text:
Peter McClean | Physiotherapist Vancouver | Seva Physiotherapy
About Seva Physiotherapy
New! Nutrition Counselling
Intramuscular Stimulation (IMS)
Registered Massage Therapy
Postural Alignment Therapy
Registered Physiotherapist, BSc.(Hons), Physiotherapy, Certified IMS Practitioner.
Peter McClean is a graduate of the University of Ulster in Ireland and holds an Honours Degree in Physiotherapy (1987). He is currently registered with the college of Physical Therapists of British Columbia.
Peter worked in Britain for the last 21 years. During this time he served as a professional soccer physiotherapist for Crystal Palace, which won a Division 1 title and reached the FA Cup semi-final. He has also been involved in top flight rugby working with the London Irish and Irish Exiles. He was an active member of the Society of Orthopedic Medicine.
For the last 14 years, he owned and ran a private clinic south of London where he worked alongside some of the leading specialists in Orthopedic Medicine.
Peter has a keen interest in knee and ankle injuries and also treating the adolescent athlete. He is by nature a manual therapist. Peter is also a licensed IMS practitioner and has extensive experience in the treatment of chronic pain.
He enjoys keeping moderately fit, talking, military history and watching and talking about sports.
Learn More About Our Team Book Your Appointment
Our physiotherapy clinic is located in Kitsilano, Vancouver. Our physiotherapy team specialize in all kinds of physiotherapy, sports injury treatment & acupuncture.
We take extra care to ensure that we provide you with the highest level of physiotherapy care, customer service & satisfaction.
Dont try this https://t.co/xPg3BkZ8dI
Saturday Apr 20 - 4:43pm
Exercise 1/4 to help prevent #shoulderpain 💪💪💪 • Theraband Pull Back: Tie the middle of a piece of theraband to a d… https://t.co/E927JUeRhL
Wednesday Apr 17 - 7:35pm
Follow @SevaPhysio on Twitter
Monday07:00 AM — 08:00 PM
Tuesday07:00 AM — 08:00 PM
Wednesday07:00 AM — 08:00 PM
Thursday07:00 AM — 08:00 PM
Friday07:00 AM — 08:00 PM
Saturday07:00 AM — 02:00 PM
Address & Contact Info
Seva Physiotherapy
3649 West Broadway, Vancouver, BC, V6R 2B8
To book an appointment contact us by phone:604.874.7382 (SEVA)
Or by email: office@sevaphysio.com
Copyright Seva Physiotherapy, 2019. Website by: Adaptive Marketing


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UP TO 70% OFF ON SELECTED ITEMS + *FREE DELIVERY
* Orders Above Php 20,000.00, Selected Areas in Metro Manila only
CABINET / TV RACK
BAR TABLE / CHAIR
CABINET / RACK
DRESSER / WRITING TABLE
WARDROBE / ORGANIZER
TILE / FLOORING
Plant It Forward
The Plant It Forward Initiative is the Linden Family's humble way of giving back to the society, helping out hardworking entrepreneurs, as well as conservation and protection of nature.
Since the company's establishment more than 20 years ago, the company's core foundation has been simple: WIN-WIN. This means there's mutual benefit for both parties involved. This is the reason why the company sells the cheapest teak furniture in the country, why the company only uses plantation derived teak that doesn't harm natural rain forests, why the company doesn't use harmful varnishes, and why the company prefers channel its resources to provide income to handcrafting furniture carpenters instead of industrial mass production machines.
The company wishes to extend this WIN-WIN credence to hardworking individuals who neither beg nor passively ask for alms, but rather do their best to swim against the tide and give it their all, because the company places them in the pedestal of highest respect.
LINDEN PANGKABUHAYAN PROJECTS
Organic Farmer's Market at Linden Teak
The company advocates a wholefood plant based lifestyle that provides sustainable livelihood to local farmers and unquestionable health to consumers. As such, the company decided to encourage this movement by allowing the local farmer's to use the company's alloted premises for FREE. By buying directly from the farmers, you'll be able to meet to hardworking individuals who produce your food and buy them at a low price. The farmers, on the higher hand, will be able to sell the produce and have a better profit than transactions passing thru middlemen.
Pabili Service ni Misis
This movement is intended to help out the hardworking wives of the Linden Teak Staff who are currently unemployed. All proceeds from this will be distributed amongst to the said wives who participated in this initiative.
The GREEN HOME Project
As part of the company's initiative to encourage consumers to have indoor plants as natural and functional air-purifying home accents along with the usage of natural, sustainable and eco-friendly wares, the company decided to express support to the hardworking indoor plants and natural home ware entrepreneurs by opening all of our showroom doors to them to showcase their products for FREE and sell them. No need to pay rental nor display fees.
LINDEN NATURE PROJECTS
The Linden Organic Farm
As part of the company's advocacy to whole food plant based lifestyle, the company decided to venture into sustainable and ecological farming practices, so as to provide livelihood for displaced yet hardworking farmers and to deliver the most nutrient dense produce directly to consumers in the lowest price possible.
The Linden Farm Animal Sanctuary
This initiative is greatly influenced by and dedicated to the Boddhisattva of Compassion, Avalokiteśvara. In Tibet, he is known as Chenrezig, and in Cambodia as Avloketesvar. In Chinese Buddhism, Avalokiteśvara has evolved into the somewhat different female figure Guanyin, also known in Japan as Kanzeon or Kannon. In Nepal Mandal he is known as Jana Baha Dyah, Karunamaya, Seto Machindranath.
The Linden Tree Preservation Project
The company believes that trees are essential for a healthy ecosystem. The outmost challenge for urbanization is the preservation of nature. There are a lot of tress that have lived before us and are destined to outlive us. However, most of these wild magnificent giants are being cleared out for modernization and commercialization. It doesn't have to be this way. These amazing trees can live side by side with the developing economy.
LINDEN HEALTH PROJECTS
The Linden Healthy Juan Project
One of the reasons why licensed medical doctors, despite their innate and unfaltering desire to help others, are greatly pressured to charge high professional fees is because they have to worry about covering for their expenses, such as hospital shares, rent, etc... Because of this, the company intends to offer a quaint clinic consultation space for FREE for such kind-hearted doctors so that they can still earn a living by charging a reasonable yet lower professional fees while doing their life advocacy of helping more of our kababayans.
#KaisaKontraKorona Project
No one expected the onslaught of the Coronavirus Pandemic that swept the nation like an unstoppable typhoon. As a result, there were a lot of our Kababayans who ended up sick, scared, cold and hungry. At the same time, this paved way to the birth of modern heroes in scrubs and uniforms. The company was touched by the #KaisaKontraKorona Project initiated by Kaisa Para sa Kaunlaran Inc. In order to donate funds for this noble cause, the company launched The Bayanihan Sale 2020, wherein the company pledges 10% of its net profits during this time of crisis.
*photos belong to their respective owners
ABOUT TEAK AND US
E-WALLET PAYMENTS
LINDEN TEAK DESIGN CIRCLE
TEAK CUSTOMIZATION
Landline: (+63) 83722892 /(+63) 72554074
Viber Text: (+63) 9178135200
WhatsApp Text: (+63) 9178135200
Email: linden.teak.furniture@gmail.com
Main Design Center:
Linden Teak Building, #39 Pitimini corner Aragon St., Brgy. Paltok, SFDM, Quezon CIty
2F/ CW Home Depot Commonwealth
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redpajama_set_name: RedPajamaCommonCrawl


This entry was posted in Uncategorized on February 13, 2018 by admin.
Having stayed away from Ukraine because of the troubles there for the last few years, some of us at FYP have decided we must go and pay a visit to our project out there. During the last week of March seven of us will fly out for a five day visit to our project, educating 47 disabled men at Kalinovka orphanage. We will also visit the Happy Village to see the progress being made there. The Happy Village was set up by Happy Child Ukraine and represents the ideal 'next stage' in caring for our project members.
The Happy Village is slowly being built to accommodate families who foster people from the state run orphanages, giving them a real chance at family life. It was founded by Happy Child, the charity we have been working with in Ukraine for many years now.
FYP continues of course to support our group of men – see latest photos below – but will now also donate some funds to the Happy Village project.
We will report back with more photos on our return!
Marina the FYP sponsored educator.


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package edu.bupt.mms;

import java.io.FileInputStream;
import java.util.ArrayList;
import java.util.Random;

import edu.bupt.mms.data.Contact;
import edu.bupt.mms.util.Recycler;
import android.provider.Telephony.Sms;
import android.provider.Telephony.Threads;
import android.provider.Telephony.Sms.Inbox;

import android.content.ContentResolver;
import android.content.ContentValues;
import android.content.Context;
import android.database.Cursor;
import android.database.sqlite.SQLiteDatabase;
import android.database.sqlite.SQLiteException;
import android.database.sqlite.SqliteWrapper;
import android.net.Uri;
import android.provider.Telephony.Sms.Conversations;
import android.test.AndroidTestCase;
import android.test.suitebuilder.annotation.LargeTest;
import android.util.Log;

/**
 * Bang on the recycler and test it getting called simultaneously from two different threads
 * NOTE: you first have to put the unix words file on the device:
 *    example: adb push ~/words /data/data/edu.bupt.mms/files
 * and then push a file that contains a comma separated list of numbers to send to.
 *    example: adb push ~/recipients /data/data/edu.bupt.mms/files
 *
 */
/**
 * Bang on the recycler and test it getting called simultaneously from two different threads
 * NOTE: you first have to put the unix words file on the device:
 *    example: adb push ~/words /data/data/edu.bupt.mms/files
 * and then push a file that contains a comma separated list of numbers to send to.
 *    example: adb push ~/recipients /data/data/edu.bupt.mms/files
 *
 * To run just this test:
 *    runtest --test-class=edu.bupt.mms.RecyclerTest mms
 */
public class RecyclerTest extends AndroidTestCase {
    static final String TAG = "RecyclerTest";
    private ArrayList<String> mWords;
    private ArrayList<String> mRecipients;
    private int mWordCount;
    private Random mRandom = new Random();
    private int mRecipientCnt;
    private static final Uri sAllThreadsUri =
        Threads.CONTENT_URI.buildUpon().appendQueryParameter("simple", "true").build();
    private static final String[] ALL_THREADS_PROJECTION = {
        Threads._ID, Threads.DATE, Threads.MESSAGE_COUNT, Threads.RECIPIENT_IDS,
        Threads.SNIPPET, Threads.SNIPPET_CHARSET, Threads.READ, Threads.ERROR,
        Threads.HAS_ATTACHMENT
    };

    @Override
    protected void setUp() throws Exception {
        super.setUp();
        Context context = getContext();

