Howard Ashman, Tim Rice)
 Beste Musik (Alan Menken)
 Bestes Sounddesign (T. Richard Fitzgerald)
 Beste Spezialeffekte (Jim Steinmeyer, John Gaughan)
 Theatre World Award
 für Burke Moses
 Laurence Olivier Award

Das Stück in Österreich und Deutschland

Zur deutschsprachigen Uraufführung in Europa gelangte das Disney-Musical am 28. September 1995 am Raimund Theater in Wien, wo Ethan Freeman die Hauptrolle des Biests verkörperte. Steve Barton übernahm dann ab dem 1. Dezember 1996 die Hauptrolle des verwunschenen Prinzen und kam aus diesem Grund nach mehr als 12 Jahren Absenz wieder an die Vereinigten Bühnen nach Wien zurück. Caroline Vasicek war an der Seite beider Herren in der Hauptrolle als die Schöne zu sehen. Am 30. Juni 1997 fand nach einer Laufzeit von insgesamt 22 Monaten und über 600.000 Besuchern die letzte Vorstellung des Musicals in Wien statt.

In Deutschland wurde Die Schöne und das Biest bisher im Palladium Theater Stuttgart und im Metronom Theater Oberhausen sowie im Berliner Theater am Potsdamer Platz aufgeführt. In der Hauptrolle als Biest (Original Cast) war Uwe Kröger von Dezember 1997 bis Dezember 2000 in Stuttgart zu sehen. Leah Delos Santos spielte die Hauptrolle der Schönen.

Am 18. Dezember 2005 feierte das Disney-Musical Premiere im Metronom Theater Oberhausen (früheres TheatrO CentrO, welches zu diesem Zweck von einem modernen Theater mit mehreren Stegen und Satellitenbühnen in ein traditionelles Guckkastentheater umgebaut wurde). Produziert wird die Show von Stage Entertainment. Bei der Oberhausener Inszenierung handelt es sich aber um eine im Vergleich zur Broadway (oder Stuttgarter) Version sehr abgespeckte Version was Bühne, Kostüme und Effekte angeht. Die bombastische Rückverwandlung des Biestes ist in dieser Version auf einen simplen "Kleidungswechsel", der durch etwas Rauch kaschiert wird, reduziert. Das deutlich verkleinerte Orchester kann unmöglich den vollen Klang der raffinierten Partitur, den Freunde des Originals so lieben, wiedergeben. Dafür enthält die neue Version nun Belles zusätzlichen Solosong "Change In Me" welcher bisher nur in der erweiterten englischen Fassung zu sehen war.

Im Sommer 2011 fand beim Magdeburger DomplatzOpenAir die Freilicht-Premiere in einer eigens dafür entwickelten Inszenierung statt. Die Titelrollen übernahmen – wie in Berlin und Oberhausen – Leah Delos Santos und Yngve Gasoy-Romdal.

Vom 26. Juli 2013 bis 17. August 2013 wurde das Musical auf der Felsenbühne Staatz erstmals in einer Freilicht-Aufführung in Österreich von Werner Auer inszeniert. Die erste deutschsprachige Amateuraufführung fand am 11. Juni 2016 am Goldberg-Gymnasium in Sindelfingen statt.

Premierenbesetzungen

Spielorte

Jeweils mit den Premierenterminen bzw. dem Spielzeitraum.

Deutschsprachige Aufführungen

Ensuite-Produktionen
 Wien: Raimundtheater: Premiere: 28. September 1995, Derniere: 29. Juni 1997
 Stuttgart: Palladium Theater: Premiere: 5. Dezember 1997, Derniere: 22. Dezember 2000
 Oberhausen: Metronom Theater: Premiere: 18. Dezember 2005, Derniere: 28. Januar 2007
 Berlin: Theater am Potsdamer Platz: Premiere: 9. März 2007, Derniere: 10. September 2007

Tour-Produktion (seit 2010)
Bei der Tour-Produktion handelt es sich um eine deutschsprachige Produktion des Budapester Operettentheaters.

 München: Prinzregententheater: Premiere: 18. Dezember 2010, Derniere: 27. Dezember 2010
 München: Deutsches Theater: Premiere: 27. Oktober 2011, Derniere: 19. November 2011
 Köln: Musical Dome: Premiere: 1. Dezember 2011, Derniere: 18. Dezember 2011
 Tournee (Dresden, Mannheim): Premiere: 12. Juli 2012, Derniere: 12. August 2012
 Tournee (Wien, Frankfurt): Premiere: 29. November 2012, Derniere: 6. Januar 2013
 Baden-Baden: Festspielhaus Baden-Baden: Premiere: 23. Januar 2013, Derniere: 27. Januar 2013
 Tournee (Leipzig, Köln, Hamburg): Premiere: 12. Juli 2013, Derniere: 18. August 2013
 Tournee (Zürich, Essen, Bremen): Premiere: 27. November 2013, Derniere: 12. Januar 2014
 Hannover: Opernhaus Hannover: Premiere: 30. Juli 2014, Derniere: 10. August 2014
 Tournee (Berlin, München): Premiere: 28. November 2014, Derniere: 11. Januar 2015
 Düsseldorf: Deutsche Oper am Rhein: Premiere: 1. Juli 2015, Derniere: 12. Juli 2015
 Köln: Musical Dome: Premiere: 9. September 2015, Derniere: 27. September 2015
 Basel: Musical Theater: Premiere: 25. November 2015, Derniere: 13. Dezember 2015
 Essen: Colosseum Theater: Premiere: 25. Dezember 2015, Derniere: 3. Januar 2016
 Tournee (Frankfurt, Duisburg): Premiere: 13. Juli 2016, Derniere: 31. Juli 2016
 Tournee (Berlin, Zürich, Wien, Baden-Baden): Premiere: 8. Dezember 2016, Derniere: 22. Januar 2017
 Tournee (Graz, Dresden, Linz): Premiere: 28. Juni 2017, Derniere: 20. August 2017
 Tournee (Bremen, Köln, Frankfurt, Luxemburg): Premiere: 6. Dezember 2017, Derniere: 21. Januar 2018
 Leipzig: Oper Leipzig: Premiere: 4. Juli 2018, Derniere: 8. Juli 2018
 Mannheim: Nationaltheater Mannheim: Premiere: 30. Juli 2018, Derniere: 5. August 2018
 Frankfurt: Alte Oper: Premiere: 22. August 2018, Derniere: 26. August 2018
 Tournee (Wien, Bregenz, München, Nürnberg, Essen, Köln, Berlin): Premiere: 7. November 2018, Derniere: 20. Januar 2019
 Köln: Musical Dome: Premiere: 21. November 2019, Derniere: 1. Dezember 2019
 Tournee (München, Köln): Premiere: 18. Dezember 2019, Derniere: 19. Januar 2020

OpenAir Produktionen

 Magdeburg: DomplatzOpenAir: Premiere: 17. Juni 2011, Derniere: 9. Juli 2011
 Staatz: Felsenbühne Staatz: Premiere: 26. Juli 2013, Derniere: 17. August 2013

Das Theater Magdeburg hatte die Aufführungsrechte für die Disney-Version von "Die Schöne und das Biest" erhalten und brachte im Sommer 2011 eine Open-Air-Version auf den Magdeburger Domplatz. Das Stück mit Songs von Alan Menken wurde von Helga Wolf inszeniert. Die Titelrollen übernahmen – wie zuletzt bei der Stage-Entertainment-Produktion des Musicals in Oberhausen und Berlin – Leah Delos Santos und Yngve Gasoy-Romdal.

