text:
biggovernment
secondamendment
firstamendment
ATF decision could lead to biggest gun registration, turn-in effort in American history
New guidance from the Bureau of Alcohol, Tobacco, Firearms, and Explosives (ATF) could put millions of Americans in legal jeopardy.
(Article by Stephen Gutowski republished from FreeBeacon.com)
The ATF published a notice Thursday that could require millions of AR-15 pistols and similar firearms—which are designed with braces that strap on to a shooter's forearm—to be either registered, turned in, destroyed, or dismantled. But the standards laid out for determining the devices' legality, such as caliber or weight, provide no objective measures, and the agency said it may also use undisclosed factors to judge the legality of the devices.
The agency conceded in the notice that some pistol braces are legal and should not be subject to the registration or destruction requirement. It said, however, that it could not provide a blanket determination for which pistols, or braces with which they're often equipped, are legal and said it would have to examine each gun "on a case-by-case basis." That means owners of the vast majority of the estimated three to four million AR-15 pistols and similar firearms may have to register with the ATF.
Second Amendment advocates were up in arms over the proposed rule, saying the uncertain legal status could destroy several businesses that make pistol braces and harm the gun industry. Erich Pratt, senior vice president of Gun Owners of America (GOA), said the subjective nature of the guidance shows that the "ATF has gone off into the deep end."
"GOA will rally the grassroots to fight these regulations, and if they eventually go into effect, we will commence immediate legal action to protect gun owners," Pratt said in a statement.
The controversy stems from how federal law distinguishes between short-barrel rifles and shotguns, both of which must be registered and require a $200 tax stamp, and pistols that do not require either. The key component is whether a firearm is designed to be pressed against the shooter's shoulder. Since 2012, the ATF has classified several guns with braces designed to strap to a shooter's forearm as pistols. The agency's Boston field office called that interpretation into question in August after sending a cease and desist letter to one manufacturer. The agency ordered a review in October following intervention from the White House.
Neither the ATF nor the White House responded to a request for comment.
The notice said the agency plans to waive the $200 tax for those registering the affected firearms during a grace period to be announced later. The public has two weeks to offer comment on the ATF notice before it goes into effect.
Read more at: FreeBeacon.com and Guns.news.
Tagged Under: 2nd Amendment, atf, braces, firearms, GOA, guns, Liberty, pistols, registration
PREPARE FOR WAR: After Jan. 6th, expect all hell to break loose across America
Situation Update Dec. 25th – Americans prepare for January WAR
ATF raids maker of 80 percent lowers in prelude to what a Biden-Harris anti-gun regime will look like
Situation Update, Dec. 11th – DoD de-fangs the CIA, 305th intel proves foreign interference, SCOTUS maneuvers
A couple of ominous questions remain. What will you say when they ask what you did to stop the tyranny and destruction of our republic?
Biden team has already reached out to ATF with an eye towards banning 80% receivers and pistol braces already owned by MILLIONS of law-abiding Americans
Same left-wing media celebrating looters, rioters, and arsonists paints self-defense hero Kyle Rittenhouse as "racist" for standing his ground in the face of violence
Dr. Scott Atlas: The only way this stops is if people rise up against the unjustified lockdowns
Florida governor proposes legislation allowing citizens to shoot looters in self-defense… and it's right on time
Serbian warns America: FIGHT NOW before you are weakened and enslaved under socialism tyranny
Message to Trump: We are willing to put our lives on the line to protect YOU and this constitutional republic… just say the word
Gun Owners of America calls out ATF for undermining the presidency
Abortion fanatic Wendy Davis also wants to grab your guns
Walmart removes guns and ammo from displays, citing possibility of civil unrest
New York's anti-gun attorney general plans to use NRA's assets as a slush fund for "Black Lives Matter"
Donald Trump: I'll sign national reciprocity if it reaches my desk
Keith Olbermann illustrates why we won't give up our guns
Now the left wants you to "reimagine" your Second Amendment rights in order to eliminate them
Radical left-wing group posts BATTLE PLANS to unleash mass CHAOS and shoot Trump supporters in the streets if Trump wins the election
COPYRIGHT © 2017 SECOND AMENDMENT NEWS


When it comes to dental care, prevention is always better than restoration. Booking in for an annual check-up ensures your dentists can keep an eye on your oral health. They'll inspect both soft and hard tissues, investigate any pain you may have and carry out oral cancer checks. They'll also give you an X-ray to determine the extent of tooth decay, make a note of what teeth and fillings you already have and chart any gum disease. Ferry Road Dental want you to feel good about yourself and your teeth and comfortable that your dental care is in safe hands.
Since 1995 Ferry Road Dental has been providing comprehensive dental care with a reputation for high-quality personal service. They offer experienced advice and treatment options for routine and complex problems. They offer a wide range of services including general, family, cosmetic and preventative dentistry, as well as emergency care. Their talented team strive to always provide the highest quality dental services, so give them a call today!
Voucher is valid for a dental check up + return voucher or a dental check-up, return voucher + scale & polish - as selected upon purchase.
Available Monday to Thursday 9am - 5pm & Friday 9am - 1pm. Not available public holidays.
Bookings are essential & subject to availability 03 3811504 & quote voucher number at time of booking. $50 toward future follow-up appointments only valid if required - does not include products or check-up appointment and must be used within 3 months. Must be used in 1 visit. No exchanges. No refunds or cash back (except where required by law). Not for use with other offers.
To redeem your voucher, please call 03 381 1504 and be sure to mention your voucher code. Then present your voucher upon arrival at the venue.
24 hour cancellation policy applies - late cancellation or non-attendance voids voucher.