        // Read in dictionary of words
        mWords = new ArrayList<String>(98568);      // count of words in words file
        StringBuilder sb = new StringBuilder();
        try {
            Log.v(TAG, "Loading dictionary of words");
            FileInputStream words = context.openFileInput("words");
            int c;
            while ((c = words.read()) != -1) {
                if (c == '\r' || c == '\n') {
                    String word = sb.toString().trim();
                    if (word.length() > 0) {
                        mWords.add(word);
                    }
                    sb.setLength(0);
                } else {
                    sb.append((char)c);
                }
            }
            words.close();
            mWordCount = mWords.size();
            Log.v(TAG, "Loaded dictionary word count: " + mWordCount);
        } catch (Exception e) {
            Log.e(TAG, "can't open words file at /data/data/edu.bupt.mms/files/words");
            return;
        }

        // Read in list of recipients
        mRecipients = new ArrayList<String>();
        try {
            Log.v(TAG, "Loading recipients");
            FileInputStream recipients = context.openFileInput("recipients");
            int c;
            while ((c = recipients.read()) != -1) {
                if (c == '\r' || c == '\n' || c == ',') {
                    String recipient = sb.toString().trim();
                    if (recipient.length() > 0) {
                        mRecipients.add(recipient);
                    }
                    sb.setLength(0);
                } else {
                    sb.append((char)c);
                }
            }
            recipients.close();
            Log.v(TAG, "Loaded recipients: " + mRecipients.size());
        } catch (Exception e) {
            Log.e(TAG, "can't open recipients file at /data/data/edu.bupt.mms/files/recipients");
            return;
        }
        mRecipientCnt = mRecipients.size();
    }

    private String generateMessage() {
        int wordsInMessage = mRandom.nextInt(9) + 1;   // up to 10 words in the message
        StringBuilder msg = new StringBuilder();
        for (int i = 0; i < wordsInMessage; i++) {
            msg.append(mWords.get(mRandom.nextInt(mWordCount)) + " ");
        }
        return msg.toString();
    }

    private Uri storeMessage(Context context, String address, String message) {
        // Store the message in the content provider.
        ContentValues values = new ContentValues();
//        values.put(Sms.ERROR_CODE, 0);
        values.put(Inbox.ADDRESS, address);

        // Use now for the timestamp to avoid confusion with clock
        // drift between the handset and the SMSC.
        values.put(Inbox.DATE, new Long(System.currentTimeMillis()));
        values.put(Inbox.PROTOCOL, 0);
        values.put(Inbox.READ, Integer.valueOf(0));
//        if (sms.getPseudoSubject().length() > 0) {
//            values.put(Inbox.SUBJECT, sms.getPseudoSubject());
//        }
        values.put(Inbox.REPLY_PATH_PRESENT, 0);
        values.put(Inbox.SERVICE_CENTER, 0);
        values.put(Inbox.BODY, message);

        // Make sure we've got a thread id so after the insert we'll be able to delete
        // excess messages.
        Long threadId = 0L;
        Contact cacheContact = Contact.get(address,true);
        if (cacheContact != null) {
            address = cacheContact.getNumber();
        }

        if (((threadId == null) || (threadId == 0)) && (address != null)) {
            values.put(Sms.THREAD_ID, Threads.getOrCreateThreadId(
                               context, address));
        }

        ContentResolver resolver = context.getContentResolver();

        Uri insertedUri = SqliteWrapper.insert(context, resolver, Inbox.CONTENT_URI, values);

        // Now make sure we're not over the limit in stored messages
        threadId = values.getAsLong(Sms.THREAD_ID);
        Recycler.getSmsRecycler().deleteOldMessagesByThreadId(context, threadId);

        return insertedUri;
    }

    Runnable mRecyclerBang = new Runnable() {
        public void run() {
            final int MAXSEND = Integer.MAX_VALUE;

            for (int i = 0; i < MAXSEND; i++) {
                // Put a random message to one of the random recipients in the SMS db.
                Uri uri = storeMessage(getContext(),
                        mRecipients.get(mRandom.nextInt(mRecipientCnt)),
                        generateMessage());
                Log.v(TAG, "Generating msg uri: " + uri);
                if (i > 100) {
                    // Wait until we've sent a bunch of messages to guarantee we've got
                    // some threads built up. Then check to make sure all the threads are there
                    // on each message. All these queries will provide additional stress on the
                    // sms db.
                    Cursor cursor = null;
                    try {
                        cursor = SqliteWrapper.query(getContext(),
                                getContext().getContentResolver(), sAllThreadsUri,
                                ALL_THREADS_PROJECTION, null, null,
                                Conversations.DEFAULT_SORT_ORDER);
                        assertNotNull("Cursor from thread query is null!", cursor);
                        int cnt = cursor.getCount();
                        assertTrue("The threads appeared to have been wiped out",
                            cursor.getCount() >= mRecipientCnt);
                    } catch (SQLiteException e) {
                        Log.v(TAG, "query for threads failed with exception: " + e);
                        fail("query for threads failed with exception: " + e);
                    } finally {
                        if (cursor != null) {
                            cursor.close();
                        }
                    }
                }
            }
        }
    };

    Runnable mSQLMemoryReleaser = new Runnable() {
        public void run() {
            while (true) {
                SQLiteDatabase.releaseMemory();
                try {
                    Thread.sleep(5000);
                } catch (Exception e) {

                }
            }
        }
    };

    /**
     * Send a flurry of SMS and MMS messages
     */
    @LargeTest
    public void testRecycler() throws Throwable {
        // Start N simultaneous threads generating messages and running the recycler
        final int THREAD_COUNT = 3;
        ArrayList<Thread> threads = new ArrayList<Thread>(THREAD_COUNT);
        for (int i = 0; i < THREAD_COUNT; i++) {
            threads.add(i, new Thread(mRecyclerBang));
            threads.get(i).start();
        }
        Thread memoryBanger = new Thread(mSQLMemoryReleaser);
        memoryBanger.start();

        // Wait for the threads to finish
        for (int i = 0; i < THREAD_COUNT; i++) {
            threads.get(i).join();
        }

        assertTrue(true);
    }
}

redpajama_set_name: RedPajamaGithub


University College Lahore is one of the institutions of Pakistan which is providing international education within national boundaries. It has its affiliation for Bachelors with University of London, External Programme and for GCE A' Level, with Cambridge University. The education and methods are set at par to provide excellent education and learning environment just as abroad. University College Lahore is not very much recognized in Pakistan as a very less number or only a particular part of the society knows about it. Tough it is not a commonly known institute like LUM, FAST or LSE to everyone but it holds priority for those who know about it. Students, who do O or A-levels, usually prefer it. To be at UCL is a thing of status, modernity, chill, sumptuousness and class.
UCL has not got a very good repute when it comes to the environment established for students. Whenever a child asks their parents that he/She wants to be at UCL, they hesitate and some directly ban to even ask for that. The way of life at UCL does not suit our culture, religion and moral values. A high class usually opts for UCL. I hope you have got the idea what I am trying to explain. I do not consider it an institution for mediocre or decent middle class families. Being an international education providing university, education is quite costly here. Normal people can neither afford the cost of studies as well as the customs and way of life at UCL.
But its good option for those who wish to acquire international education, but somehow unable to go to abroad. They can get those degrees over here in their national boundaries. Along with education, UCL aims for the personality building of students to make them a better part of the society and the corporate world.
Its one & only campus in Lahore is located at Raiwind Road Lahore. University College Lahore have three departments of education; A' level GCE, LLB (Hons) and School of Economics & Management. They also provide some diploma courses regarding Law and Business Management. Since a less number of people are familiar with this university and comparatively very less number of students go there because of expenses so in market of Pakistan, they do not occupy big space.
Facilities at UCL are up-to-mark. Being the campus for international studies, it has got excellent facilities to complement the studies and to surface all the talents of the students. The library, Laboratories, cafeteria, transportation, everything matches the cost students pay to be at UCL. There is no hostel facility at UCL but they can help finding it students in the vicinity of the campus.
To visit the official website for more details about UCL, Click Here.


text:
"World of Wong Kar-Wai" Retrospective at SIFF Cinema: Jun 4 - 7
At the height of the global pandemic, in December 2020, Janus Films brought the "World of Wong Kar-Wai" to home screens across North America, in new 4K restorations and previously unseen alternate cuts. Presented as streaming virtual theatrical screenings "World of Wong Kar Wai Retrospective Arrives at Lincoln Center", and was available through Film Society at Lincoln Center's Virtual Cinema. Nearly a decade had elapsed since the last retrospective of its kind, held at New York's Museum of the Moving Image in 2013. Much in that way of that retrospective, Janus Films' new series focuses on Wong's cinematic language lifting time-distending characteristics from noir and romantic cinema, amplified by an almost existential ache of unrequited love, which first came to the fore in 1988's, "As Tears Go By", and was expanded upon in 1990's, "Days of Being Wild". Following on the boom years of Hong Kong cinema spanning the late 1980s to end of the 1990s, Wong Kar-Wai set himself part in the field of alternative cinema that developed as the mid-1990s Second Wave, alongside such figures as Ann Hui and Yim Ho. On the heels of his first two efforts, he produced the mid-period classics that comprised the duo of "Chungking Express" and it's more kinetic Hong Kong action and noir-inspired companion, "Fallen Angels". These internationally recognized early films were on the cusp of a string of masterpieces that garnered massive accolades in the global festival circuit, the first of which was seen in 1997's globetrotting "Happy Together". What came next astounded even those familiar with the pleasures of Wong's early filmmography. The duet of films that comprise the sprawling and operatic "2046" and what many, myself included, consider one of the greatest single films of the new century, "In the Mood for Love", in all of it's lush, time abstracted, romance-saturated glory. Topping my personal Films of the Decade list of the first ten years of the 21st Century, "In the Mood for Love" continues to be untouchable to such a degree as to be in a class of its own. It is so precise, tangible and sublime a work of cinematic art as to be one of only three films in the top 100 from the 21st century in The British Film Institute's "Greatest Films of All Time" poll. Not only gaining in recognition as the years pass, it was met with an enthusiastic embrace at the time of release from the global film community, and recognized as the first masterpiece of the new century in the pages of The Guardian, New York Times and Village Voice.
Around this time, hailin the work Wong Kar-Wai brought to cinema screens over the last ten years in tales of modern living, urban alienation, and forlorn love in a dazzlingly intimate, fluid, poetic and fragmented formal register, Senses of Cinema presented their Great Directors feature. Further enshrining "Wong Kar-Wai's In the Mood For Love: Like a Ritual in Transfigured Time", and "2046: A Matter of Time, A Labour of Love". It should be noted that the cascade of colors, texture, light, surfaces, bodies and spaces in motion, that are so much a part of what make up Wong's cinema, have been supplied by the cinematographers Lee Ping Bin, and the masterful Christopher Doyle. These qualities are particularly evident in "The Hand" from 2004's portmanteau film "Eros", here in an expanded cut, which Roger Ebert hailed as the most notable success of the anthology. In the following years there have been many projects in development, particularly the long-gestating "The Grandmaster" based on the life story of the Wing Chun martial arts master Ip Man, which finally saw the light of the big screen in 2013, in three differing theatrical cuts. The superior of these, the Chinese mainland cut, was screened at The Beacon Cinema in 2019, and watches as something much more than the average martial arts film, but instead a showcase of "Style and Kinetics Triumph in a Turbulent China". This cut being a more substantial representation of Wong's vision of Ip Man, and particularly the intertwined life and legacy of Wudang Chuan masters Gong Yutian and Gong Er, set against the outbreak of the tumultuous period of the Second Sino-Japanese War in 1937. Which touches on the multiple readings of Wong's body of work in general. While the most common pathway into his cinematic world is taken by the romantic inner route, such as The New York Times, "In Need of a Film About Romantic Possibility? Try 'In the Mood for Love", there's also a deeper historic, external reading as offered by The New Republic's "Wong Kar-Wai's Masterpieces of Political Uncertainty: The Upheavals of Hong Kong's History Lie Just Beneath the Surface of His Greatest Films". Sixteen months have elapsed, the conditions that required its virtual release have abated, and the "World of Wong Kar-Wai" arrives at SIFF Cinema this June. Giving Northwest audiences the opportunity to consider this body of cinematic work through whichever of these two lenses, as they should and essentially be seen, on the big screen.
Labels: Christopher Doyle, Janus Films, Mark Lee Ping-Bin, Seattle International Film Festival, Wong Kar-Wai