Internationale Spielorte

 18. April 1994 – New York City, Palace Theatre (Weltpremiere)
 8. Juni 1995 – Melbourne, Princess Theatre
 23. November 1995 – Tokio, Akasaka Musical Theatre
 8. Mai 1997 – Mexiko-Stadt, Teatro Orfeon
 13. Mai 1997 – London, Dominion Theatre
 26. November 1998 – Buenos Aires, Opera Theatre
 2. Dezember 2000 – Madrid, Teatro Lope de Vega
 8. August 2004 – Seoul, LG Arts Centre
 2. Oktober 2005 – Amsterdam, Koninklijk Theater Carré
 25. Januar 2007 – Antwerpen, Stadsschouwburg Antwerpen

Weblinks
 Informationen zum Musical Die Schöne und das Biest
 Fanpage zum Musical Die Schöne und das Biest

Einzelnachweise

Musical (Werk)
Alan Menken
Musik 1994

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Crew claims three golds at Rumson | The Triangle
Crew claims three golds at Rumson
By Adam Hermann
The Drexel University men's and women's crew teams are back on the water and competing once again. Both teams opened the fall season Sept. 29, with the women earning two gold medals and the men earning one at the Rumson Boat Race in Rumson, N.J.
Ladies and gentlemen, ready your oars, because Drexel University's varsity crew teams are back, and it is a case of deja vu. For the second consecutive year, the Dragons christened their fall season by taking three of the four events at the third annual Rumson Boat Race held Sept. 29 on the Navesink River in Rumson, N.J.. The Rumson is a small-scale regatta with a field that varies from year to year. This year the event featured competition from Rutgers University, Villanova University, Bucknell University and Army.
The Dragons' results were nearly identical to their equally successful 2011 races, when they won all three races in which they competed. As was true last year, both women's varsity eight boats won their respective races, winning both the Governor's Cup and the Mayor's Cup for the second consecutive year. The Drexel men brought home their second consecutive Governor's Cup as well to complete a successful day on the Navesink.
The women's Governor's Cup victory came over Villanova by 27 seconds in the first women's varsity race. The team was made up of coxswain Catherine Hamilton, stroke Olivia Babiec, Colleen Delaney, Julia Jackson, Samantha Cowan, Amanda O'Malley, Elizabeth Daugherty, Mollie Cusack and bow Elizabeth Campanella, who cruised to victory with a time of 9:21.52.
The women's Mayor's Cup was also an open-water victory for the Dragons over Villanova, this time by 19 seconds, in a winning time of 9:05.82. The Mayor's Cup team featured Sarah Messenger, Amanda Kleuser, Bridget Pfeifer, Jackie Bender, Emily Gartland, Amanda Dargay, Alyssa Leahy, Jayme Batcher, and bow Elise Levito.
Over on the men's side of the waters, the races were decided by much narrower margins. Drexel's men's Governor's Cup eight boat finished ahead of Rutgers by just three-quarters of a length with a winning time of 8:02.48. The Governor's Cup team was comprised of coxswain Marc Smith, stroke Sebastian Ryan, Vanja Busic, Michael Faust, Ryan Mallgrave, John Pieper, Adam Cordi, Kurt Linton and bow Hartman Byers.
In the male Mayor's Cup, the men's second team fought hard in the fastest race of the day. The crew came within just two seats and 1.64 seconds of finishing a perfect day for the Dragons as they lost a nail-biter to Army, finishing in 7:52.70. Stroke Grigorios Papadourakis, Brian McCabe, Timothy Drake, Ryan McSpedon, Dean Hill, Jake Murphy, Jacob Smith and bow Andrew Weinstein propelled the team to the second-place finish.
After a few days of reflection on the results, Director of Rowing and head coach Paul Savell talked about the Rumson victories.
"Winning is a great way to start off the season, especially against rival teams we see often," he said. "We are very happy with the progress the team has made so far this season.
And yet Savell made it clear that he aspires for this team to reach even loftier heights than simply winning their first races of the season.
"We have what it takes to make this a strong year," he said when asked about his confidence level with the teams. "It won't be easy, but these guys aren't afraid of hard work. Last year we had historic results, and we have a lot of strong rowers returning from that group who are determined to win again this year."
Looking ahead, the Dragons' next race will be their veritable home opener Oct. 13 at the Navy Day Regatta on the waters of the Schuylkill River. Last year the Dragons finished three second-place boats.
"This race has some of the best competition we'll see all fall," Savell said when asked about the Navy Day Regatta. "We had really strong results across the board last year, and we're looking to repeat that this year."

redpajama_set_name: RedPajamaCommonCrawl


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\section{Introduction: Dark Matter and the WIMP scenario}
In recent years the abundance of cosmological data, such those provided by the WMAP satellite observations\cite{WMAP} or by the studies of Ia supernovae\cite{snIa}, confirmed that only the 26\% ($\Omega_m$ = 0.26) of the energy balance of the Universe is under the form of matter. Moreover, in this percentage, only the 19\% is composed by baryonic matter ($\Omega_b$ = 0.044). This means that the 81\% of matter in our Universe has a non baryonic nature ($\Omega_{cdm}$ = 0.21). This component, called Dark Matter (DM) since not luminous, is necessary to explain a lot of phenomena: among others the rotational curves in spiral galaxies\cite{rotational} and the Bullet cluster merging\cite{bullet}.

Candidates for DM must be massive, neutral, stable on cosmological time scales and only weakly and gravitationally interacting. Since neutrinos have relativistic velocities they can not be interpreted as possible DM candidates because they were not able to form the current structures of the Universe. Thus, no Standard Model particles share these properties. One of the most popular and tested scenario is that of Dark Matter composed of the Weakly Interacting Massive Particles (WIMPs). The previous listed characteristics can be reproduced in several models\cite{bertone}. In this paper we take into account the two most accredited models: Supersymmetry (SUSY) and Universal Extra Dimensions (UED), in particular their constrained versions: CMSSM and mUED, where the WIMP particles (lightest neutralino and lightest Kaluza-Klein particle) are stable due to the conservation of R-parity and of KK-parity respectively.

There are two ways to experimentally detect WIMPs of our galactic halo\cite{comparison}.
The first is the direct search, which aim is to detect the recoil energy of the nuclei; the second is the indirect search, based on the detection of the products of WIMP annihilations in massive celestial bodies (stars, planets, galaxies).
WIMPs loose energy through elastic scattering on nuclei and can be gravitationally captured in massive objects like the Sun, where they reach the inner core and there they can self-annihilate (being Majorana particles) producing some Standard Model particles that eventually decay producing neutrinos\footnote{The interaction producing directly neutrinos (of the same energy of the WIMP mass) is suppressed for non relativistic particles in the CMSSM case and permitted in the mUED one.} that can be observed at Earth with large neutrino telescopes.