text:
{% extends "../base.html" %}

{% block content %}
    {% autoescape None %}
    <form action="{{ request.path }}" method="post">
    {% module xsrf_form_html() %}

        {% for field in form %}

                {{ field.label(class_="control-label") }} {{ field(class_="form-control", rows="3") }}

            {% if field.errors %}
                {% for error in field.errors %}

 {{error}}

                {% end %}
            {% end %}
        {% end %}

           <button type=submit class="btn btn-default btn-md">Save</button>

    </form>
{% end %}

redpajama_set_name: RedPajamaGithub


Today sees the launch of a set of 4 stamping plates I designed in collaboration with Yours Cosmetics. It was a HUGE honour to be asked to create a set of plates and I've loved the opportunity to select designs that allow us to create the kinds of nail art looks I truly love.
I have been creating nail art for my clients for over 17 years, but only properly got into stamping over the last year or so. The reason I love stamping as a professional nail art technique so much is because it's fast, easy and so very versatile.
I prize nail art techniques that add just a few minutes to my service time. There are lots of complicated and time consuming techniques out there that look amazing and are fun to do, but are prohibitive in a real working salon environment where you have clients booked back to back, and don't want to have to up the price of your service by a huge amount.
Before we get into the step by steps, here is some terminology and details on where to buy the Yours Loves Fee Stamping Plates.
In France from What's Your Nail?
The following step by steps are intended for Nail Professionals who are qualified and insured to perform professional CND™ SHELLAC™ services.
This is my most utilised method for stamping. It's fast and foolproof, and best of all there is no need to mask off the skin or do clean up after the design is stamped on. This is by far the best way to stamp for a beginner, but it's likely to be your most used technique day to day, even when very experienced.
Brush Creative Play onto the stamping plate and IMMEDIATELY scrape over once, firmly with the scraper, then IMMEDIATELY roll the stamper across the design to pick up the polish on your stamper.
Allow the Creative Play a few seconds to dry on the stamper. The dry polish on the stamper sticks beautifully to the sticky top film of the cured Shellac Colour layer. And because it's dry it doesn't stick to the skin around the nail.
Press and roll the stamper across the nail to transfer the design onto the Shellac colour.
Apply and cure Shellac Top Coat of your choice. You can do this right away as the Creative Play is dry.
Q: What if I make a mistake, can I/how do I remove what I stamped on?
A: This is the easiest way to stamp. With a little practice you'll be doing it quickly without making mistakes, but if you do want to re-do one, here's what to do: Remove the stamped on design in one firm wipe with ScrubFresh on a lint free pad. Now re-apply a thin layer of the Shellac colour and cure. Now you have a new sticky top film to stamp onto again.
Q: I can't pick up the design on my stamper, what am I doing wrong?
A: The most likely reason is that you are allowing the Creative Play to dry on the stamping plate. Make sure you do just one firm scrape with your scraper and IMMEDIATELY pick up the design by rolling your stamper across the plate.
Use a dry brush (love the world famous Lecenté G1) to press the Additive into the stamping plate.
Scrape over the design firmly, several times in different directions. Use a clean edge of the scraper each time.
Roll the stamper across the plate to pick up the design.
Roll the stamper across the nail to transfer the design onto the sticky top film of the cured Shellac colour layer.
Apply and cure Shellac Top Coat of your choice.
A: If you do want to re-do one, here's what to do: Remove the stamped on design in one firm wipe with d.sperse (IPA) on a lint free pad. Now re-apply a thin layer of the Shellac colour and cure. Now you have a new sticky top film to stamp onto again.
The most frequently asked question I get on stamping is, 'Can I stamp with Shellac?' My answer is, 'well, why would you want to?' Stamping with Shellac is something I would only do in very specific circumstances, when there is no other way to create the desired effect. If you want to adhere Lecenté Glitter, Lecenté Foil, or a chunkier CND™ Additive to the stamped on design (and not to the background colour), stamping with Shellac will allow you to do that, because once cured, your stamped on design will be sticky and therefor perfect to adhere glitter, foil, additives, etc. If what you want is just a colour stamped on, Creative Play is a far better option in my opinion.
When stamping with Shellac, you MUST mask off the skin around the nail to prevent overexposure. Shellac is a curable polish that is not meant to come in contact with the skin in it's uncured form, ever. As a professional it is your responsibility to care for your clients, observe health and safety regulations and as a condition of your professional insurance, follow manufacture's instructions. I like to use micropore tape to mask of the skin.
So stamping with Shellac is more time consuming and requires practice to do efficiently, you therefor must book in extra time and charge a premium if you use this technique on your clients.
Apply and cure Shellac Top Coat of choice and wipe away the sticky top film with d.sperse (IPA). Do this carefully, it's very important that this layer is not sticky at all after wiping.
Clean the stamping plate, scraper and stamper with ScrubFresh.
Mask off the skin around the nails you will stamp on using masking tape / micropore / paint on latex tape.
Brush Shellac colour onto the stamping plate, give it a few seconds to begin to air dry.
Use the scraper to firmly scrape across the design, then scrape again in the other direction. Repeat this a few times. This will allow the Shellac on the plate to keep air drying and properly settle into the plate.
Apply foil, glitter or Additives to the cured design and finish with a further layer of Shellac Top Coat of your choice. I recommend XPRESS5™ for this technique as two layers of Original Shellac Top Coat could be a bit bulky.
Q: Why do I have to mask off the skin, can I not just wipe the Shellac off the skin?
A: Because Shellac is a curable polish, there are ingredients in the formula that are not intended to come in contact with the skin in it's uncured form. Repeated soft tissue exposure to uncured product could lead to irritation. Masking off the skin will prevent this.
Q: When I stamp the Shellac on it goes all smudgy, what am I doing wrong?
A: Are you certain you are removing the sticky top film from the cured top coat before stamping? The Shellac on your stamper is still uncured, so it needs to be applied to a dry (not sticky) layer of Shellac Top Coat. If this is not the reason, you could be pressing the stamper too firmly against the nail.
Vinylux is my first choice for applying colour over Nail Enhancements, and it's by far the best performing air-drying polish on natural nails in terms of wear and durability. Vinylux is a great choice for those for whom Shellac is not a suitable service option; under 16's or those who are unable to return to you for a professional removal – it can be removed safely at home, unlike Shellac for which home removal is never a good idea.
Vinylux is very quick drying, so there is no hanging around waiting for the polish on the nail to become dry enough to stamp over. I love using Creative Play as a polish over natural nails and Enhancements, but not if I'm going to stamp over the polish, Vinylux is a far better option for the base colour.
Brush Creative Play onto the stamping plate and IMMEDIATELY scrape over firmly with the scraper, then IMMEDIATELY roll the stamper across the design to pick up the polish on your stamper.
IMMEDIATELY roll the stamper across the nail to transfer the design. If we allow the Creative Play to dry on the stamper it will not stick to the dry Vinylux colour underneath.
A: The most likely reason is that you are allowing the Creative Play to dry on the stamping plate. Make sure you do just one firm scrape with your scraper and IMMEDIATELY pick up the design by rolling your stamper across the plate before it gets the chance to dry.
Q: I can't get the design to come off the stamper and transfer onto the nail, what am I doing wrong?
A: You have to be quick with this technique. Your design is going onto a dry layer of Vinylux, so the Creative Play on the stamper has to still be tacky in order for it to stick.
Q: When I apply the Vinylux Top Coat sometimes the design drags and looks smudgy.
A: Be sure to give the stamped on design a couple of minutes to dry and when applying Top Coat ensure the brush is loaded with product and that you float the brush over the nail so the bristles don't get a chance to disturb the design underneath.
Thanks for checking out the blog! Let me know what you think here in the comments section of join the discussion over on Facebook.
Hope you enjoy using the new plates, I can't wait to see what everyone comes up with!
There are several step by step videos for stamping and other pro techniques on my YouTube Channel.
For loads more stamping pictures and ideas please join me over on Instagram.
Thank you, lots of good info!
Fee your Blogs are so helpful, it's given me great confidence in performing wonderful designs on my clients nails, so thank you.
When stamping creative play patterns on all nails I'm using a lot of pads to clean the plate & stamp with Scrubfresh between each application, do you have any tips on the best way to do this?
When performing stamping as a professional service I am always cleaning my stamper and plate with ScrubFresh. If I am stamping all ten nails I would normally use 2 stampers for quickness, but even if using 1 stamper, I'd say I use 3-4 pads maximum during the entire process. I like to have different pads for different jobs; I use my premium quality, plastic-backed pads to ScrubFresh the nail plate, and I use less expensive gauze pads for cleaning my plates and stamper. You might find you are doing more 'pumps' than necessary if using a pump top for your ScrubFresh (once is enough!), or if you are tipping the bottle up rather than using a pump top, you are likely using way more ScrubFresh then you need to. I tend to use the square gauze pad in 4 sections, a corner/quarter per pump.
Hi, the polish that is used for stamping, can it be used as a base colour and if so is it done like a normal colour. Painted cured, painted cured then top coat cured.
Hi Gaynor, the polish that I use for stamping is an air drying polish, not a gel polish. You can stamp with gel polish, but I find it unnecessarily time consuming. If stamping with gel polish we MUST mask off the skin around the nail, gel polish should never make contact with the soft tissue in it's uncured form.
Stamping with traditional air drying polish is quicker and more foolproof in my experiance.