text:
Police examining former school grounds in Lurgan following discovery of suspicious device
Micheal McKenna
Police are currently examining a suspicious object in the grounds of a former school in Lurgan this morning.
The Old St Michael's School on the Cornakinnegar Road has been sealed off.
A clearance operation is underway and members of the public should avoid the area.
Although some restrictions are in place, access to St Colman's Cemetery nd other local amenities should not be impacted by this security operation.
Upper Bann MP, Carla Lockhart condemned those behind the object.
"Another attempt to injure and kill," she said. "A very serious turn of events again in Lurgan on the back of last week's find.
"These people are putting the lives of innocent people at risk. We must all work to stop their evil attempts and report anything known about this incident to the police."
Alliance councillor Peter Lavery added: "Those who place these devices do not care for the community. The fact that this discovery is on the site of an old school underlines their cruel disdain for life."
Relatedlurgan
More in Lurgan
Pipe bomb 'delivery boy' lucky to be alive after losing half a hand in premature explosion
Organisers counting down to Lurgan Park Fun Run for Southern Area Hospice
Lurgan man arrested for disorderly behaviour after family dispute jailed for three months
Rally takes place in Lurgan in memory of murdered Natalie McNally


text:
Preparing the future of work in Asia-Pacific
Asia-Pacific labour market insights
Statements and speeches
ILO Knowledge Centre
Working and employment conditions in the agriculture sector in Thailand: ...
Working and employment conditions in the agriculture sector in Thailand: A survey of migrants working on Thai sugarcane, rubber, oil palm and maize farms
Thailand's agriculture sector increasingly depends on migrant workers from Cambodia, the Lao People's Democratic Republic, and Myanmar. This report, based on a survey of migrant workers and interviews with migrant workers and key informants, sheds light on the situation of migrant workers in this sector. It identifies gaps in policies and practices and provides a set of recommendations.
RAS/15/05/AUS[ILO_REF]
9789220344903 (Web PDF)[ISBN]
9789220344910 (Print)[ISBN]
Format available:
Working and employment conditions in the agriculture sector in Thailand: A survey of migrants working on Thai sugarcane, rubber, oil palm and maize farmspdf - 5.6 MB
Agriculture has historically been the backbone of the Thai economy, employing the majority of the national working age population. While the sector has seen a decline in the number of workers in recent years, some 12.7 million workers, approximately 30 per cent of Thailand's total labour force, work in agriculture today. Increasingly, the sector is depending on migrant workers from Cambodia, the Lao People's Democratic Republic, and Myanmar to fill the growing labour shortages in the sector.
Given the decent work deficits facing workers in the agricultural sector globally, this report aims to shed light on the specific situation of migrant workers in the agricultural sector in Thailand. The analysis in this report is based on a survey of 528 migrant agricultural workers in four prominent export crops – maize, oil palm, rubber and sugarcane – as well as in-depth interviews with local officials, NGOs, employers and migrant workers. It closes significant knowledge gaps on employment practices, including the recruitment and hiring process, and on the working conditions of migrant workers in the Thai agricultural sector, including wages and working hours, occupational safety and health conditions, housing, and access to social protection and other important support services.
By determining the current situation of migrant workers employed in Thailand's agricultural sector, the report identifies key gaps in policies and practices that need to be addressed, and provides a comprehensive set of recommendations.
Labour Act exclusion leads to low pay and challenging conditions for migrant workers in Thai agricultural sector
Tags: migrant workers, agriculture, partnerships, labour migration
Regions and countries covered: Asia, Cambodia, Lao People's Democratic Republic, Myanmar, Thailand
Key facts on working and employment conditions in the agriculture sector in Thailand
TRIANGLE in ASEAN
Research and publications on labour migration


The Center for Wound Healing at Clovis Community Medical Center is an outpatient service that brings a complete, personalized approach to the medical and surgical care of non-healing wounds.
Our team of physicians, nurses and technicians specialize in treating chronic, hard-to-heal wounds, including many that have resisted healing after months or even years of traditional treatment.
We use innovative techniques and advanced technology to assess, diagnose and treat persistent wounds from conditions like diabetes, poor circulation and rheumatoid arthritis.
The team at the Wound Care Center team also treats wounds from trauma, surgery, radiation therapy, autoimmune and collagen disorders, pressure, venous and arterial ulcers. Our patients receive education and support to foster healing so they can get back to their lives faster.


We wish you a lot of pleasure on this site.
Blue Melody Chartreux Cattery was established in the year 1996.
We have been selecting these special cats with meticulous care and great sence of responsibility.
Our wonderful Chartreux cats provide plenty of and succes in our lives.
We are member of Felis Hungarica /FiFe, and at the Club de Chat des Chartreux/France.
My cats are under permanent Veterian controll. The cats have negativ FIV, FelV, Coronavirus/Fip tests and PKD negativ gene test. The cats have "A" bloodgroup.
We have always been keenly attentiv to ensuring the harmonie physical and mental development of our cats. We are happy and proud of our blue cats. This was love at first sight - a love that has never stopped to keep growing.
We are living now in a family house in a small village Vértestolna/Hungary near to Budapest.
Call me, write me, ask me!