\section{Large neutrino telescopes}
Several neutrino telescope have been built in recent years. This kind of telescopes are based on the detection of the Cherenkov light induced by the propagation of relativistic muons generated by neutrino interactions in transparent media like water or ice. Given the small value of neutrino cross-section and the decrease of the flux with the increasing energy, detectors of big mass are necessary. Here we focus on the IceCube and ANTARES experiments.

Since the Earth acts as a shield against all the particles except neutrinos, a neutrino telescope mainly uses the detection of up-going muons as a signature of a muon neutrino ($\nu_{\mu}$) interaction in the Earth below the detector. The muon, travelling in water or ice, induces Cherenkov light that can be detected by the optical modules. The big range of distance covered by muons, permit to observe also interactions that happened hundreds meters far from the detector. Neutrinos of different flavours can also be detected, but with less efficiency and angular precision because the travelled distances of the respective leptons are short. IceCube can detect muons with a minimum energy of 10-20 GeV with the DeepCore extension, while ANTARES is able to detect muons with a minimum energy of 20 GeV and also the neutrino direction with an accuracy of roughly 0.3$^{\circ}$ for energies beyond 10 TeV.

\subsection{The IceCube experiment}
IceCube is the largest neutrino observatory in the world\cite{icecube}. It is located at the South Pole immersed in the ice. It consists of 4800 optical sensors or Digital Optical Modules (DOMs) installed on 80 strings between 1450 m and 2450 m below the surface: 1 km of instrumented lines. The in-ice array is complemented by a surface array, IceTop, composed of 160 ice-tanks at the top of the strings. Each tank contains two DOMs. There is also a more dense region of further 6 strings called DeepCore implemented in order to have an improved light collection and a lower energy threshold. The detector construction has been completed in 2011. IceCube covers an area of roughly 1 km$^2$ and a volume of 1 km$^3$. Each DOM consists of a 25 cm photomultiplier tube (PMT) in a glass sphere, equipped also with the electronics to perform the digitization and transmission of the signal to the surface such as to operate as a complete and autonomous data acquisition system. For each string there are 60 DOMs with a spacing of 17 m between them. The strings of modules are deployed in ice into holes drilled with hot water. The absolute positioning of the DOMs is measured with the deeper pressure sensor and by the means of laser range at the moment of the deployment. Depths of individual DOMs are determined to an accuracy of 50 cm. The absolute time accuracy on the time of arrival of the signals is guaranteed by a 20 MHz local clock.

\subsection{The ANTARES detector}
ANTARES is the first and largest submarine neutrino telescope in the Northern hemisphere\cite{antares}. It was completed in 2008 and located (42$^{\circ}$ 48' N, 6$^{\circ}$ 10' E) in the Mediterranean Sea at roughly 2475 m depth, 42 km offshore of the cost of Toulon (France). The detector consists of a three-dimensional array of 885 10" PMTs disposed in 12 vertical strings. These strings are spread over an area of about 0.1 km$^2$. The basic unit of the detector is the Optical Module (OM), containing one PMT and the associated electronics\cite{frontend}, housed in a pressure resistant glass sphere with a mu-metal cage to minimize the effect of the Earth's magnetic field. The OMs are grouped together in 25 storeys (of three OMs) for each string interconnected via an electro-mechanical cable with the exception of one string which has 20 storeys since the last five are devoted to acoustic measures. The OMs are arranged with the axis of the PMT tubes 45$^{\circ}$ below the horizontal plane in order to increase the efficiency to detect up-going events. The height of the instrumented strings is 300 m. The distance between two consecutive storeys is 14.5 m. The horizontal distance between two adjacent strings is 60-75 m. There is also one instrumented line for sea environmental measurements. The top of the string consists of a buoy and they are anchored on the sea bed. The absolute position of the detector components as a function of time is obtained through an acoustic triangulation system combined with an orientation system that permit to determine the inclination and orientation of the single storeys\cite{positioning}. The absolute UTC time accuracy is guaranteed by a GPS system and by the 25 MHz clock of the detector.

\section{ANTARES search for Dark Matter towards the Sun}
Here we present the analysis performed in the ANTARES collaboration to search for a signal towards the Sun with the data taken by the experiment in the period 2007-2008. The Sun is a very interesting source for Dark Matter search. In fact, the possible signal identification would have a crucial importance: we do not expect such kind of signal arising from the Sun since the solar neutrinos have a lower energy and the neutrinos produced in the Sun's corona by cosmic rays are negligible. References for other analyses with the same data sample performed in the collaboration are \cite{pointsources, monopoles, oscillation}.

\subsection{Data and simulations of signal and background}
In the large part of the year 2007 ANTARES was in a 5-lines configuration for a total of 185.5 days of active detector; while in the year 2008 the detector configuration varied: 10,9,12 (since May) lines (for maintenance and repair operations) for a total of 189.8 days of active detector.

The first task in the ANTARES analyses is the discrimination between signal and background events. The main two background sources are the large flux of atmospheric muons and the flux atmospheric neutrinos both produced in the interaction of cosmic rays in the Earth's atmosphere. In order to reduce the first kind of background, the detector is installed at large depth. Moreover, only upgoing events are accepted. Still, a small fraction (but large in absolute number) of atmospheric muons are reconstructed as upgoing. By imposing strict quality cuts in the tracks, they can be further removed. The second background is irreducible since neutrinos can pass trough the Earth detected as up-going events; but we can consider that atmospheric neutrinos are isotropically distributed all over the sky while the signal neutrinos are expected to peak in the Sun direction only, so we are looking for an excess of events over an expected background. In figure \ref{fig:dataMC} an example of data-Monte Carlo comparison where the two kinds of backgrounds are involved it is shown. We have to notice that for the background estimation we used the scrambled data\footnote{Scrambled data are obtained randomising the UTC time of the events in the considered data taking period} to reduce the effects of the possible systematic uncertainties.
\begin{figure}[!htb]
    \begin{center}
        {\includegraphics[scale=0.5]{dataMC.eps}}
        \caption{\it Comparison between data and simulation for the elevation coordinate of the events. A $Q<$~1.4 is applied. The red dashed line represents the simulated atmospheric muons; the blue pointed line shows the simulated atmospheric up-going neutrinos; the black crosses represent scrambled data. The ratio of data over the simulation is shown below the main plot.}
	\label{fig:dataMC}
    \end{center}
\end{figure}

To reconstruct both data and Monte Carlo events a fast and reliable algorithm, called BBFit, has been developed in the ANTARES collaboration\cite{bbfit}. This algorithm is based on the multiple coincidences of the Cherenkov photons arriving on the OMs of the apparatus (hits). Then, the minimization of a $\chi^2$ function, containing the difference between expected and measured hits, permits to reconstruct the track of the events with a given quality $Q$.