Pilar and Lisette have virtual coffee, talking about the positive and negative aspects of working remotely.
00:30 Pilar's short intro - see below for script.
13:30 The curse of "being always on". How technology is helping people taking charge of their own development. (Check out the episode on Yammer, 42:03). The origins of Working Out Loud.
19:45 Work-life balance, work-life fusion and choosing the location where you want to live, not where you want to work. Feeling "boxed in".
The down-side of non-location specific, the freelance aspect. Pilar mentions a "housing crisis in London" - it's actually in the UK. Here's an article about it Article in The Guardian.
27:30 The curses. Is communication more difficult or easier when we're working with others remotely?
46:55 Lisette's interview with Teo Haren.
54:10 Pilar mentions an episode from The Bottom Line on Going Global 12 March 2015.
This is the Zapier article Pilar talked about: How to Avoid Burnout in a Remote Team.
Lisette mentions Cocoon Projects in Italy.
All employees are becoming more entrepreneurial now.
Today's episode is called: Virtual Work: Blessing or Curse? Originally, the episode was going to focus on Burnout, which, as we mention in our chat, was probably pretty much at the front of Lisette's mind when she suggested the topic, straight after the NoPants festival. Later on, we broadened the subject to something that would highlight the pros and cons of this way of working that is now quite easy to latch onto.
So, to prove a point, I'm recording this in Madrid, where I'm visiting my parents, and I'm recording on my husband's iPhone, because, I am part of that minority that doesn't have an iPhone and because I'm still not in the habit of carrying my portable recorder with me all the time, I left it back in London. So, a small experiment, I might discover that the quality is just as good as with my handy Roland microphone, and decide it's time to buy a smartphone, you never know. And this got me thinking that, however possible it is now to do your work from wherever, you still need the infrastructure, you still need to remember to take certain things with you if you go away from your main base.
I'm always aware that there is a danger of romanticizing virtual work, or remote work, or being able to work from anywhere, which is why I really enjoyed recording this episode with Lisette. As well as being aware that not everyone can take their work out of the main headquarters or away from the work location, it's important to realise that there are plus and minuses to working in this way, especially if we are about to make the move. So I hope from that point of view, this episode is of interest and dare I say it, of use to you.
And even though technology has enabled mainly freelancers and entrepreneurs to work more freely and in a more networked way, we are by no means focusing on these. Lisette makes the point quite early on that everyone in organisations is now able to be connected to work as much as they want to, need to or feel forced to. And only today, I got an email from one of my voiceover agents who was actually in Rome, on holiday, her words, but she was still pitching for a project and emailing a few of us to get some samples, which she would then send to the client. And she is not freelancing, she's not the business owner, but she's still blurring the edges of her working hours. It's the flexibility that's important, although as we shall see, this is also a great danger.