text:
Charlotta Spears Bass – Crusading Journalist and Civil Rights Activist
At a time when African Americans had little presence in the mainstream news publishing industry, Charlotta Spears Bass became a a powerful journalist and newspaper owner who ran for both Congress and Vice President of the United States.
You might not know her name, but Charlotta Spears Bass was a major badass. She fought the Ku Klux Klan and won. Was the first black woman to run for vice president. And, at the ripe old age of 91, was under surveillance by the FBI.
Birth of a journalist
Born in Sumter, South Carolina, Charlotta Spears made a name for herself as a civil rights activist and crusading journalist. To escape Jim Crow, she moved to Rhode Island, landing a job selling subscriptions to the Providence Watchman, a black-owned newspaper. For 10 years, she made it a point to learn everything she could about the newspaper business.
Spears began her work in newspapers selling subscriptions door to door.
When the harsh climate played havoc with her arthritis, she moved to Southern California, interviewing in 1910 with John Neimore, founder/publisher of the California Owl. California's oldest black newspaper, The Owl was founded in 1879 to provide newly-arrived black settlers with news on housing, jobs and other issues affecting their lives. Spears was hired at $5/week to sell subscriptions and serve as Neimore's Gal Friday.
Recognizing her value to his paper, two years later, when he became ill, he asked Spears to stay on as editor and keep the paper alive after his death. In late 1912, an experienced Kansas newspaperman named Joseph Bass visited The Owl on a trip west. Spears hired him as editor; a year later they were married.
Charlotta Bass bought The Owl for $50 at public auction in 1915, renamed it The California Eagle, and shifted its focus to social and political issues for "patriotically inclined" Americans. With her husband as editor (a position he held until his death in 1934), she served as publisher, reporter, business manager, distributor, printer and janitor, becoming the first African American woman to own and run a newspaper.
Bass' newspaper was as entertaining as it was unyielding in its crusades for racial equality and justice.
Wielding the power of the press
Using the power of the press when it came to taking a stand, she denounced the 1915 movie, "The Birth of a Nation," for glorifying the Ku Klux Klan and white supremacy. Her editorial voice was echoed by black newspapers throughout America, strengthening her resolve to take on more causes important to African Americans.
The California Eagle became a lightning rod for protest as Bass became the target of hatred and violence. Despite verbal and physical abuse, libel suits, unlawful arrests and death threats, she was relentless in her war against racism. Her husband, fearing for her safety and his own, once said, "Mrs. Bass, one of these days you are going to get me killed," to which she replied, "Mr. Bass, it will be in a good cause."
In 1917, Bass took aim at the racist hiring practices of the L.A. Fire Department; while black men could take the civil service exam, the department only hired whites, prompting Bass to write in an editorial, "The city of Los Angeles does not ask the color of a man's skin when it presents its tax bill." After a three-month campaign, the city hired its first black fireman.
Her "Don't Spend Where You Can't Work" campaign urged blacks to boycott businesses that refused to hire black workers. When the Southern California Telephone Company refused to employ black workers, she convinced black subscribers to cancel their service with letters citing the company's all-white hiring policy as the reason. When cancellations reached 100, the company relented, hiring its first African American employee.
Bass successfully battled the Klan, the FBI and Joe McCarthy's Congressional witch hunt for communist sympathizers.
She fought the city's campaign to "Keep Neighborhoods White" with restrictive housing covenants and trying to force affluent blacks from their homes. The homeowners, including actresses Hattie McDaniel and Ethel Waters, sued the city. Bass used her newspaper to keep housing discrimination front and center; in 1948 the U.S. Supreme Court ruled racially restricted covenants unconstitutional.
Charlotta Bass vs. the Klan
In 1925, The Eagle obtained and printed a letter to the leader of California's Ku Klux Klan outlining plans to rid L.A. of its black leaders by involving them in traffic accidents, planting liquor in their cars, and having them unfairly jailed and convicted of drunk driving. The Klan sued Bass for libel, offering to settle if she went on record stating the letter was fraudulent. But Charlotta Spears Bass wasn't having it. Instead, she fought the charges in an all-white courtroom — and won. In the midst of the trial, eight hooded men confronted her at the office one evening. She calmly responded by pulling a gun from her desk drawer and pointing it at the men, who quickly fled.
The Eagle takes to the air waves
Looking to the future, in 1938 Bass expanded the paper's voice with a 15-minute "Newspaper of the Air" radio broadcast. Two years later, listeners tuned into "The California Eagle Hour" every Sunday evening on KFVD. Bass finally had the newspaper she had always envisioned — The California Eagle was financially stable, took important editorial stands, and had a circulation of 60,000, making it the largest African American paper on the West Coast.
Bass with entertainment star and political activist Paul Robeson.
Civil Rights and Joe McCarthy's Commie Hunters
With her husband's sudden death in 1934, Charlotta Spears Bass re-evaluated her life. While the paper remained a priority, she wanted to be more personally involved in community activism. She joined the NAACP, the Urban League, the Civil Rights Congress, the Universal Negro Improvement Association, and founded the National Sojourner for Truth and Justice Club to improve working conditions for black women. Her activities on the national level brought her into contact with people like Paul Robeson and W.E.B. DuBois.
But in the 1940s, with Congress' House Un-American Activities Committee (HUAC) hunting down alleged Communists, the FBI, Post Office Department, CIA, State Department and War Department soon took notice. In 1942, FBI agents arrived at The Eagle to interrogate Bass, suggesting her paper was funded by Germany and Japan. From that time forward, agents read each issue of The Eagle, attended Bass' public speeches, and wrote surveillance reports directly to J. Edgar Hoover in an FBI file that eventually filled 563 pages.
The Post Office also jumped into the fray, investigating The Eagle for subversion, trying to revoke its second-class mailing permit. But the Justice Department weighed in on Bass' side, calling her reporting legitimate and factual, refusing to revoke the permit.
Bass was called before California's Joint Fact-Finding Committee on Un-America Activities in 1950. Despite relentless questioning and continuous surveillance, they never found fault with Bass or her newspaper.
A tireless advocate for the rights of African Americans, Bass ran for Congress and later Vice President on the slogan "Let my people go."
A run for Vice President
Worried that all the negative attention was harming circulation, she sold The Eagle and moved to New York City, headquarters of the national Progressive Party. Despite being a lifelong Republican, Bass grew frustrated by the party's lack of progress toward racial reform, and joined the Progressive Party. Her determination to change American society through politics had proven more powerful than her 40-year investment in journalism.
Charlotta Spears Bass was chosen to run as vice president on the Progressive Party's ticket in 1952, alongside an Irish attorney named Vincent Hallinan. Their platform supported job security, housing rights, civil rights and an end to the Korean War. It's slogan: "Let my people go!" Bass had no illusions about winning; the ticket received less than 1% of the vote. But she campaigned tirelessly with the motto, "Win or Lose, We Win by Raising the Issues."
The strenuous campaign exacerbated her arthritis. On doctors orders, she retired to write her memoirs, published in 1960. But retirement for her meant transforming the garage of her small home into a reading room/community center for voter registration drives, protests against apartheid in South Africa and fighting for prisoners' rights.
Bass was inducted into the California Newspaper Hall of Fame in 2017; her advocacy and accomplishments remain a beacon for today's civil rights activists.
Bass suffered a stroke in 1966 and was moved into a nursing home. And if you're still not convinced she was a major badass, consider this: As late as 1967, in her nineties, she was still being monitored by the FBI as "potentially dangerous." She died in 1969 of a cerebral hemorrhage, and was buried alongside her husband in Los Angeles' Evergreen Cemetery.
Charlotta Spears Bass lived a lifetime committed to important issues. From her arrival in California through her final years, she fought for "the light of a better day." A crusading journalist and political activist, she was at the forefront of major civil rights struggles, using her newspaper to challenge inequality for blacks, workers, women and other minorities.
Charlotta Spears Bass was inducted into the California Newspaper Hall of Fame in December 2017. Although the last issue of The California Eagle was published in July of 1964, her legacy not only lived through America's civil rights movement of the 1960s and 1970s — it resonates to this day.
Author Sandy LevinsPosted on June 10, 2020 May 17, 2021 Categories Arts, Business savvy, ethnicity, Gender, Profiles
4 thoughts on "Charlotta Spears Bass – Crusading Journalist and Civil Rights Activist"
Sonia Grant says:
Is there a reference for this quote?
As late as 1967, in her nineties, she was still being monitored by the FBI as "potentially dangerous."
Katonyia says:
Why haven't we heard more about Charlotte bass before now and why aren't we talkin about her more especially now ?
Paula Verdun says:
Is their a book, transcript, or published work I can buy on Charlotta Spears Bass. I would like to learn more about her.
Sandra Turner Barnes says:
Rest In Peace Miss Charlotte, you are remembered and Much loved!
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Australia troubled by report that UNRWA school textbook...
Boris Johnson on Holocaust: "I will never allow this country to forget what happened 75 years ago"
To mark Holocaust Memorial Day, Prime Minister Boris Johnson has written a powerful opinion piece for the Jewish News giving his views on why the Holocaust must be remembered.
As long as I am Prime Minister, I will never allow this country to forget what happened 75 years ago. I will do all I can to see that we continue to learn the lessons of the past. #HolocaustRemembranceDay https://t.co/wp7t49CPfr
— Boris Johnson (@BorisJohnson) January 27, 2020
The Prime Minister wrote the following:
"The time will inevitably come when the Shoah slips beyond the realm of living memory.