The simulation of signal events from Dark Matter annihilation in the Sun is computed with the WimpSim package\cite{wimpsim}, with which we can evaluate the differential neutrino spectra. Several annihilation channels are available for different WIMP masses in order to reproduce any possible Dark Matter model. The neutrino interactions in the Sun medium, the regeneration of $\tau$ leptons together with the standard neutrino oscillation scenario has been taken into account. We assume also that capture and annihilation rates are in equilibrium in the Sun. In the CMSSM the main annihilation channels are $W^+W^-$, $\tau^+\tau^-$ and $b\bar{b}$; for mUED are $c\bar{c}$, $\tau^+\tau^-$, $b\bar{b}$, $t\bar{t}$ and $\nu\bar{\nu}$. Another thing to note is that, although the Sun have a size of roughly half degree, since the annihilation reactions happens in its core, we can consider it as a point source.
\begin{figure}[!htb]
\begin{center}
  {\includegraphics[scale=0.5]{Data_VS_Bkg_Derived_AsymmErrors_SmoothBkg.eps}}
  \caption{\it Distribution of the spatial angle $\Psi\in$[0$^{\circ}$,20$^{\circ}$] of the event tracks with respect to the Sun's direction for the expected background computed from the time-scrambled data (solid blue line) compared to the data after the basic selection criteria (black triangles). A 1$\sigma$ Poisson uncertainty is shown for each data point (black crosses).}
  \label{fig:unblind}
\end{center}
\end{figure}
\subsection{The optimization of the cuts}
In the analysis we performed a binned search: it means to count the number of events (signal and background) within an angular bin of given aperture $\Psi$ centred in the Sun position (see figure \ref{fig:unblind}). It is important to note that we followed also a blind\footnote{In this way the cuts are selected before to look at the source of interest, avoiding a possible bias.} procedure to choose the cuts to apply to our data. The optimization of these cuts has been done using the Model Rejection Factor (MRF) method\cite{mrf}. Two parameters were considered for the optimization: the quality of the event reconstruction $Q$ and the half-cone angle aperture around the Sun $\Psi$. The MRF give us the optimized set of these two parameters to obtain the better average upper limit (at 90\% C.L.) on the flux of neutrinos\footnote{With neutrinos we means the sum of neutrinos and anti-neutrinos.} arising from Dark Matter annihilation in the Sun. This average flux upper limit can be expressed by:
\begin{equation}
\bar{\phi}_{\nu}^{90\%}=\frac{\bar{\mu}^{90\%}}{A_{eff}(M_{WIMP})\times T_{eff}}
\label{eq:mu90}
\end{equation}
where $\bar{\mu}^{90\%}$ is the average upper limit in the event number, derived from the Feldman and Cousins calculations\cite{fc}, A$_{eff}$(M$_{WIMP}$) is the effective area and T$_{eff}$ is the active detector data taking period. This evaluation has been done for each mass and channel of the two models chosen.

\subsection{Results and conclusions}
Using equation \ref{eq:mu90} it is possible to evaluate the sensitivity for all the Dark Matter models considered. In figure \ref{fig:sensitivity} the average upper limits in the neutrino flux as a function of the WIMP mass are shown.
\begin{figure}[!htb]
\begin{center}
  {\includegraphics[scale=0.6]{Limit_Phinu_Versus_Mwimp.eps}}
  \caption{\it 90\% CL upper limit on the neutrino plus anti-neutrino flux as a function of the WIMP mass in the range MWIMP$\in$[10 GeV;1 TeV] for the three channels $b\bar{b}$, $W^+W^−$, $\tau^+\tau^−$ (CMSSM) and a combination of channels (mUED).}
  \label{fig:sensitivity}
\end{center}
\end{figure}
Because of the high dependence of branching ratios over the CMSSM parameter space the different channels are separate; this is not in the mUED case so we can combine the channels conserving a reliable representation. The best limits in CMSSM arise from the $W^+W^-$ and $\tau^+\tau^-$ channels since they have a hard energy spectrum (more neutrino events). For mUED case the channel that most contribute is the $\tau^+\tau^-$ so the total sensitivity is close to the one of that channel of the CMSSM case. We can also pass from these limits on neutrino fluxes to the limits on the spin-dependent cross-section of the WIMPs with protons $\sigma_{H,SD}$. The differential neutrino flux is:
\begin{equation}
\frac{d\phi_{\nu}}{dE_{\nu}}=\frac{\Gamma}{4\pi d^2}\sum_f B_f\left( \frac{dN_{\nu}}{dE_{\nu}}\right) _f
\label{eq:flux}
\end{equation}
where $d$ is the distance between the Sun and the Earth, $\left( dN_{\nu}/dE_{\nu}\right) _f$ is the differential number of neutrino events for each channel, $B_f$ the relative branching ratios and $\Gamma\simeq C_{\otimes}/2$ is the annihilation rate as related to the capture rate $C_{\otimes}$ assuming the equilibrium of the two rates inside the Sun\footnote{The capture rate expression, assuming a Navarro Frank and White (NFW) profile for the Dark Matter density and a Maxwell-Boltzmann velocity distribution, is: $C_{\otimes}\simeq3.35\times10^{18}s^{-1}\times\left(\frac{\rho_{local}}{0.3GeVcm^{-3}}\right)\times\left(\frac{270kms^{-1}}{v_{local}}\right)\times\left(\frac{\sigma_{H,SD}}{10^{-6}pb}\right)\times\left(\frac{TeV}{M_{WIMP}}\right)^2$ .}.
\begin{figure}[!htpb]
    \begin{center}
        {\includegraphics[scale=0.6]{SD.eps}}\hspace{0.001cm}
        {\includegraphics[scale=0.6]{SDued.eps}}
        \caption{\it up) 90\% CL upper limits on the spin-dependent WIMP-proton cross-section as a function of the WIMP mass in the range M$_{WIMP}\in$[10 GeV;5 TeV], for the three channels: $b\bar{b}$ (dotted line), $W^+W^−$ (solid line), $\tau^+\tau^−$ (dashed line), for ANTARES (red line) compared to the results of other indirect search experiments: SuperKamiokande 1996−2008 (blue line) and IceCube-40 plus AMANDA 2001-2008 (green line) and the results of direct search experiments: KIMS 2007 (black dot-dashed line) and COUPP 2011 (black dashed line); down) The same plot for a combination of channels in the mUED model (red line). Results from IceCube-22 2007 (green dotted line) and IceCube-22+40 2007-2008 (green solid line) are shown for comparison.}
	\label{fig:SD}
    \end{center}
\end{figure}

In figure \ref{fig:SD} the limits on the $\sigma_{H,SD}$ values (obtained with a scan of the SuperBayes package\cite{superbayes}) for CMSSM and mUED models can be seen. In the spin-dependent case both ANTARES and IceCube limits are competitive compared with the direct search experiments (this is not in the case for limits on the spin-independent cross-section).
\begin{figure}[!htb]
    \begin{center}
        {\includegraphics[scale=0.4]{icelimit.eps}}
        \caption{\it 90\% CL upper limits on spin-dependent WIMP-proton cross-section as a function of the WIMP mass for annihilation channels $W^+W^-$ (red solid line) $\tau^+\tau^-$ (black square and line) and $b\bar{b}$ (red dotted line) over a range of WIMP masses. Systematic uncertainties are included. The shaded region represents an allowed MSSM parameter space taking into account recent accelerator, cosmological and direct DM search constraints. Results from Super-K, COUPP, KIMS, CDMS, XENON-100 are shown for comparison\cite{danninger}.}
	\label{fig:ice}
    \end{center}
\end{figure}