Pocharam wildlife sanctuary is just at a distance of 15 km from Medak and is spread over an area of 130 sq. km. Local transport is easily available from Medak to reach the sanctuary. This was declared as the wildlife sanctuary in the early 20th century by the Nizam who loved this place as the hunting ground. It has rippling terrain that has small hills and also small water pools that are formed by the water of the lake Pocharam that flows through Pocharam wildlife sanctuary. The sanctuary is situated at a distance of 120 km from Hyderabad. It was declared the wildlife sanctuary in the year 1952 for the species it has and the rich flora and fauna.
In the year 1916-1922 a lake was formed that was named Pocharam Lake. This lake was formed due to the damming of Allair. The area has rich flora and fauna and has swanky green forest around the lake. The animals and birds like Brahminy Bucks, Bar-Headed Goose and Open Billed Stork can be seen here. Animals like Forest Cat, Wolf, Sloth Bear, Nilgai, Chital, Leopard, Wild Dog, Jackal, Sambar, Chinkara and four horned Antelope have been housed here.
Species like Deer and Antelopes are the major attraction for the visitors to this place.
The Pocharam wildlife sanctuary has the southern tropical dry deciduous forests.
This sanctuary has a reservoir and is named as the Pocharam Reservoir which is nearest to the sanctuary that attracts the birds like brahminy duck, bar-headed goose and painted stork.
The biodiversity of the Pocharam Wildlife Sanctuary is another attraction of the sanctuary as the nature lovers love the place and like to spend their quality time here. One who visits this place gets so mesmerized by its beauty that they love to visit this place again and again. It provides the visitors with the good collection of photographs. This is the best place for the wildlife photographers and for those who like to spend some adventurous time. The wide variety of animals, birds, rich flora and fauna are the other reasons that attracts many visitors to Pocharam Wildlife sanctuary.
The government in Andhra Pradesh has taken steps to conserver the wild life in the Pocharam Wildlife sanctuary.
The flowers that can be seen almost in the entire vicinity of Pocharam Wildlife sanctuary is Hydrilla, Vallisneria, Pistia and Eichornia. Another popular attraction of the sanctuary is the spread of Babul Prosopis.
A wide variety of fishes like Rahu, Ech Paten, Chidwa, Catla, Murrel, Karugu can be seen here. The types of reptiles that are housed in the Pocharam Wildlife sanctuary are Fresh Water Turtles, Marsh Crocodiles, Monitor Lizards and Cobra. The bird fauna of the sanctuary includes Herons, Teals, Cormorants, Black and White Ibises, Open Billed Storks, Painted Storks, Coots, Pochards and Spoonbills etc.
Along with reservoir this sanctuary has nine islands few of them are named here like Puttigadda, Sangamgadda, Bapangadda, Karnamgadda etc. These islands serve the purpose of breeding house for the birds. There are numerous nests that can be seen here.
The summers can be scorching hot at this place as the temperatures goes upto 40 degree Celsius while winters are cool with temperature going down to 15 degree Celsius.
November to January is the best months to visit Pocharam Wildlife sanctuary.
The nearest airport is Hyderabadfrom where the local transport can be hired to reach the sanctuary.
The nearest railway head is at Hyderabad but this is also around 150 km from the sanctuary Local bus or taxi can be hired to reach the sanctuary.
Local buses from Macherla can be hired to reach Pocharam Wildlife sanctuary. Local jeeps also ply form nearby place.
The varieties of flowers that enhance the beauty of this sanctuary are like Nallamaddi, Tirman, Mohwa, Chennangi, Teak, Garuga, Satin, Chirongii, Abnus etc.
The varieties of mammal that are part of the sanctuary are Jungle Cat, Sloth Bear, Nilgai, Chital, Leopard, Wolf, Jackal, Sambar, Chinkara,Four horned Antilope etc.
As large as 100 kinds of birds can be seen in the sanctuary which includes Ashy Crowned Finch Lark, Kingfishers, Crested Serpent Eagle, Indian Roller, and White bellied Woodpecker etc.
The best place to stay here are the Inspection bungalow in Pocharam and Medak.