That is why it is so important that those of us who remain continue to remember.
Why we as a nation must always mark Holocaust Memorial Day. And why I, as
prime minister, am absolutely committed to building the National Holocaust Memorial and Education Centre right in the heart of Westminster.
Because even though the Shoah was a crime so unprecedented it required the creation of a new word – genocide – simply to describe it, its perpetrators wished for it to be left unnoticed by the history books.
As the Red Army's 322nd rifle division closed in on Auschwitz, retreating Nazis destroyed the gas chambers and crematoria in a desperate attempt to cover up their crimes.
Despite their enthusiastic participation in the slaughter, they didn't want the world to know what they had done.
They wanted us to forget.
Today, a growing number of antisemites seek to continue that dismal work.
They downplay the scale of the killing, draw false equivalence with the contemporary world, even outright deny that what happened, happened.
We cannot let them gain a foothold. Because if we allow the likes of Buchenwald, Belsen and Babi Yar to become simply obscure names on a map, we not only betray the memory of those who died there.
We will, in airbrushing the Holocaust from history, succeed where the Nazis failed and offer succour to the thugs and bigots who are the modern-day bearers of that twisted ideology. So we must remember. But we must also act."
To read the full opinion piece, please click here.
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Meet Allan Gichigi. He is the lad you've been seeing on the uber cool Tembea Kenya advertisement, on his journey to Mount Suswa.
Allan grew up in the Coast, studied Communication at Daystar University, travelled to the UK for his Masters and has been a practising photographer since 2007.
He was also involved in a devastating motor accident about three years ago. An incident Allan now narrates with lots of soberness, a bit of humour, and ground-breaking gratitude.
To illustrate how adventurous and spontaneous he is, Allan tells me of a recent trip he made. He got on his motorbike, took off, and found himself in Eldoret. A number of hours later, he was in Uganda, where he knew absolutely no one.
We met at The Arbor, in Lavington. As soon as Allan and I sit down and take a look at the menu, he asks for the vanilla milkshake with double Amarula shots. The problem? Allan does not drink. Never has.
"Will I be okay? Will I start dancing and blabbering and staggering like a mad man when we leave here?" Allan asks in laughter. I don't know how to respond, and Mary, our waiter, can only flash out a wide smile as she shakes her head in amusement.
"I live for such randomness. I love it!" Allan says.
He is wrong. The views, at last check, were at just over 1.2Million; a fete Allan himself cannot believe. To further have him convinced, we pull up the video and check the numbers out, much to his amazement and excitement.
At this point, I ask Allan if he knows how much the ladies have been charmed by his voice on the advert. He doesn't know anything about this either. I ask him to go and take a look at the comments on the video, something he says he cannot wait to do.
It may seem like Allan is completely oblivious of a lot, but it's a beautiful sense of oblivion. It's an oblivion that comes from a combination of his infectious, jovial, carefree, personality and from being in an accident, gravely injuring his fingers and learning to just be in the moment.
It is also a sense of oblivion that appears to have taught him to appreciate everything, but never to sweat the small stuff.
Was photography always the dream career, Allan?
No, not really. But my dad is a photographer, he worked for Getty Images, and I think I picked up the interest from him.
What did you study for your undergraduate degree?
Communication. Then I travelled to the UK for my Master's degree.
How long was the Master's course?
One year, but I was there for about two years.
Do you want to get a PhD?
How was life in the UK?
Interesting. Strange. A bit detached.
Detached in the sense that everyone does their own thing. I particularly found that difficult because I'm from the Coast.
The Coastal culture is such that everyone knows everyone, random people want to know about each others lives, strangers sit down and eat together, it's a bit unique, but its nice and friendly and warm. In the UK everyone keeps to themselves, which is what I struggled with.
Did you experience any reverse culture shock when you returned?
No, not really. Perhaps because I hadn't been away for too long.
I, however, get how that can happen. One goes away for studies, and sometimes you subconsciously think everything at home will be at a standstill. Then you return and you realise nothing paused. Things changed. People graduated, got married, had babies, changed careers, started ventures – it can be intense. I get it.
Do you plan to settle down in Kenya?
Maybe. I don't know. (Laughs) I don't even have a plan for the next few weeks. I don't know what next month will look like. I'm extremely random. I just go with whatever is happening at the moment.
Hmm, good question. (Thinks) I want to call it people-based. If it's anything to do with people, getting connected, interactive, that kind of thing is my thing. I love it.
Is it hard to be a thriving photographer in Kenya?
Yes. It is. It can be. Some people still don't see it as a career in itself, that's always tricky. Although now, there are more people who really appreciate what we do than previous years, it's not easy.
There seems to be "cartels" in every industry in Kenya, do they also exist in the world of photography?
(Laughs) I mean, there was a time when all the jobs would go to certain people and certain people only. But now, even the newbies have a chance. It may take time to prove yourself, but if you're diligent, you can get your share.
Describe to me what your ideal client is like?
Clients who let me be and give me the freedom to just get the work done. When that happens, it's the most amazing thing.
And, what are the characteristics of some of your most difficult clients?
The opposite of the ideal ones. (Laughs) Clients who micromanage every single shot are difficult to work with. Even weddings, I get that it's the bride's happiest day, but it's hard to get the work done when every single instruction is checked and counter-checked.
Are you a thriving photographer?
I don't know. Do you think I'm a thriving photographer?
I don't know, but look, you were on Magical Kenya.
Let's talk about it, Tembea Kenya, how did that happen? Did you go looking for the opportunity?
No, I didn't actually. They came to me. They approached me and said since I'm a photographer and I ride a motorbike, they'd like to follow me on a journey. It was fantastic, but I was a bit nervous.
Nervous for a number of reasons. One was because the production team we worked with does not play when it comes to work. On the day I thought it was just going to be myself and a few people, it wasn't. About 15 people showed up, they were all part of the crew, that was intense.
15 is a lot of people.
It is. Another reason for the nervousness is that I'm shy. I'm terribly shy in certain contexts, and for this video they asked me to speak, I wasn't sure about that, it made me really nervous.
Were you truly hesitant to use your voice?
I was. I actually almost turned down the whole thing because I didn't want to speak.
Allan, have you seen the comments on the video?
Most of the comments consist of women gushing and drooling at your voice.
(Excitedly) No way! For real? Seriously?
Yes, seriously. Someone said your voice was the only reason they watched the advert to the end.
(Laughs again) I'm going to check it out immediately we are done.
How was the journey to Mount Suswa?
Incredible. Absolutely incredible. A lot of fun too.
Do you feel like a celebrity now?
Oh gosh, I don't know. I've been receiving phone calls from people I haven't spoken to in years.
And then the other day I was at the barber's and the advert came on TV, I was so uncomfortable. I couldn't run, and I couldn't "Skip ad," like on Youtube, I didn't know what to do. This is all strange to me.
Do you worry about the dangers of riding a motorcycle?
Do you worry about the aggressive road users we have in Kenya?
Yes. Absolutely. As a rider, you have to be more cautious than everyone else on the road. Riding is not for the fainthearted.
Aren't you fearful of getting into an accident?
A part of me always is, but that's why I have to keep riding, to combat that fear. Once I stop riding, that's it, the fear wins. But also, I've been involved in a pretty nasty accident before, so I know how bad it can get.
I was riding on the Northern bypass, then a motorist ran into me. I later found out it was a drank priest who was behind the wheel.
Was the priest held accountable?
He was. At some point he tried to deny and place the fault on me but I was lucky, there were many witnesses, so he couldn't really succeed with that.
Did you follow up and ensure justice was served?
I did go to one of the court appearances; he showed up in priest clothing and a Bible, that was a bit hilarious.
Eventually I just decided to let it go. The entire episode was getting to my head, it was a lot of negativity, so I just moved on. I needed to heal physically and psychologically.
It was bad. The reason I have this scar on my right hand is because two of my fingers were badly injured. The medical team had to place a metal plate in one of them.
How were you coping during your recovery period?
Yvonne, let me tell you, I've never appreciated the smallest of things like I did after that accident. I have so much appreciation for my right hand now. Things like just brushing your teeth! You know?
And then I'm a photographer, most cameras are designed for people who are right-handed. I'd never even realised this until my accident. Adjusting was a struggle, but I'm very appreciative of things now. Those small things, those are the things that matter.
And yet you still ride. I'm not quite sure I understand this.
It's the thing with fear. I never want fear to win. Fear robs us of a lot of things in life. I want to tackle it head on.
Now that we talked about women and your voice, are you dating?
(Laughs, fidgets in his chair, sips drink, then coughs) I'm…(mumbles)it's complicated. It is complicated, that's what it is.
Who's your ideal kind of partner?
Someone free-spirited like me! That quality in itself, just that, ah, amazing. I like someone I can laugh with easily, who loves the outdoors and enjoys travelling.
For the people who perhaps silently look up to you as a photographer, what piece of advice would you give them?
Oh man. Am I now at that point where I'm giving others advice? But, I'd say keep at it. Work hard at it. You have to put in the work. Eventually, it will pay off.
When you start doing okay, give back. It is for this reason that I'm into mentorship. I like bringing people in to show them how things are done and teach them what I can. That makes me happy.
A good guy he is, Allan has actually inspired many people into photography. His calmness is one to admire.