\section{Summary of the IceCube Sun analysis}
The search for Dark Matter in the IceCube collaboration has given results with the 79-string detector\cite{ice79} and, for the first time, with the DeepCore expansion in the period between June 2010 and May 2011\footnote{The data acquisition is divided in two periods: austral summer and austral winter, when the Sun is above and below the horizon respectively}. The total active detector lifetime was of 317 days, with more than $60\times10^9$ recorded events and roughly 25000 signal-like events in the final state. With DeepCore the analysis has reached neutrino energies of 10-20 GeV. To simulate the signal the packages DarkSusy\cite{darksusy} and WimpSim\cite{wimpsim} were used. The search was binned with respect to the Sun position. Comparing signal simulation and data some cuts have been placed to reduce the contamination of atmospheric muon events (requiring a good quality reconstruction and a strong containment detection). To optimize the applied cuts a likelihood analysis was done (with the Feldman and Cousins technique\cite{fc}). In figure \ref{fig:ice} the results of this analysis, as limits on the WIMP-proton spin-dependent cross-section, compared to other experimental limits (for both direct and indirect searches) are shown.
For a more complete review on the search for Dark Matter in the IceCube collaboration see the reference \cite{iceref}.

redpajama_set_name: RedPajamaArXiv


Donald Trump has sent US-Mexico relations into a tailspin. To set them back on track, the countries' top diplomats avoided any mention of the combative US president when they briefed reporters (link in Spanish) on their first meeting in Mexico today.
It was the first real working session between US and Mexican authorities since Trump took office, and follows a slew of provocations by the new US president. Just a couple of days before the meeting, his administration said it would deport immigrants of all nationalities to Mexico—a proposal that was immediately condemned south of the border.
Mexican foreign minister Luis Videgaray was less sanguine. He talked about the "irritation" and "worry" in Mexico over Trump's policies, and of the "legal impossibility" of one government unilaterally imposing its will.
He implied that going forward, Mexico would focus less on what Trump says on Twitter, and more on what his foreign affairs secretary can agree with Tillerson and his state department.
"To overcome the negative feelings that no doubt prevail today, more than words, what will matter are actions," he said. Through actions, a word that in Spanish also means "facts," the US and Mexico will rebuild their relationship to one of "trust, common effort and endearing friendship," he added.
The only official present who referred to the US president by name was US Homeland Security secretary John Kelly. "President Trump himself has noted the friendship between our nations and the need for us to work together to make our shared border more secure," he said.


text:
Ken Oehler, Partner and Global Engagement Practice Leader with Aon Hewitt
March 15, 2015 /in Global Business Talk Shows /by Ed
https://globalbusinessnews.net/wp-content/uploads/2015/03/globalhr-150310-Dr-Ken-Oehler-FULL-SHOW.mp3
Ken Oehler, Ph.D. is a Partner and Global Engagement Practice Leader. He specializes in human capital strategies and interventions linked to business objectives. Ken is in Aon Hewitt's New York office.
Prior to joining Aon Hewitt Ken was a Principal with Towers Perrin where he served on the Global Change Implementation Practice Leadership Team and was the firm's Global Measurement Practice Leader. Ken has 20 years of consulting experience. He has worked with clients in a variety of industries in the U.S., Mexico, Canada, U.K., Netherlands, France, Italy, and Japan.
The scope of his Strategy, Planning & Change Implementation consulting activities has included:
§ Employee engagement research and interventions
§ Culture and business strategy alignment
§ Total Rewards Strategy and Total Rewards Optimization
§ Human Capital Strategy
§ Balanced Scorecards and Human Capital Scorecards
§ Merger and acquisition integration
§ Change Management
Ken earned a Ph.D. in Industrial & Organizational Psychology from DePaul University and a B.A. in Economics from the University of Michigan.
https://globalbusinessnews.net/wp-content/uploads/2015/03/Dr-Ken-Ohler.png 353 300 Ed https://globalbusinessnews.net/wp-content/uploads/2019/11/MASTHEAD-AIRES-COMBO-1153X300.jpg Ed2015-03-15 12:10:362016-12-11 11:50:13Ken Oehler, Partner and Global Engagement Practice Leader with Aon Hewitt
China as seen through Western Eyes: Andrew Woods Become a 21st Century Executive: Nigel Dessau


text:
Q: Mocking Enum using unittest.mock does not work as expected I'm trying to Mock an enum in Python so that I can assert whether a method of the class tested calls a method on the enum.
This does not work as expected. The method in question is never called because an identity comparison of the mock with the actual enum always fails.
class ProcessorTest(unittest.TestCase):
    def test_do_something(self):
        # Mock library does not work with enums..
        self.mock_camera = mock.create_autospec(Camera.exit)

        self.processor.process(self.mock_camera)

        # => always leads to "failed"
        self.assertTrue(self.mock_camera.do_something.called,
                        "Failed")

class Camera(Enum):
    entrance = 1
    exit = 2

    def do_something(self):
        return True

class Processor:
    def process(self, camera):
        # this comparison always resolves to false
        if camera is Camera.exit:
            # never reached
            camera.do_something()

A: Rather than trying to create a mock member of an enumeration, just patch that method:
from enum import Enum
import unittest

class Camera(Enum):
    entrance = 1
    exit = 2

    def do_something(self):
        return True

class Processor:

    def process(self, camera):
        if camera is Camera.exit:
            camera.do_something()

class TestProcessor(unittest.TestCase):

    def test_processor_process(self):
        with unittest.mock.patch.object(Camera, 'do_something') as mock_method:
            Processor().process(Camera.exit)
            mock_method.assert_called_once_with()

if __name__ == '__main__':
    unittest.main()

Now you can pass a real member, but intercept calls to do_something. This gets around the fact that there's no way to mock identity.

redpajama_set_name: RedPajamaStackExchange


text:
package com.ros.android.pubsub.borkuti.peter.ex01pubsub;

import android.app.Activity;
import android.widget.TextView;
import android.widget.Toast;

import org.ros.android.serial.UsbService;
import org.ros.internal.transport.queue.MessageReceiver;
import org.ros.message.MessageListener;
import org.ros.namespace.GraphName;
import org.ros.node.AbstractNodeMain;
import org.ros.node.ConnectedNode;
import org.ros.node.Node;
import org.ros.node.topic.Publisher;
import org.ros.node.topic.Subscriber;

/**
 * Created by peter on 2016.05.18..
 */
public class UsbRosNode extends AbstractNodeMain implements UsbMessageHandler {
    private Activity activity;
    private Publisher publisher;
    private Subscriber subscriber;
    private String subscriberTopic;
    private String publisherTopic;
    private UsbService usbService = null;
    private MessageLogger loggerFromUsb;
    private MessageLogger loggerFromRos;

    public UsbRosNode(Activity activity, MessageLogger loggerFromUsb, MessageLogger loggerFromRos,
                      String publisherTopic, String subscriberTopic) {

        this.activity = activity;
        this.publisherTopic = publisherTopic;
        this.subscriberTopic = subscriberTopic;
        this.loggerFromRos = loggerFromRos;
        this.loggerFromUsb = loggerFromUsb;
        this.usbService = usbService;
    }

    // for UsbServiceHelper
    public void setUsbService(UsbService usbService) {
        this.usbService = usbService;
    }

    public void sendToRos(java.lang.String message) {
        if (publisher != null) {
            std_msgs.String str = (std_msgs.String)publisher.newMessage();
            str.setData(message);
            publisher.publish(str);
        }
        else {
            Toaster.toast(activity, "publisher is null, " + message + " lost.", Toast.LENGTH_SHORT);
        }
    }

    public void receiveFromRos(java.lang.String message) {
        loggerFromRos.log(message);
        sendToUsb(message);
    }