text:
Alexej Alexandrovitj Aleksejev (født 5. marts 1965 i Moskva) er en tidligere russisk håndboldspiller der spillede stregspiller. Han er nuværende cheftræner for den russiske topklub HK Lada i Superligaen. Han har tidligere været tilknyttet det russiske A-kvindelandshold, som både assistent- og landstræner.

Trænerkarriere
Han begyndte sin trænerkarriere i 2001, for kvindeholdet KSK Luch Moskva, der også optrådte i landets bedste kvindelige håndboldrække. I efteråret 2016 overtog han også stillingen som assistenttræner for det russiske kvindelandshold, under ledelse af Jevgenij Trefilov. Efter 15 år i Moskva, blev han i 2019 ansat som ny cheftræner for storklubben HK Lada i Toljatti.

Efter at den russiske landstræner, spanske Ambros Martín, blev fyret under EM 2020 i Danmark, overtog Aleksejev rollen som midlertidig landstræner til kampen om femtepladsen. I februar 2021 blev han officielt præsenteret ny landstræner, der skulle føre det kvindelandsholdet til succes ved Sommer-OL 2021 i Tokyo. Ved turneringen, lykkedes det ham og resten af holdet at vinde OL-sølvmedaljer.
 Han blev i august samme år afskediget, hvorefter Ljudmila Bodnijeva overtog landstrænerposten. Han er fortsat cheftræner i Lada.

Kilder

Eksterne henvisninger

 Alexej Aleksejev hos handball.ru

Håndboldtrænere fra Rusland

redpajama_set_name: RedPajamaWikipedia


text:
ACE announces the 2022 edition of 'A Season of Classic Films' and award of a new Joint Restoration Grant at Cannes
The third edition of 'A Season of Classic Films' was presented today at the EU Pavilion in Cannes when ACE (Association des Cinémathèques Européennes) reveals details of the new programme running June to December 2022 in European cinemas and online.
'A Season of Classic Films' is a series of free screenings designed to attract younger audiences to our shared cinematic cultural heritage. The programme looks to raise awareness of the work of European film archives, connecting the public with cinema history and the significance of film preservation. Most of the films are new digital restorations, and some screenings include dynamic elements such as live music performances and educational interactive sessions. All films are available with English subtitles.
Twenty-two film archives from 21 European countries (all ACE members) will participate in the classic film season, and each archive has selected a film or film compilation from their own collection to restore and present.
Joint Restoration Grant
Additionally at the event in Cannes, ACE presented the Joint Restoration Grant of €50,000 awarded for the restoration of the film Life of a Shock Force Worker (1972). The jury, comprising filmmaker Sergei Loznitsa, Pordenone Silent Film Festival director Jay Weissberg and director of the Cinema-Fiction Department of ARTE Claudia Tronnier, selected the film from a raft of proposals submitted by European film archives.
Four partner institutions from Slovenia, Croatia, Austria and Bosnia are joining forces to restore Life of a Shock Force Worker, a wonderful example of Yugoslavian New Cinema. Inspired by daily life in a coal mine, the film critiques the political regime of the era, all the time illustrating the state ideology of comradeship and unity. It further offers a clearer and more nuanced view of Yugoslavian film history, one of the blind spots on the map of European film heritage, and at the same time touches upon the pertinent matter of propaganda in our post-truth era.
"Large parts of the Yugoslavian film heritage have so far been underserved," the jury writes of its choice. "Life of a Shock Force Worker has strong imagery, but it is in desperate need of colour grading since the original has faded with time. A key asset is that ACE and the four partner institutions responsible for this restoration project will collaborate with DoP Karpo Godina."
During the war in Bosnia in the 1990s, film director Bahrudin Bato Čengić deposited a 35mm print of the film at the Slovenian cinematheque, while the image and sound negatives remain at the Croatian state archive. Post-restoration, the film will be offered in a new 2K edition with the support of the EU Creative Europe MEDIA programme and the Ministry of Culture of Republic of Slovenia.
Cinema and online screenings
This year's 'A Season of Classic Films' promises to offer very much an in-person series of events and presentations within European cinemas. Most of the films will also be available online to allow for a greater reach to international audiences, building up on the experience gained during the previous edition.
"The second edition of A Season of Classic Films took place when most of our public venues were closed for long periods of time," says ACE President Sandra den Hamer, also Director of Eye Filmmuseum. "Nevertheless, European cinematheques actively connected with their audiences through online screenings, new streaming platforms and/or hybrid events. 'A Season of Classic Films', as a joint project, again strengthened the collaboration and solidarity between the participating film institutions."
From left: Jay Weissberg, Paulina Reizi, Sergei Loznitsa, Claudia Tronnier, Sandra den Hamer.
The Cannes 'A Season of Classic Films' presentation took place on May 23 at the EU Pavilion. The event was moderated by Paulina Reizi (Eye Filmmuseum, Coordinator of A Season of Classic Films). Speakers and special guests included Sandra den Hamer (President of ACE and director of Eye Filmmuseum), Sergei Loznitsa (Filmmaker), Claudia Tronnier (Director of the Cinema-Fiction Department at ARTE) and Jay Weissberg (Director of the Pordenone Silent Film Festival).
Discover the full programme here
ABOUT THE ASSOCIATION DES CINÉMATHÈQUES EUROPÉENNES (ACE)
The Association of European Cinematheques (Association des Cinémathèques Européennes – ACE) is an affiliation of 49 European national and regional film archives. Its role is to safeguard the European film heritage and make the rich audiovisual records collected and preserved by the various film archives accessible to the public. ACE members are non-profit institutions committed to the FIAF Code of Ethics.
Follow ACE news on social media
Instagram: https://www.instagram.com/acefilmeu/
Twitter: https://twitter.com/acefilmeu
Facebook: https://www.facebook.com/AssociationdesCinemathequesEuropeennes
YouTube: https://www.youtube.com/watch?v=I6t1DuueXow
by Paulina Reizi
New films on Eye Film Player available worldwide
Registration for the Eye International Conference (29-31 May 2022) is now open.