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Le Cheval couché est un livre de l'écrivain et poète breton Xavier Grall publié en 1977 chez Hachette en réponse à l'ouvrage de Pierre-Jakez Helias, Le Cheval d'orgueil, paru en 1975. Xavier Grall y critique une vision « passéiste », et « le folklorisme fossilisant » de Pierre-Jakez Helias, qui ne parlerait pas de la Bretagne mais de la « bigoudénie ».

Sur le plateau de Bernard Pivot dans Apostrophes, les deux auteurs ont eu un vif échange au sujet de leur vision respective de la Bretagne.

Annexes

Article connexe
 Le Cheval d'orgueil

Lien externe

Notes et références

Littérature en Bretagne
Livre paru en 1977

redpajama_set_name: RedPajamaWikipedia


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Drury Lane announces 2012-2013 season
September 20, 2011 at 1:20 pm by Erin Kelsey
by Erin Kelsey
September 20, 2011 April 20, 2012 Filed under:
-News etc.
Season Announcements
DRURY LANE ANNOUNCES ITS EXCITING 2012-2013 SEASON
Featuring HAIRSPRAY, THE 39 STEPS, XANADU, SINGIN' IN THE RAIN AND SUNSET BOULEVARD
Oak Brook, Ill.—Drury Lane Theatre, 100 Drury Lane, known for producing acclaimed, innovative and classic musicals and comedies, announces its 2012-2013 season featuring five glorious films brought to new life on stage. The Tony Award-winning phenomenon HAIRSPRAY previews April 12, opens April 19 and runs through June 17; the riveting thriller THE 39 STEPS previews July 5, opens July 12 and runs through August 26; the effervescent Broadway hit XANADU previews September 6, opens September 13 and runs through October 28; the beloved masterpieceSINGIN' IN THE RAIN previews November 8, opens November 15 and runs through January 13; and SUNSET BOULEVARD, the triumphant Andrew Lloyd Webber musical, previews January 24, opens January 31 and runs through April 7.
Drury Lane Theatre's 2012 season opens with the smash hit musical comedy HAIRSPRAY. Set in 1960s Baltimore,HAIRSPRAY is the exuberant story of pleasantly plump teen Tracy Turnblad, who does whatever it takes to fulfill her lifelong dream of appearing on the popular Corny Collins Show. Can this plus-size trendsetter vanquish the program's reigning princess, win the heart of heartthrob Link Larkin, and integrate a television show without denting her fabulous 'do? HAIRSPRAY won eight Tony Awards including Best Musical, and inspired the 2007 blockbuster feature film. The New Yorker called HAIRSPRAY "Exhilaratingly funny!" and The New York Times raved that "If life were everything it should be, it would be more like HAIRSPRAY. It's irresistible!" The upbeat score includes oldies-inspired songs "You Can't Stop the Beat," "Welcome to the 60's," and "Hairspray." The production features music by five-time Oscar nominee Marc Shaiman, lyrics by Scott Wittman, and a book by Mark O'Donnell and Thomas Meehan. HAIRSPRAY is directed and choreographed by Jeff Award winner Tammy Mader (Choreographer of Drury Lane Theatre's Spamalot and Seven Brides for Seven Brothers) and previews April 12, opens April 19 and runs through June 17, 2012.
A current hit on Broadway and the West End, the thrilling comedy THE 39 STEPS is adapted from the 1935 Alfred Hitchcock film and the 1915 novel by John Buchan. The story centers on Englishman "Richard Hannay," who inadvertently embarks on a chaotic adventure full of narrow escapes after trying to help a female spy. When he wakes up to find her dead in his apartment, he flees from the police and an espionage organization, desperately trying to find the truth. THE 39 STEPS features four actors bringing more than 150 characters to life throughout the play, making it a one-of-a-kind production that NBC called "Brilliant!," the New York Post raved is "The most entertaining show on Broadway," and the New York Daily News hailed as "Ingenious!" This fast-paced fun ride is a dizzy delight!" THE 39 STEPS was adapted for the stage by Patrick Barlow and is the winner of two 2008 Tony Awards, a 2008 Drama Desk Award for Unique Theatrical Experience, and the 2007 Olivier Award for Best Comedy. THE 39 STEPS is directed by multi-Jeff Award nominee David New (Drury Lane Theatre's Broadway Bound, Sarah Siddons Award Winner and former Associate Artistic Director at Steppenwolf Theatre) and previews July 5, opens July 12 and runs through August 26, 2012.
XANADU, the smash hit musical that took Broadway by storm, is based on the Universal Pictures cult classic movie of the same title, which starred Olivia Newton-John and Gene Kelly. XANADU follows the journey of a magical and beautiful Greek muse, Kira, who descends from the heavens of Mt. Olympus to Venice Beach, California in 1980 on a quest to inspire a struggling artist, Sonny, to achieve the greatest artistic creation of all time: the first roller disco. When Kira falls into forbidden love with the mortal Sonny, her jealous sisters take advantage of the situation and chaos abounds. XANADU has been described as "Heaven on wheels" by The New York Times and The New Yorker raved that the production is "Ridiculously brilliant, lavish and sublime!" The production was nominated for four 2008 Tony Awards (including Best Musical) and won the 2008 Outer Critics Circle Award for Outstanding New Musical. This hysterical musical adventure features an original hit score composed by pop-rock legends Jeff Lynne and John Farrar, and includes Magic, Party All Over the World, Suddenly, I'm Alive, Evil Woman, Xanadu, and many other chart-topping tunes. Lynne wrote and produced all the music of Electric Light Orchestra (E.L.O), who had 19 Top 20 hit singles in the U.S. between 1972 and 1986. Farrar was responsible for most of the hits that were performed by Olivia Newton-John in the 1970's. Douglas Carter Beane, one of Broadway's master storytellers, weaves a moving, electrifying tale of endless fun with an inspiring message to follow your dreams. His work earned him the 2008 Drama Desk Award for Outstanding Book of a Musical. Rachel Rockwell (Drury Lane Theatre's The Sound of Music, Sweeney Todd andRagtime), named "Best Director" by Chicago Magazine, directs and choreographs XANADU, previewing September 6, opening September 13 and running through October 28, 2012.
The quintessential Broadway musical masterpiece SINGIN' IN THE RAIN was hailed as "Blissful!" by the New York Times and "Pure joy…hugely engaging!" by The Telegraph. Featuring exhilarating, toe-tapping dance numbers and an effervescent love story, SINGIN' IN THE RAIN is a timeless classic with a delightful score including "Good Morning," "Make "em Laugh," and "Singin' in the Rain." Set in glitzy, glamorous Hollywood in the 1920s, this lighthearted and funny tale centers on Don Lockwood, a film star who finds love while navigating the ever-changing world of showbiz. SINGIN' IN THE RAIN is based on the 1954 film starring Gene Kelly and Debbie Reynolds, which the American Film Institute named the #1 Greatest Movie Musical of all time and The New York Times called "The happiest movie musical ever made." The production has a book adapted by Betty Comden and Adolph Green with Music by Nacio Herb Brownand Lyrics by Arthur Freed. SINGIN' IN THE RAIN is directed by Bill Jenkins (Chair of Ball State University's Department of Theatre and Dance and Director of Drury Lane Theatre's Seven Brides for Seven Brothers) and choreographed by Amber Mak and previews November 8, opens November 15 and runs through January 13, 2013.
Andrew Lloyd Webber's SUNSET BOULEVARD, based on Billy Wilder's 1950 film with the same name, weaves a magnificent tale of faded glory and unfulfilled ambition. Silent movie star Norma Desmond longs for a return to the big screen, having been discarded by Tinseltown with the advent of "talkies." Her glamour has faded in all but her mind. When Norma meets struggling Hollywood screen-writer Joe Gillis in dramatic circumstances, their subsequent passionate and volatile relationship leads to an unforeseen and tragic conclusion. The New York Times enthused thatSUNSET BOULEVARD is "Scored with some of Lloyd Webber's loveliest melodies and designed with an extravagance of mind." SUNSET BOULEVARD was the winner of seven Tony Awards in 1995 and features a breathtaking score by the legendary composer Andrew Lloyd Webber (Evita, The Phantom of the Opera, and Joseph and the Amazing Technicolor Dreamcoat) and a book and lyrics by Don Black and Christopher Hampton. SUNSET BOULEVARD, directed by Drury Lane Theatre's Artistic Director William Osetek (Drury Lane Theatre's smash hit production of Spamalot and Jeff Award nominee for Best Director and Best Production for Thoroughly Modern Millie)and choreographed by Tammy Mader, previews January 24, opens January 31 and runs through April 7, 2013.
Become a Drury Lane Oakbrook subscriber for as low as $125 per person and guarantee seats for all five spectacular 2012 productions for the price of three. Subscribers receive discounts on dining, early notification and priority seating for added events and concerts, a flexible ticket exchange policy, discounts on banquet catering and discounts at The Hilton Suites and Hilton Garden Inn. For more information, call 630.530.0111.
The performance schedule is as follows: Wednesdays at 1:30 p.m. ($35), Thursdays at 1:30 p.m. ($35) and 8 p.m. ($40), Fridays at 8:30 p.m. ($45), Saturdays at 5 p.m. ($45) and 8:30 p.m. ($46) and Sundays at 2:00 p.m. ($45) and 6 p.m. ($40). Lunch and dinner theater packages range from $49.75 to $68 depending on the day of the week. Student tickets start as low as $20 and Senior Citizen tickets start as low as $30 for matinees and $44.75 for a matinee luncheon package. For reservations, call the Drury Lane Theatre box office at 630.530.0111, call TicketMaster at 800.745.3000, or visit www.drurylaneoakbrook.com.
Holiday Affair: A Review of "Holiday Inn" at Drury Lane The 2014 musical "Holiday Inn" offers a stage version of the 1942 film, deleting some numbers and adding other better-known Irving Berlin songs.
Dance Top 5: November 2021 Highlights of dance for November
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10 Reviews by You
Posted August 9, 2011 by MPPL
Mister Monday by Garth Nix
Arthur Penhaligon was a normal kid until one Monday when he was given a strange key. The key helped him breath because he had asthma and the key led him to a place called the House. In the House, Arthur's adventure takes off with his friend Suzy. I would recommend this book and it's series to anyone.
review submitted by Madeline
Soul Surfer, the movie, was a really good. It was a true movie based on a girl who lost one of her arms while surfing. She was so determined to continue even with one arm and she did it. It was really good but sad because a shark bit her and made her arm bleed. She has continued to surf even without an arm in competitions.
review submitted by Haley
Switched by Jessica Wollman
This was a very good book. It was about a poor girl who wanted to go to college (but didn't have the money) meeting a rich girl who didn't like school. They switched places to have what they each wanted.
review submitted by Katie
Exodus by Julie Bertagna
Exodus is the story of what life could be like in the future. The icecaps melted and most of the world was flooded. This makes you wonder whether we are on the brink of a world like that. It's a very good story and is scary to think that we may have to deal with this in the future.
review submitted by Natalie
Indie Girl by Kavita Daswani
An Indian girl wants to be a fashion reporter, so she babysits the famous reporter Aaralyn Taylor's son, hoping that it will let her get into an internship. The story is how she struggles to get Aaralyn to like her.
review submitted by Faba
The Forest of Hands and Teeth by Carrie Ryan
Mary lived all her life in feat of the Forest of Hands and Teeth behind the fence that protected her from it. Now she must leave the security of the fence and search for a new life where she could escape the Unconsecrated. The Forest of Hands and Teeth is a story of a dark and scary world where the dead walk alive, but also a place where hope can be found. It is a book that is hard to put down, filled with action, love, and hope.
And Then There Were None by Agatha Christie
I think And Then There Were None was a great book, even though I don't read mystery books that often. And I love the twist at the end of the book.
review submitted by Cody
The Teashop Girls by Laura Schaefer
The Teashop Girls is a great book about Annie, Genna, and Zoe (the Teashop Girls) and how they have different lives. But when the Steeping Leaf is about to go out of business, they work together and do everything they can to save it–even if it means fighting with your best friend.
The Lost Hero by Rick Riordan
This has to be one of the best books ever. I loved all the action, adventure, and suspense put into it. At times I felt like I was in the story. The characters were awesome. They had so much personality, I wished they were real. I can't wait until the next book. I loved it!
review submitted by Keandrea
Kiki Strike: Inside the Shadow City by Kirsten Miller
Kiki Strike is a fascinating book about a behind-kicking super-spy finding an underground city in Manhattan. The action and comedy in it was so amazing. I could not take my eyes off of it! From skeletons to princesses, this book has it all. I advise any teens from 10 years to 15 years to read this book. It is mind blowing!
review submitted by Grace
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Q: grunt-depend-concat is not replace @depend tags with file contents I'm trying to use grunt-depend-concat to create a site.uncompressed.js file with the contents of all the dependencies using @depend tags in my site.js file. The destination file is being created, but the @depend comments are still at the top of the file. Am I using this grunt package correctly? Is there a problem with my code? I'm open to alternative Grunt packages if I can still use @depend tags, but the grunt package documentation is rather sparse and I can figure out how else it might be possible to do this.
site.js (partial):
/**
 * @depend vendor/jquery-1.11.1.min.js
 * @depend vendor/jquery.smooth-scroll-1.4.13.min.js
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[…]

Gruntfile.js:
(function () {
    'use strict';
}());

module.exports = function (grunt) {
    grunt.initConfig({
        pkg: grunt.file.readJSON('package.json'),

        filepaths: {
            assetDir: 'httpdocs/files/assets/',
            jsDir: '<%= filepaths.assetDir %>' + 'js/',
            jsSrc: '<%= filepaths.jsDir %>' + 'site.js',
            jsComb: '<%= filepaths.jsDir %>' + 'site.uncompressed.js',
            jsMin: '<%= filepaths.jsDir %>' + 'site.min.js';
        },

    'depend-concat': {
        depend_doctag: {
            options: {
                method: {
                    type: 'doctag',
                    tag: 'depend'
                }
            },
            src: ['<%= filepaths.jsSrc %>'],
            dest: '<%= filepaths.jsComb %>'
        },
    },
    uglify: {
        options: {
            preserveComments: false,
            banner: '/*! <%= pkg.name %> <%= grunt.template.today("yyyy-mm-dd") %> */',
            sourceMap: true
        },
        dist: {
            files: {
                '<%= filepaths.jsMin %>': ['<%= filepaths.jsComb %>']
            }
        }
    }
});

require('load-grunt-tasks')(grunt);
grunt.registerTask('default', ['jshint', 'depend-concat', 'uglify']);
};

Grunt Output:

Running "jshint:files" (jshint) task
>> 2 files lint free.
Running "depend-concat:depend_doctag" (depend-concat) task File
  "httpdocs/files/assets/js/site.uncompressed.js"
  created.
Running "uglify:dist" (uglify) task
>> 1 sourcemap created.
>> 1 file created.
Done, without errors.

site.uncompressed.js (partial):
/**
 * @depend vendor/jquery-1.11.1.min.js
 * @depend vendor/jquery.smooth-scroll-1.4.13.min.js
 […]
*/

A: Unfortunately, I have not been able to get this Grunt plugin to work properly, so I have given up on using grunt-depend-concat with @depend rules in the site.js file.
I added a section to filepaths in the Gruntfile, then used the grunt-contrib-concat plugin instead.

redpajama_set_name: RedPajamaStackExchange


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text:
I promessi sposi è un film del 1941 diretto da Mario Camerini, basato sull'omonimo romanzo di Alessandro Manzoni.

Dopo diverse edizioni prodotte durante l'epoca del cinema muto, questa fu la prima realizzata con il sonoro. Data la consistenza dei mezzi tecnici e del cast messi in campo dalla casa produttrice Lux Film è da considerarsi, per quell'epoca, un kolossal.

Trama
Nel 1628, in una località situata sul Lago di Como, il signorotto Don Rodrigo pretende di sedurre la filatrice Lucia Mondella, promessa sposa di Renzo Tramaglino. Manda quindi i suoi bravi ad intimare al pavido Don Abbondio di non celebrarne le nozze ed a nulla vale l'intervento di padre Cristoforo. Renzo e Lucia tentano di sposarsi lo stesso, ma la cosa non riesce. Per sfuggire al pericolo, consigliati dal frate, i due giovani con la madre di lei, Agnese, fuggono dal paese natio.

Renzo arriva a Milano, possedimento spagnolo, proprio nel giorno in cui sono in corso tumulti contro la carestia. La sua ingenuità lo fa individuare come uno dei capi della rivolta; viene arrestato, ma riesce a fuggire ed a rifugiarsi presso suo cugino Bortolo nel Bergamasco, territorio della Repubblica di Venezia. Lucia viene ospitata presso un convento di Monza. Intanto Don Rodrigo, per il quale la questione è ormai diventata di principio, riesce a far trasferire lontano padre Cristoforo e chiede l'intervento dell'Innominato, uno spietato, potente e temuto capo banda, di cui è vassallo.