    //for MyUsbHandler (UsbMessageHandler interface)
    @Override
    public void receiveFromUsb(String message) {
        loggerFromUsb.log(message);
        sendToRos(message);
    }

    //UsbMessageHandler interface
    @Override
    public void sendToUsb(String message) {
        if (usbService != null) {
            usbService.write((message + "\n").getBytes());
        }
        else {
            Toaster.toast(activity, "usbService is null, " + message + " lost.", Toast.LENGTH_SHORT);
        }
    }

    @Override
    public GraphName getDefaultNodeName() {
        return GraphName.of("ExampleNode");
    }

    @Override
    public void onStart(final ConnectedNode connectedNode) {
        publisher = connectedNode.newPublisher(publisherTopic, std_msgs.String._TYPE);
        subscriber = connectedNode.newSubscriber(subscriberTopic, std_msgs.String._TYPE);

        subscriber.addMessageListener(new MessageListener<std_msgs.String>() {
            @Override
            public void onNewMessage(std_msgs.String message) {
                receiveFromRos(message.getData());
            }
        });
    }

    @Override
    public void onShutdown(Node node) {
        publisher.shutdown();
        subscriber.shutdown();
    }

    @Override
    public void onShutdownComplete(Node node) {
        publisher = null;
        subscriber = null;
    }
}

redpajama_set_name: RedPajamaGithub


What do you create? I make hand felted and embroidered fashion accessories and interior products. This includes scarves, bags, purses, wraps & throws, lampshades and cushions.
Where do you make your work? I predominantly work from my home studio, it's a purposes built insulated 'shed' at the bottom of my garden. I make my work and deliver Feltmaking workshops from here, and also travel to teach in schools, colleges and with groups in their venues.
What is your inspiration? I love texture and surface pattern and find most of my inspiration comes from nature, in particular plant forms, corals, bacteria and funghi. I also find my medium, wool, an inspiration in itself. It is an incredible medium to work with, has amazing qualities and is so adaptability. Its ability to form permemant shapes and fuse with other fibres and fabrics continues to fascinate me.
What materials do you work with & why? Wool – in particular merino, but I also use other wool breeds including Gotland, Blue faced Leicester and Masham. I enjoy working with wool and combining it with other fibres and fabrics such as bamboo, soya and silk. Felting wool appeals to me because it allows me to take the raw materials and take it through a variety of stages to create not just the fabric but the finished product too. The fibres, the process and results are both therapeutic and satisfying to work with.
What process(es) do you use and how do you go about creating your work? I use a variety of traditional and contemporary felting techniques such as nuno and adapt other techniques, including Shibori processes, to create my work. I make use of the wools' 'memory' – this is its' ability to form and retain sculptural shapes and textured surfaces. I achieve this by manipulating the wool by hand and with stitch to explore the fibers potential to create permanent shapes and patterns that echo my sources of inspiration.
Which aspect(s) of your work do you enjoy most? Experimenting with different fibres and fabrics and developing new ideas is definitely the most enjoyable part, then seeing ideas successfully come to fruition is a great motivator.
Who inspires and influences you? I love the work of the designers Iris van Herpen Seeijaku and Issay Mayike who create sculptural garments, and the work of Shibori artist Michelle Griffths. The fabric development and innovative use of fibres by the designers at the Japanese textile company Nuno, is inspirational and thought provoking too. I am also in awe of the work by Felt artists Claude Jongstra, Anna Gunnarsdottir and Andrea Graham and admire Margo Selby's use of colour and woven surface textures.
Have you always been an feltmaker? Initially I studied textiles at Newcastle College of Art and then Art History & Architecture at UEA (Norwich) in the early 90s. I then trained as a Careers Adviser, and worked in FE/HE student guidance for ten years before becoming creatively frustrated. I would teach children's craft workshops during my annual leave and undertook a Cert. Ed in Teacher Training which led to teaching textiles with adults. I continue to combine teaching textiles in schools, colleges and with creative groups.
How did you get started? I was introduced to Felt Making during a session at a night class with Sally Harper, when we first moved to Birmingham in 1997, and haven't looked back. The materials and process captured my imagination. Since then I have been largely self taught, taking a couple of masterclass workshops with Jenny Mackay, Evelyn Refsahl and Rutsuko Sakata. I began selling my work in 2000 with People, in Kings Heath and encouraged by the enthusiastic response to my work, took the plunge in 2004 to leave my job in education guidance to concentrate on Felt!
Where do you exhibit/ sell your work? I sell my work to galleries and museums, through trade fairs and directly at craft fairs, open studio events and online. Recent exhibitions and outlets have been with New Brewery Arts, Art in Action, the British Museum, and Farfeild Mill. I also undertake commissions, a recent one is the Alter Cloths for St. Martins in the Bull Ring, Birmingham.
What have you been doing / making this year? What are your plans for next year? It has been a quieter year for me since I had a back operation in 2016 and I've had to re-adjust my pace of working to accommodate this. I have been concentrating on teaching from my studio and focusing on making for the busy autumn/ winter season ahead. I've also been developing a new range of lighting, working with Matt Foster of Plane Structure to create wooden bases to compliment my lampshades. I'm beginning a Textiles and Surface Design MA at bcu in September on a part time basis. I'm thrilled to have been accepted onto this course and really looking forward to making new contacts and developing new work as part of it. Plus, I have been planning and organising Made in Kings Heath, which I'm really pleased is growing to include more artists and venues this year.