redpajama_set_name: RedPajamaCommonCrawl


Extreme sports have become well liked amongst the youth of today. Any sports activity that has certain degree of risk attached together with it could be placed in this extreme sports segment. These sports largely involve a great degree of speed, dramatic stunts, professional equipment along with a significant degree of physical exertion. Even though these activities usually are not exclusive towards the young ones, it is often noted that the individuals engaged in these pursuits do belong to younger demographics. ESPN also provides all of the news as well as events around these kinds of activities by means of their programs.
One of the largest extreme sports sporting events is called the X Games. This kind of professional sporting event is certainly organized and aired live by ESPN. . You can find two these kinds of sporting events arranged during the year, one during winter months and the other in summer. The wintertime X Games happen to be organised during the month of January and February and the Summer X Games take place typically during the month of August. Both these events are held in the usa.
The participants vie for the gold, silver and also bronze medals in the games along with the cash reward that is associated with it all. However, judging a good extreme sport event is quite distinctive from the traditional games. Whilst length, score and also time form a major part of the judging conditions for traditional sports activities, extreme sports participants happen to be judged generally on the visuals which they deliver making judgment far more subjective. Because of that each sport utilizes its respective dynamic ideologies which evolve evaluation along with new techniques as well as trends established by the competitors.
There has been a few disputes surrounding the designation of extreme sports. As some individuals contend that extreme sports is only a marketing strategy giving audiences the belief of the high level of danger associated with it. These people point out that a game like rugby or Demolition derby is just not regarded as an extreme sport even though there is a higher level of danger and adrenalin rush which is related to it. It really is viewed more like the youth attempting to reject authority and order as well as setting up a spot of their own making the participating demographics of a much younger age group. Even though initially adult sports such as sky diving, bungee jumping, mountaineering scuba diving etc were associated with extreme sports, currently this term is actually more applicable towards youth driven sports such as skateboarding, extreme skating, BMX etc.


text:
Enhancing food security a top government priority for Jordan - minister
BY The Jordan Times
The Jordan Times
Published 19 Jun,2021 via The Jordan Times AMMAN — Minister of Industry, Trade and Supply Maha Al Ali on Saturday briefed food importers and traders on the government's recent procedures to limit the rise in the prices of basic commodities in the local market.
During a meeting organised by the Foodstuff Traders Association (FTA), Ali stressed the need for maintaining the strategic food stock to enhance food security, a top priority for the government, the Jordan News Agency, Petra, reported.
FTA President Khalil Haj Tawfiq highlighted the necessity of exempting all food imports from customs duties, taxes and fees that range from 4 to 30 per cent. The minister said that all proposals made by the private sector will be considered to serve public interest and enhance price stability.
© Copyright The Jordan Times. All rights reserved. Provided by SyndiGate Media Inc. (Syndigate.info)
Published 19 Jun,2021 via The Jordan Times AMMAN — Minister of Industry, Trade and Supply Maha Al Ali on Saturday briefed food importers and traders on the governmen..
https://www.salaamgateway.com/story/enhancing-food-security-a-top-government-priority-for-jordan-minister


Play'n GO is set to release its new Aztec civilization-themed slot Phoenix Reborn this mid of April. Players are in for big prizes as the game has a default RTP of 96.50% and a slot structure of 5 reels running across six — right, not three! — rows of Aztec-inspired symbols.
When spinning the reels, the goal of the player is to match three to five regular symbols on any of the 40 active paylines that pay from leftmost to right. To give players bigger changes of forming winning combos, Play'n GO brings the Phoenix Wild, a special game symbol which expands to cover the entire reel where it lands on. The Wild substitutes for any symbol except for the Scatter.
Other special icons include the Female and Male Aztecs. These are 1×6 symbols that should appear on only at least two reels on a payline to award the player coin wins that are bigger that what regular icons can give.
The best part of the game is when the Rise of the Phoenix feature is triggered. This happens when three, four, or five Scatters appear on any part of the 5×6 matrix. In this feature, seven, 12, or 20 free spins are awarded, respectively. Even better, each free spin comes with at least one Wild on a random reel.
With all these features, players can win up to 5,000 times their bet!
Phoenix Reborn is scheduled to be released for real-money gaming in Play'n GO's partner casinos on April 16, 2019.
Try Play'n GO slots for FREE!