Per soddisfare la richiesta del suo sottoposto, l'Innominato, con la complicità della madre superiora del monastero ricattata dall'amante, fa rapire la giovane, che viene condotta al suo tetro castello. Qui, terrorizzata, Lucia fa voto di rinunciare a Renzo se potrà uscire salva. Le suppliche di Lucia riescono ad impietosire il suo rapitore, dando così il via alla sua conversione che avverrà nelle mani del cardinale Borromeo. Come primo atto di pentimento l'Innominato libera Lucia.

Intanto, a causa della guerra, la Lombardia è invasa dai Lanzichenecchi, che portano con sé la peste. L'epidemia dilaga ovunque e miete migliaia di vittime. Renzo, guarito dal contagio, rientra a Milano, dove ormai più nessuno si preoccupa di cercarlo. Nel lazzaretto, dove sono ricoverati gli appestati, ritrova padre Cristoforo. Costui lo porta a visitare il morente Don Rodrigo, a cui Renzo concede il perdono cristiano per tutte le sofferenze causate. Infine ritrova anche Lucia, che gli comunica il voto fatto. Ma padre Cristoforo la scioglie dall'impegno, non valido perché assunto in un momento di disperazione (e anche perché, afferma il frate, la ragazza non poteva offrire alla Madonna la volontà dell'uomo a cui si era promessa in sposa).

Renzo e Lucia potranno quindi sposarsi e, trasferitisi nel Bergamasco, vivranno finalmente una vita tranquilla allietata dalla nascita dei figli, rievocando le loro vicissitudini come una prova a cui sono stati sottoposti dalla Provvidenza.

Produzione

Contesto storico
In previsione del centesimo anniversario della pubblicazione della terza e definitiva stesura del romanzo furono in molti ad auspicare che il cinema italiano desse prova delle sue ritrovate capacità realizzative, portando sullo schermo il capolavoro del Manzoni, assieme ad altre importanti opere della letteratura italiana. L'idea aveva iniziato a circolare sin dal 1939, quando la Scalera aveva annunciato l'inserimento nei propri programmi produttivi di un film tratto dal Manzoni, con l'intenzione di presentarlo poi alla Mostra di Venezia dell'agosto 1940. Di questa riduzione fu incaricato Ugo Ojetti.

Il programma della Scalera non si concretizzò, ma l'idea rimase e fu ripresa un anno dopo dalla Lux Film. considerata «la più robusta tra le società produttrici italiane dell'epoca», impegnata nella produzione di colossal (nel 1941 realizza anche La corona di ferro di Alessandro Blasetti) nell'ambito di una cinematografia italiana che, dopo l'introduzione del "monopolio", vive un «clima di baldoria produttiva che circonda la gestione autarchica dei teatri di posa e dei circuiti».

Genesi
La decisione di portare sullo schermo il romanzo suscitò molte discussioni:

Uno dei principali oppositori del progetto fu Massimo Bontempelli, che vi intravedeva un disincentivo alla lettura del romanzo:

Alle obiezioni di Bontempelli e degli altri contrari al film replicarono diversi critici. Tra questi Adolfo Franci, che esortò lo scrittore «a considerare il film come cosa assai diversa dal romanzo: bello o brutto il film di Camerini non toglierà al Manzoni un solo lettore». Molti rivendicarono la possibilità per il cinema di affrontare anche le prove più ardue:

Sceneggiatura

La Lux aveva acquistato dalla Scalera la riduzione scritta da Ojetti e l'aveva consegnata a Camerini, ma il regista la considerò difficilmente trasferibile sullo schermo. Si diede quindi incarico per una nuova stesura ad un esperto come Ivo Perilli, che già aveva lavorato ai maggiori successi di Camerini sin dai tempi de Gli uomini, che mascalzoni! (1932), a cui si affiancò un giovane ventenne quasi esordiente, Gabriele Baldini.

Fu subito chiaro che, data la vastità della materia narrativa, alcune parti del romanzo sarebbero state sacrificate, anche se, come scrisse poi lo stesso Baldini «le varianti non sono molte né arbitrarie, dettate più dalle esigenze di economia del racconto cinematografico, che dal desiderio di variare il racconto». Numerosi episodi o personaggi del romanzo sono nel film assenti o appena accennati, il che rinfocolò le polemiche.

Tutto il lavoro di sceneggiatura fu sottoposto alla revisione di Emilio Cecchi, mentre Riccardo Bacchelli, cui era stata chiesta una collaborazione, rifiutò, perché anch'egli contrario a trasferire il romanzo nel cinema.

Pre-produzione

Per rispondere ai dubbi ed alle critiche la produzione ricorse, nelle fasi preparatorie, a studiosi dell'opera manzoniana che garantissero la correttezza del lavoro. Fu quindi coinvolto il direttore della Accademia di Brera, Marino Parenti, che era anche il Conservatore del Centro nazionale di studi manzoniani, il quale ricordò che, ancora vivente il Manzoni, già il romanzo aveva avuto delle riduzioni, anche in musica, senza che l'autore se ne risentisse.

Furono interpellati anche monsignor Enrico Rodolfo Galbiati, prefetto della Biblioteca Ambrosiana e Guglielmo Pacchioni, direttore della Pinacoteca di Brera.

Gli autori della sceneggiatura si documentarono inoltre presso il Museo del Castello Sforzesco, dove fu consultata la raccolta di stampe Bertarelli, e presso la Galleria privata del principe Borromeo. Parenti seguì anche le successive fasi di lavorazione, pubblicando sul mensile Primi piani diversi articoli di commento al film.

Riprese
Al termine della lunga fase di preparazione, le riprese del film iniziarono il 23 aprile 1941

Qualche difficoltà ci fu per individuare i luoghi in cui realizzare gli esterni. L'originaria idea di allestire il set nel Lecchese, dove Acquate ed Olate si contendevano il fatto di essere la località d'origine dei due sposi promessi, dovette essere abbandonata perché dai sopralluoghi emerse che le trasformazioni intervenute avevano reso quelle zone troppo "moderne". La scelta definitiva degli esterni cadde dunque nel Comasco: Limonta e Vassena (frazioni del comune di Oliveto Lario), Rezzonico (dove furono girate le scene della calata dei Lanzichenecchi) Brienno, Laino e a Sant'Anna, frazione del comune di Argegno, dove si "reclutarono" tra gli abitanti 1.500 comparse, utilizzate nelle scene delle folle che accorrono all'incontro con il cardinal Borromeo. Unica scena girata con attori fu il passaggio dell'Adda, con la presenza di Cervi.

In sostanza, quindi, le scene girate nelle località del romanzo furono abbastanza poche e quasi tutte "di massa", mentre molte di quelle ambientate all'esterno furono in realtà realizzate negli studi 4 e 5 di Cinecittà, lasciando indietro i passaggi in cui compariva Lucia.

La scena iniziale dell'incontro tra don Abbondio e i bravi, e quella del rapimento di Lucia a Monza, furono realizzate in esterno, ma nella zona dei Castelli Romani, nei pressi di Ariccia. Gastone Medin ricostruì a Cinecittà il Duomo di Milano a grandezza naturale come era nella prima metà del Seicento. Anche il Lazzaretto fu in parte allestito ex novo (il senso della prospettiva fu reso impiegando bimbi vestiti da adulti), e per tutto ciò venne impiegato un esercito di operai e carpentieri. Fu molto alto anche il numero delle comparse per le scene di massa: oltre a quelle impiegate nel comasco, furono centinaia quelle utilizzate a Cinecittà per le scene della sommossa milanese del pane, della processione e del Lazzaretto. Furono costruiti nei teatri di posa romani anche gli scorci urbani della Milano dell'epoca, nonché gli ambienti interni del monastero di Monza, del palazzo di don Rodrigo, del castello dell'Innominato e della canonica di don Abbondio.

Le riprese terminarono, dopo una lunga lavorazione di quasi sei mesi, nell'ottobre 1941.

Censura
Benché il film di Camerini portasse sullo schermo uno dei capolavori della letteratura italiana, dovette comunque affrontare qualche difficoltà col regime. Infatti, oltre a rientrare nella malvista categoria dei film "in costume", si pose il problema se nel film si dovesse conservare il "lei" manzoniano o se invece si dovesse adottare il "voi" prescritto dalle direttive fasciste. Dopo che anche questo aspetto diede origine a discussioni, la questione fu decisa per il "voi", con dispetto dei puristi manzoniani.

Camerini, peraltro, trent'anni dopo sosterrà che I promessi sposi era in fondo un film "antifascista", in quanto rappresentava soprusi e violenze, senza che il regime, che ne caldeggiava la realizzazione, se ne rendesse conto.

Interpreti

Il grande impegno produttivo contrassegnò anche la scelta degli interpreti principali che, in qualche caso, non fu facile. Mentre Gino Cervi, benché allora quasi quarantenne, fu quasi subito designato ad essere Renzo per esplicita scelta di Camerini, molti dubbi ci furono su altri ruoli. Per don Rodrigo si era pensato a Osvaldo Valenti, il "cattivo del cinema italiano", prima di indirizzarsi su Enrico Glori. Dubbi anche su Falconi, ritenuto troppo brillante per esprimere il carattere vile di don Abbondio. Le difficoltà maggiori si ebbero però nella scelta dell'interprete di Lucia. Scartata l'ipotesi iniziale di attribuire il ruolo ad Assia Noris, troppo identificabile con personaggi "sofisticati" e che lei stessa rifiutò e sventato il tentativo di imporre al regista Miria di San Servolo-Petacci, la produzione decise,di lanciare un concorso per un volto nuovo, secondo una prassi allora in voga.

La Lux fu travolta da una valanga di 2.324 candidature.

Tra queste ne furono selezionate solo 150 e successivamente in 14 furono invitate a Roma per un provino. Ma alla fine nessuna fu ritenuta idonea, ed il concorso finì col nulla di fatto. Mentre il tempo di lavorazione passava, a fine giugno le notizie dal set del film non fornivano alcun nome quale interprete di Lucia. Fu a quel punto che emerse il nome di Dina Sassoli, che in un primo tempo era stato scartato ma che, pur non avendo partecipato al concorso, aveva fatto un convincente provino con Renato Castellani. Per questa giovane attrice quasi esordiente, tale ruolo fu la definitiva consacrazione, pur condizionando negativamente la sua futura carriera:

Cast tecnico

Il film di Camerini poté avvalersi anche dei contributi tecnici dei più importanti professionisti dell'epoca, in particolare per la musica ed i costumi. Per la colonna sonora fu persino coinvolto il compositore di scuola neoclassica Ildebrando Pizzetti, che molto raramente e solo nei casi eccezionali di altri kolossal come Cabiria o Scipione l'Africano, aveva lavorato per il cinema.