text:
How To Waste Time
Having nothing better to do Francis is reinventing himself
Fukuyama's career as a public intellectual began with an essay that promised to distinguish between "what is essential and what is contingent or accidental in world history". His own career, as he makes clear to me, was almost entirely a series of accidents. He took up ancient Greek under the influence of his charismatic freshman year teacher Allan Bloom,
— a creepy gay fascist sleazoid much admired by Sal Bellow
who inculcated him into the ideas of the emigre German philosopher Leo Strauss,
–an evil "intellectual" greatly admired by others of his kind to this very day.
and to a network of aspiring young intellectuals that included men who would figure prominently in his later career,Paul Wolfowitz
–chief architect of our criminal attack on Iraq.
and I.Lewis "Scooter" Libby.
–former adviser to Darth Cheney. Libby was disbarred after being convicted of a felony in the Valerie Plame affair. Plame, a top secret agent was "outed" as such thanks to her husband, former U.S. Ambassador Joseph Wilson, taking issue with Cheney-Bush "Foreign Policy" cha cha-cha. (Back to Francis)
There was a detour into the modish French philosophers of the day, as part of which he made a pilgrimage to Paris (where he also wrote a novel) to study with Jacques Derrida,
and Roland Barthes
But he soon concluded, while enduring an interminable session in which Barthes would riff, pun and free associate over random sequences of words pulled from the dictionary, that "this was total bullshit, and why was I wasting my time doing it?"
Really Francis? Maybe it was because Barthes wasn't interested in slaughtering great numbers of people like your new pals.
Wiki sez —
Yoshihiro Francis Fukuyama (born October 27, 1952) is an American political scientist, political economist, and author. Fukuyama is known for his book The End of History and the Last Man (1992), which argued that the worldwide spread of liberal democracies and free market capitalism of the West and its lifestyle may signal the end point of humanity's sociocultural evolution and become the final form of human government. However, his subsequent book Trust: Social Virtues and Creation of Prosperity (1995) modified his earlier position to acknowledge that culture cannot be cleanly separated from economics. Fukuyama is also associated with the rise of the neoconservative movement, from which he has since distanced himself.
Fukuyama has been a Senior Fellow at the Center on Democracy, Development and the Rule of Law at Stanford University since July 2010. Before that, he served as a professor and director of the International Development program at the School of Advanced International Studies of the Johns Hopkins University. Previously, he was Omer L. and Nancy Hirst Professor of Public Policy at the School of Public Policy at George Mason University.
He's one of council member of the International Forum for Democratic Studies founded by the National Endowment for Democracy and was a member of the Political Science Department of the RAND Corporation.
The Death Star itself.
Fukuyama is a part-time photographer. He also has a keen interest in early-American furniture, which he reproduces by hand. He is keenly interested in sound recording and reproduction, saying, "These days I seem to spend as much time thinking about gear as I do analyzing politics for my day job."
Fukuyama is married to Laura Holmgren, whom he met when she was a UCLA graduate student after he started working for the RAND Corporation He dedicated his book Trust: The Social Virtues and the Creation of Prosperity to her. They live in California, with their three children, Julia, David, and John away in school.
"Conservative Family Values" in action.
"The End of History?" began as something of a recondite joke. Fukuyama was at the time a mid-level figure in the Reagan State Department witnessing the rapid unravelling of the Soviet mystique. "I remember there was a moment when Gorbachev said that the essence of communism was competition, and that's when I picked up the phone, called my friend and said, 'If he's saying that, then it's the end of history.'" Fukuyama is careful to point out that the coinage was not of his own making, but instead that of a Russian émigré professor named Alexander Kojève whose seminars on Hegel influenced postwar French existentialism.
And Michel Foucault.
But the triumphal eulogist of America at its world historical apogee never fell victim to the crude simplification of his own argument to which his neoconservative friends fell prey – and which his own rhetoric had done so much to invite. As he would later write in a 2006 book repudiating the neoconservativism of his youth, the misreading of the events of the 1989 led directly to the calamities of the early 21st century that, in his view, have forever discredited the neocon approach to the world. "There was a fundamental misreading of that event and an ensuing belief that if America just did what Reagan had done, and stood firm, and boosted military spending, and used American hard power to stand up to the bad people of the world, we could expect the same moral collapse of our enemies in all instances." Fukuyama continues to credit Bloom and Strauss with broadening his intellectual horizons, but the adventure the adherents of those neocon thinkers embarked on, culminating in armed intervention in Baghdad, was, Fukuyama says, a bloody fiasco. "I don't know how they can live with the consequences of their actions."
Oh they live quite well, Francis. And so do you. As for where we go from here, Jean-Luc Godard asked that very same question back in 1966.
Take it away Anna . . .and Ludwig.


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hi everyone! here are some things i especially like this week.
i actually have this lip phone. it was a gift from one of my awesome friends. i feel like dj tanner when i use it.
4. these camera holders from Sweet Treats. soooo amazing.
i feel like maybe i have mentioned these before...they are just sooo cool! check out sweet treats on etsy...they have lots of awesome items!!
i love so many colours. i think colour might be one of my favourite things. this week i really like mint green.
i've just started watching but i love it already :) a couple of my friends highly recommend this show! it is super interesting so far...i can't wait to watch more!
i think this wins the prize for the cutest thing i have seen all week! i love it!!!
i hope everyone has a great friday. i'm off to the hair salon later today, hooray! then i'm going to give myself some fun hair tomorrow. i can't wait!
The lips phone is fab!
I love twin peaks too *__* OMG I need to watch it again!
and those tic tacs are TOTALLY ADORABLE!
Our kids are gonna be like, "what? there were phones in houses?"
haha becky you are probably right!


text:
Q: Child of a flex-item not taking parent's height when parent has flex-basis set in a flex container of direction column Boy that title was a mouthful. Let me explain my confusion:
I have a flex-container and 2 flex items.

/* CSS */

.container {
    display: flex;
}

.item-1 {
    flex: 0 0 255px;
}

.item-2 {
   /* negligible css */
}

.child-of-item-1 {
    height: 100%; // shouldn't this always receive the height of its parent?
}

item-1 is set with a flex-basis of 255px using the shorthand flex property. Since I didn't specify a flex-direction on .container, it's defaulting to row. Simple. Great.
Now at a certain screen width, let's say 992px, I switch the flex-direction to column.
@media (max-width: 992px) {
    .container {
        flex-direction: column;
    }
}

Here's where my question comes in. Once <992px, .item-1 still has a height of 255px but .child-of-item-1 loses its height completely. Where have I gone wrong? What am I missing?
It may be important to note that .child-of-item-1 has no content inside of it, but it does have a background-image. I am not seeing the background-image because .child-of-item-1 loses its height, hence my confusion.
I would really appreciate some insight, and thanks again! :)

A: Well, it only took 2 minutes of posting this before discovering the issue. The parent .container had a min-height, and therefore would always have a height. This isn't so important when flex-direction is set to column, but when set to row, the flex-container has a height. Removing that min-height from the equation, .item-1, who has a flex-basis of 255px, would still have no height. BUT, .item-2 could possibly have a height based on its content. In my case it did. Removing .item-2 from the equation reveals that .item-1 never had a height set at all, it was just receiving it from other elements. Once I switched the flex-direction: column, the truth came out!
Hope that helps :)