We'd just crossed a nameless, murkey Amazonian river and were moving toward our objective on foot. The two-star general accompanying our motley crew of misfit medics through the Peruvian jungle informed us the advanced security element, just ahead of our location, uncovered a guerilla fighting position equipped with teneraite charges and several automatic weapons. The information elicited little more than a twisted grin from the seasoned special operations alumni on our five-person team.
Somewhat analogous to the current poppy predicament in Afghanistan, the Peruvian military had been engaged in a lengthy and costly battle with violent cartels, some cleverly disguised as legitimate political resistance parties. Tactics of these groups included, but were not limited to, kidnapping women, forcibly impregnating them, and raising the children to follow their own extreme ethos. More often than not, their cocaine cash crop was compulsorily grown against the will of local farmers on their own land. The alternative was death.


The much anticipated Victorian Junior Motocross Championship series opener kicked off on the weekend of 13 & 14 April 2013 and set the tone for the titles chase. Motorex KTM Junior Racing Team members Wayde Carter and Callum Norton were in attendance and ready to tackle their hotly contested classes.
Carter took to the track in both the 13-16 years 100-125cc and 250F classes, ultimately claiming 2nd overall in both classes of racing despite struggling with persistent arm pump.
Carter's consistency over the weekend ensured a spot on the podium but the young gun was disappointed he was not able to start the series in more dominating form.
Norton had an even tougher start to the series. Norton now steps up to the 12-16 years 85cc class and his first major event in the older age-group on the KTM85SX big-wheel did not go smoothly. Also added to the mix, Norton was returning from a recent knee injury which hampered his preparations.
Under no illusions that the youngster would find it easy to step up to the older age group, Norton scored solid race results but a mechanical DNF in race two hampered his result, means he sits outside the top ten.


nextReality.Hamburg and the VR/AR Association cordial invite you to a book reading of Crafting Stories for Virtual Reality at the Miami Ad School.
We are witnessing a revolution in storytelling. Publications all over the world are increasingly using immersive storytelling—virtual reality, augmented reality and mixed reality—to tell compelling stories. The aim of this book is to distill the lessons learned thus far into a useful guide for reporters, filmmakers and writers interested in telling stories in this emerging medium. Examining ground-breaking work across industries, this text explains, in practical terms, how storytellers can create their own powerful immersive experiences as new media and platforms emerge.
An educator and journalist with a focus on immigration, migration, identity and the arts. She has produced content for newspapers, radio and magazines from Ahmedabad, India to Los Angeles, California including AJ+, KQED, Die Zeit Online and The New York Times. With a passion for experimental innovative projects, she was an Oculus Launch Pad grant recipient and member of YouTube's VR Creators Lab in Los Angeles. She has presented for the Online News Association, SXSW and BinderCon.
She has developed curriculum for journalists in video and immersive storytelling skills in the U.S., India and around the world. As a lecturer at the UC Berkeley Graduate School of Journalism and Berkeley's Advanced Media Institute, she has taught multimedia and VR workshops. Her teaching and reporting brought her to Hamburg, Germany as a Fulbright Fellow and Berlin as a Arthur F. Burns Fellow with Die Zeit Online.


Had the opportunity to explore the effect of social media on the future of events with Japheth Omojuwa, who pulled off a phenomenal virtual event on twitter for the #MTNFootballAwards, and Samson Aligba, founder of event management tool startup, Eventiso.
Discussion covered challenges, tools, opportunities, limitations, and everything in between when it came to social media and events.
@samsonaligba was kind enough to share some tools including Wedgies – an app that allows for conducting polls. This sure comes in handy for events that requires participants to vote. Another tool is Followerwonk which allows you search for people on twitter with interests using keywords in their twitter name, handle, and bio.
Don't fall into the trap rushing through the pre-event phase. Build interest and conversations with new social media account for about 3 weeks before pushing your event for another 3 with the help of influencers or new media outlets like Wild Ripples.
Other tips from @SamsonAligba – Have a landing page with information about event, guest, etc not a Facebook page. Also use a branded registration page (one you can get from services like Eventiso) rather than boring Google forms.
Omojuwa did make a very important point on leveraging on your followers and their interests. In the case of the #MTNFootballAwards it was sports and he already had an audience with that interest so it was very organic to connect and engage.
Never forget it's more of the planning and what happens after the event that matter. In fact is a 40-20-40 split between pre-event, event, and post-event. So have a solid plan on how to best publicize your event and capture useful data for quality engagement during the event and generating leads after the event.
For more questions feel free to tweet at @NubiKay, @SamsonAligba, @WildRipples, and @eventiso.