I costumi furono affidati a Gino Carlo Sensani, che per la loro realizzazione si documentò presso diverse fonti: dagli arazzi raffiguranti la battaglia di Pavia, custoditi presso il Museo di Capodimonte (per la calata dei Lanzichenecchi), alle cere di Gaetano Zumbo per le scene del lazzaretto, oltre ad altre opere storiche. Particolare fonte di ispirazione furono anche le opere del Gonin, che aveva illustrato, su incarico dello stesso Manzoni, la 2ª edizione del romanzo.

Accoglienza
Data la sua importanza, il film fu presentato con ben due prime: a Roma il 19 dicembre 1941 ed a Milano il 22 dicembre 1941, ed ottenne critiche quasi unanimemente positive, diventando anche uno straordinario successo economico.

Risultato commerciale
In base ai dati disponibili, con un introito di circa 18 milioni e mezzo di lire dell'epoca, I promessi sposi di Camerini fu il film campione d'incasso al botteghino della stagione 1941-42. Nessun'altra pellicola italiana, infatti, riuscì in quell'annata a far registrare un introito superiore (Bengasi di Augusto Genina, con circa 16 milioni, e La cena delle beffe di Alessandro Blasetti con circa 13 milioni, furono le pellicole con il secondo e terzo incasso). Lo straordinario successo di pubblico fu registrato anche dai critici contemporanei che descrissero scene di folla che a Milano si accalcava all'ingresso della sala, mentre a Roma la pellicola realizzò la straordinaria tenitura di ben 41 giorni consecutivi nelle sale di prima visione.

Critica contemporanea

I giudizi della critica sul film di Camerini furono quasi tutti positivi e, in qualche caso, entusiasti:

Non mancò qualche cenno a quanto si era dovuto sacrificare:

Nonostante le riserve dovute all'inevitabile compressione o eliminazione di tanti episodi o personaggi, il panorama critico fu quasi unanime nell'apprezzare il modo con cui il romanzo era stato trasferito nel cinema.

Tra tanti apprezzamenti, una voce dissenziente fu quella di Cinema, il cui giudizio, redatto dal futuro regista Giuseppe De Santis, mise in evidenza taluni difetti del film:

Tutti i critici, senza eccezioni, lodarono comunque l'interpretazione degli attori e, in particolare, quella di Lucia da parte della Sassoli, che, secondo il Corriere della Sera «classifica questa attrice tra le nostre migliori», o, secondo lo studioso Parenti risulta «indimenticabile».

Critica successiva

Col passare degli anni i giudizi sul film cambiarono ed il quasi unanime apprezzamento lasciò il posto a valutazioni meno lusinghiere.

Riconoscimenti
Alla Mostra di Venezia del 1942, l'ultima prima che l'Italia venisse travolta dalla guerra, Mario Camerini fu premiato per I promessi sposi quale miglior regista italiano della stagione 1941-1942.

Note

Bibliografia
 Gianfranco Bettetini, Aldo Grasso, Laura Tettamanzi Le mille e una volte dei Promessi sposi Edit nuova ERI, Roma, 1990
 Cristina Bragaglia Il piacere del racconto. Letteratura italiana e cinema 1895 - 1990. La Nuova Italia Edit. Firenze, 1993 ISBN 88-221-1249-0
 Antonella Brancaccio, Il "dilavato e graffiato" schermo di Alessandro Manzoni, Bergamo, Sestante-Bergamo University Press, 2016. ISBN 978-88-6642-223-5
 Gianpiero Brunetta Storia del cinema italiano (vol. II - il cinema di regime 1929- 1945) , Editori Riuniti (2ª ed.) Roma, 1993. ISBN 88-359-3730-2
 Roberto Chiti, Enrico Lancia: Dizionario del cinema italiano - i film. vol I (1930 - 1944). Gremese Edit. Roma, 1993 ISBN 88-7605-596-7
 Jean A. Gili Stato fascista e cinematografia. Repressione e promozione. Bulzoni Edit. Roma, 1981
 Sergio Grmek Germani: Camerini. Il castoro cinema - La Nuova Italia Editr. Firenze 1980
 AA. VV. I promessi sposi (a cura di Ernesto Nicosia). Edito da Fondazione Archivi del '900. Roma, 2006
 AA.VV. Le città del cinema. Produzione e lavoro nel cinema italiano (1930 - 1970). Napoleone Edit. Roma, 1979.
 Paolo Mereghetti: Il Mereghetti 2014. Baldini e Castoldi Edit. >Milano, 2013. ISBN 978-88-6852-058-8
 Gianni Rondolino: Storia del cinema (3 voll.). UTET Edit. Torino, 1977.
 Francesco Savio: Ma l'amore no. Realismo, formalismo, propaganda e telefoni bianchi nel cinema italiano di regime (1930-1943). Sonzogno Edit. Milano, 1975.
 Francesco Savio: Cinecittà anni Trenta. Parlano 116 protagonisti (3 voll.). Bulzoni Editore, Roma, 1979. ISBN
 AA.VV. Storia del Cinema Italiano, volume VI (1940-1944) Edito da Marsilio, Venezia ed Edizioni di Bianco e nero, Roma. 2010 ISBN 978-88-317-0716-9, in particolare i capitoli:
 Il formalismo ed il suo oltre di Adriano Aprà, pag 104.
 Gli interpreti maschili di Bruno Di Marino, pag. 276
 La produzione privata dopo la Legge Alfieri di Barbara Corsi, pag. 386
 Verso un gruppo di Stato di Francesco Bono, pag 513
 Tabelle riassuntive, pag. 670 e seg.
 vari numeri dei periodici Cinema, Primi piani, Film, Lo schermo, L'Illustrazione italiana, annate 1941 e 1942.

Altri progetti

Collegamenti esterni

Film diretti da Mario Camerini
Film drammatici
Film basati su opere di narrativa
Film ambientati in Lombardia
Film basati su I promessi sposi
Film in costume


text:
Q: Why declare jQuery twice? What is the purpose of the following code?
Note that before the second script code below, jquery.min.js is already included with googleapis.
<script src="https://ajax.googleapis.com/ajax/libs/jquery/2.1.4/jquery.min.js"></script>
<script>window.jQuery || document.write('<script src="/assets/js/vendor/jquery.min.js"><\/script>')</script>

A: The first script will try to load jQuery from an external website (in this case, Google CDN).
The second one will try to find the jQuery object in window, and only if it doesn't find it, then it will load the library from an internal link. It's only a fallback in the case the CDN fails.
window.jQuery || document.write(...)
// the code above means the same as the code below
if (window.jQuery === undefined) document.write(...)

In Javascript, besides booleans (true/false), there are truthy and falsy values. Anything that's different to 0, false, undefined and null is a truthy value.
In that case, if the jQuery property exists on window, it will be an object, and it will be a truthy value, so, the second statement won't run (because the first one is already true - and in an OR operator, if any of the statements is true, it skips the others (from left to right).
Although, if the jQuery property doesn't exist, it's because the first script didn't load correctly, and the property will be undefined, a falsy value. So, the second statement will run, and the local jQuery will be loaded as a fallback.

A: It is a fallback mechanism if the jquery from CDN is not reached for some reason like blocked by firewall, CDN down etc
I will add one more practical scenario I faced last year. One of my client decided to host and use the web application created by me in LAN without internet availability. With the local IIS the application was deployed properly but failed due to CDN non availability, if I had used the code mentioned in question the web app would have worked the very first time without any change.
I hope that it will makes sense now :) For me it was a lesson learnt.

A: It's trying to use the version hosted on Google's CDN first. There's a chance the person viewing the site already has that exact script cached from visiting some other site, so they might as well try that first.
If the CDN version loads, window.jQuery is set, the or is short-circuited, and the code moves on.
If the CDN version can't be loaded for some reason, it adds another script tag to the page pointing to a locally-hosted version of the script.
Edit: as MTCoster points out in a comment above, this trick relies on the way JavaScript is normally loaded. The browser pauses execution until the  tag loads or times out. If jQuery were loaded asynchronously using the async attribute, this trick wouldn't work.

A: It's to fallback to the jquery.min.js file stored on the same server when the CDN is down or cannot be reached.
It's essentially saying:
// 1. Try to download and run https://ajax.googleapis.com/ajax/libs/jquery/2.1.4/jquery.min.js

// 2. Was jQuery successfully loaded from the CDN? If so, it will be defined:
if (window.jQuery) {
    // Yes, it's defined. Good. Nothing more needed.
}
else {
    // No, it's not defined. Use my copy:
    document.write('<script src="/assets/js/vendor/jquery.min.js"><\/script>')
}

Read more here and you can find the original code here.
Regarding window.jQuery || document.write(...) that is essentially shorthand for the code above. When defined window.jQuery will be truthy and so the statement on the right hand side of || will not be executed; however, if it's not defined it will be falsy and the statement on the right hand side of || will be executed.


text:
Radio Tarifa war eine spanische Musikgruppe aus Madrid. Radio Tarifa wurde Ende der 1980er Jahre von Faín Sánchez Dueñas, Benjamín Escoriza und Vincent Molino gegründet. Dueñas und Molino spielten vorher bereits in der Gruppe Ars Antiqua Musicalis.

Ende 2006 kündigte die Band eine unbefristete Ruhepause an. Ein letztes Konzert fand am 11. November 2006 in Barcelona statt.

Am 9. März 2012 verstarb Benjamín Escoriza im Alter von 58 Jahren.

Stil
Radio Tarifa spielt "panmediterrane Weltmusik" mit traditionellen Instrumenten, selten elektrisch verstärkt, unter Verwendung von Elementen aus spanischer, arabischer, sephardischer und mittelalterlicher Musik. Der Name der Gruppe deutet dies durch den Bezug auf Tarifa, die Marokko nächstgelegene Stadt Spaniens, an.

Die Stücke sind größtenteils selbst komponiert und getextet. Die arabischen und spanischen Musiker verwenden dabei Instrumente aus diversen musikalischen Welten, z. B. aus dem Orient die Darbouka, die Ney oder die Oud, das Krummhorn oder die indische Querflöte Bansuri, aber auch die elektrische Gitarre oder die Hammondorgel.

Diskografie
 1993 Rumba Argelina
 1996 Temporal
 2000 Cruzando el Río
 2003 Fiebre

Weblinks

Einzelnachweise

Spanische Band
Weltmusik-Band