text:
Claudia and the Baby-sitters Club Books We Really Needed
Remixed and re-titled book covers imagine all the bullshit Claudia Kishi had to deal with.
For a certain generation of young readers, Claudia Kishi is an icon.
Any fan of The Baby-sitters Club will tell you that Claudia is artistic, stylish, fashionable and a terrible student. She's also the Asian one. As the Japanese American member of The Baby-sitters Club, she was a rarity when Ann M. Martin's prolific, mega-popular novel series debuted in 1986. In a literature landscape so often devoid of characters of color, many Asian American readers saw themselves in Claudia.
In Keep Out, Claudia! (Book #56) the Baby-sitters Club is hired by a new family who are totally cold and rude to Claudia when she comes over to babysit their kids, for reasons she can't understand. But when the BSC's white sitters come over, they're cool. Then later, when Jessi, who is African American, comes over to sit, they won't even let her through the door. Turns out, the family is racist!
It was one of the few times the series addressed issues of racial prejudice, albeit clunkily, in its 200+ volume run. But it gets you wondering how that racism might have further affected Claudia, as one of the seemingly few Asian American residents in the fictional town of Stonybrook, Connecticut. As an Asian American character, Claudia busted some stereotypes. But realistically, she probably had to deal with her share of bullshit.
What would those books look like?
Let us imagine a few Baby-sitters Club stories, using re-titled and remixed covers of actual Baby-sitters Club books, that might have seen Claudia realistically and frankly grappling with her identity as a racial minority.
FILE UNDER: babysitters club, books, claudia kishi, photoshop
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text:
Think Investments LP Buys Khosla Ventures Acquisition Co II, Coupang Inc, Rocket Lab USA Inc, Sells Humanigen Inc, Herbalife Nutrition, Vector Acquisition Corp
Think Investments LP (Current Portfolio) buys Khosla Ventures Acquisition Co II, Coupang Inc, Rocket Lab USA Inc, Pinterest Inc, Danimer Scientific Inc, sells Humanigen Inc, Herbalife Nutrition, Vector Acquisition Corp, Affirm Holdings Inc, Workhorse Group Inc during the 3-months ended 2021Q3, according to the most recent filings of the investment company, Think Investments LP. As of 2021Q3, Think Investments LP owns 30 stocks with a total value of $870 million. These are the details of the buys and sells.
New Purchases: KVSB, CPNG, RKLB, PINS, DNMR, FRSH, FRSH, EDU,
Added Positions: TAL,
Reduced Positions: AFRM, WKHS, SNOW, FUTU,
Sold Out: HGEN, HLF, VACQ, PLAN, DGNR, SPCE, PCT,
For the details of Think Investments LP's stock buys and sells, go to https://www.gurufocus.com/guru/think+investments+lp/current-portfolio/portfolio
These are the top 5 holdings of Think Investments LP
S&P 500 ETF TRUST ETF (SPY) - 500,000 shares, 24.67% of the total portfolio.
Sea Ltd (SE) - 376,900 shares, 13.81% of the total portfolio.
Insulet Corp (PODD) - 167,000 shares, 5.46% of the total portfolio.
ICICI Bank Ltd (IBN) - 2,443,000 shares, 5.30% of the total portfolio.
Amazon.com Inc (AMZN) - 13,500 shares, 5.10% of the total portfolio.
New Purchase: Khosla Ventures Acquisition Co II (KVSB)
Think Investments LP initiated holding in Khosla Ventures Acquisition Co II. The purchase prices were between $9.86 and $11.5, with an estimated average price of $10.28. The stock is now traded at around $11.120000. The impact to a portfolio due to this purchase was 4.38%. The holding were 3,743,648 shares as of 2021-09-30.
New Purchase: Coupang Inc (CPNG)
Think Investments LP initiated holding in Coupang Inc. The purchase prices were between $27.85 and $44.54, with an estimated average price of $34.58. The stock is now traded at around $29.825000. The impact to a portfolio due to this purchase was 4.14%. The holding were 1,292,100 shares as of 2021-09-30.
New Purchase: Rocket Lab USA Inc (RKLB)
Think Investments LP initiated holding in Rocket Lab USA Inc. The purchase prices were between $9.96 and $20.72, with an estimated average price of $14.04. The stock is now traded at around $15.505000. The impact to a portfolio due to this purchase was 2.51%. The holding were 1,356,182 shares as of 2021-09-30.
New Purchase: Pinterest Inc (PINS)
Think Investments LP initiated holding in Pinterest Inc. The purchase prices were between $50.37 and $80.29, with an estimated average price of $61.63. The stock is now traded at around $48.960000. The impact to a portfolio due to this purchase was 2.13%. The holding were 364,400 shares as of 2021-09-30.
New Purchase: Danimer Scientific Inc (DNMR)
Think Investments LP initiated holding in Danimer Scientific Inc. The purchase prices were between $13.27 and $26.55, with an estimated average price of $18.54. The stock is now traded at around $14.635500. The impact to a portfolio due to this purchase was 1.01%. The holding were 535,000 shares as of 2021-09-30.
New Purchase: Freshworks Inc (FRSH)
Think Investments LP initiated holding in Freshworks Inc. The purchase prices were between $42.27 and $47.55, with an estimated average price of $44.8. The stock is now traded at around $38.215000. The impact to a portfolio due to this purchase was 0.98%. The holding were 200,000 shares as of 2021-09-30.
Added: TAL Education Group (TAL)
Think Investments LP added to a holding in TAL Education Group by 79.69%. The purchase prices were between $4.36 and $23.4, with an estimated average price of $9.01. The stock is now traded at around $4.525000. The impact to a portfolio due to this purchase was 0.47%. The holding were 1,911,200 shares as of 2021-09-30.
Sold Out: Humanigen Inc (HGEN)
Think Investments LP sold out a holding in Humanigen Inc. The sale prices were between $5.93 and $17.83, with an estimated average price of $14.12.
Sold Out: Herbalife Nutrition Ltd (HLF)
Think Investments LP sold out a holding in Herbalife Nutrition Ltd. The sale prices were between $42.33 and $54.24, with an estimated average price of $49.56.
Sold Out: Vector Acquisition Corp (VACQ)
Think Investments LP sold out a holding in Vector Acquisition Corp. The sale prices were between $10 and $11.6, with an estimated average price of $10.65.
Sold Out: Anaplan Inc (PLAN)
Think Investments LP sold out a holding in Anaplan Inc. The sale prices were between $52.62 and $67.96, with an estimated average price of $59.58.
Sold Out: Dragoneer Growth Opportunities Corp (DGNR)
Think Investments LP sold out a holding in Dragoneer Growth Opportunities Corp. The sale prices were between $9.1 and $9.99, with an estimated average price of $9.82.
Sold Out: Virgin Galactic Holdings Inc (SPCE)
Think Investments LP sold out a holding in Virgin Galactic Holdings Inc. The sale prices were between $22.56 and $52.69, with an estimated average price of $29.83.
Here is the complete portfolio of Think Investments LP. Also check out:
1. Think Investments LP's Undervalued Stocks
2. Think Investments LP's Top Growth Companies, and
3. Think Investments LP's High Yield stocks
4. Stocks that Think Investments LP keeps buying


The UniLux is a single parameter fluorimeter which can detect one of Chlorophyll a, Phycocyanin, Phycoerythrin for algae monitoring and Rhodamine or fluorescein for dye tracing applications. It is also available as a nephelometer for turbidity monitoring.
72h growth inhibition test, based on the green alga Selenastrum capricornutum (renamed Raphidocelis subcapitata and more recently Pseudokirchneriella subcapitata). This microbiotest adheres to OECD and ISO Guidelines.
By SecureWaters, Inc. based in Tullahoma, TENNESSEE (USA).
By The Next Generation in Waste Water Treatment Technology based in Houston, TEXAS (USA).
By EasyMeasure B.V. based in Amersfoort, NETHERLANDS.
By Algae Lab Systems based in Boulder, NORTH CAROLINA (USA).


text:
YouView spent £20m in first nine months
YouView, the UK VoD service, spent almost £20 million (€24.2m) in its first nine months of operation. The troubled joint venture backed by the BBC, ITV, TalkTalk, Channel 4, Channel 5 and BT, received £20.2 million from shareholders in the period from 8 July 2010 to 31 March 2011.
The first Companies House filing for YouView shows that £14.5 million was spent on developing the product as it as yet has no set-top boxes to sell. A further £5.2 million was spent on "administrative expenses". YouView spent £1.1 million on staff, which numbered 15 at the time.
In February last year YouView confirmed that the launch will be delayed until "early 2012", with the London Olympics set as a deadline for hitting the high street.
The company has been beset by development issues with STB partner Technicolor pulling out in March last year.
Rose quits on YouView
YouView appoints ad agency
YouView delay?
YouView: 'killing off rivals'
Canvas becomes YouView
Russia threatens Starlink and OneWeb users
Sweden: 5G auction opens and closes