text:
Finkbeiner completes his 30th Leadville Trail 100 foot race
Bill Finkbeiner
Bill Finkbeiner completed his 30th Leadville Trail 100 in a time of 28 hours, 6 minutes, and 7 seconds. He ran his first Leadville Trail race in 1984 and hasn't missed the annual race since.
The race began Saturday at 4:00am with an international field of more than 1000 runners. Finkbeiner described the weather as "about the best he has seen" in 30 years. There were 494 official finishers who completed the race under the 30 hour time limit. For Leadville, a 50% finisher rate is a good year.
Finkbeiner was happy with his race, finishing more than an hour faster than last year. He went out faster than last year and maintained his speed throughout the race. He had his usual problems during the run, but nothing unexpected cropped up to slow his progress.
Finkbeiner has a habit of falling asleep while running distance races. When he falls asleep, he wanders off course and needs to be directed back to the proper line. I paced him along a section of narrow, heavily traveled roadway when he began falling asleep. His eyes would close and he would walk or run toward the ditch or into oncoming traffic. He drifted in and out of sleep continually for 2 hours.
Finkbeiner crew, Kim, Lisa, Christian, Alene, Chris, Bruce, Dana, Mark.
Finkbeiner had a bad stomach that plagued him throughout the race. However, he was able to keep moving without any extended stops or visits to a medical tent. Grilled cheese sandwiches and hamburgers are his favorite food when his stomach is feeling good.
Blisters were a problem for him this year. The balls of both feet needed blister repair treatments more than once, but Finkbeiner said he has experienced far worse.
Finkbeiner's mental resolve is what gets him though these long races. He never expressed any negative thoughts or had any complaints. Just after a bout of nausea and vomiting, Finkbeiner said to me, "and this is why I love doing ultras".
3000 mile belt buckle.
Finkbeiner crossed the finish line Sunday morning with his arms held high in triumph. He flashed his hands to the number 30 in sign language. Brimming from ear to ear, he celebrated with his crew on the finish line. Ken Chlouber, the former race director, congratulated Finkbeiner as well. 30 years ago Ken talked Finkbeiner into coming out to Colorado for a newly formed race in Leadville they called, "The Race Across the Sky".
After the race:
Finkbeiner said he thought about his 30 year Leadville streak throughout the course of the race. "About half way through, I decided I would end it this year. During the second half, I was happy with quitting (at 30)".
After the awards ceremony where Finkbeiner was cheered for his achievement and given a huge award, he told the media, "This is my last Leadville".
At breakfast the following morning, Finkbeiner said he felt surprisingly good and actually "enjoyed" his 1 mile plus run before breakfast. As we ate, he began to bounce ideas off his friends. "I really should come back for one more when I'm 60". "I would like to do 35, but years 31 through 34 would be tough".
Never say never for Mr.Bill Finkbeiner.
Labels: running


text:
Wingfoot Alliance
Anyone with a passion for bike riding; we're considering everyone from young 'pinners' trying to break through the ranks to old dogs learning new tricks. You need to be a creative with a keen eye for a great looking image and a social butterfly. Love to talk tech and able to give constructive feedback on our products. Finally, and most importantly, love skids and wheelies!
About Rubber Kinetics and
The Goodyear Tire &
Goodyear, with its global presence and impact across industries, is one of the world's largest tire companies. As an industry leader, Goodyear strives to develop state-of-the-art products and services that set the technology and performance standard.
Goodyear is establishing itself as a leading brand within the global bicycle tire segment through a licensing collaboration with Rubber Kinetics, specialists in performance cycling tires. Goodyear Bicycle Tires use the latest in tire innovation to enhance each bicycle journey through superior reliability, style and performance.
A History Of Movement.
The Goodyear name first appeared on a bicycle tire in 1898.
Experience is the foundation, and the goal remains constant: To deliver superior performance, regardless of bike type or terrain. The passion to innovate drives us to develop class-leading tires for virtually any cycling application. With our dedicated bicycle tire facility in Taiwan, Goodyear Bicycle Tires are designed, developed, and manufactured to deliver on this goal. Performance at the highest level.
The Goodyear and the legendary Wingfoot logo have been prominent in the winner's circle across an entire spectrum of motorsports. Now since 2018, the Wingfoot comes back to its bicycle origins, tackling a thousand-meter descent across rocky terrain or navigating a field sprint at 70 kph. The Wingfoot is headed for the top step of the podium in cycling's highest level of sport.
Eagle F1
Vector 4Seasons
Transit Tour
Newton ST
Facebook Instagram Youtube Strava
Goodyear (and the winged foot design) are trademarks of The Goodyear Tire & Rubber Company used under license by Rubber Kinetics LLC.
©2021 The Goodyear Tire & Rubber Company


Eminence Organic Skin Care believes in providing the best skin care products possible. Our products are proudly free of parabens, animal by-products, propylene glycol, sodium lauryl sulfates, harmful colorants and fragrances, mineral oils, petroleum, and other harsh cosmetic chemicals.
The gentle alternative to plastic surgery, a holistic method has been developed to help the skin regain its smooth, youthful appearance quickly and then maintain an even, radiant complexion.
This comprehensive array of products maintains the results of therapeutic treatments, supports daily skin health and provides protection from the environment.
Lalicious uses high quality natural ingredients like Coconut, Sweet Almond, Vitamin E, Macadamia Nut and Marula Oils in formulations that are nourishing to the skin & body and provide natural hydration that lasts all day. All of our formulas are paraben free, gluten free and sulfate free and are never tested on animals.
The Amazon's most potent beauty secret can now be yours with Rahua, a luxurious collection of 100% natural hair care products. The key to Rahua's outstanding performance is its molecular structure. Unlike other botanical oils that simply coat strands, the extraordinarily small Rahua oil molecule deeply penetrates the hair's cortex – bonding and repairing it – while simultaneously smoothing the hair's cuticle.
Seaflora, works with the mysterious marine and thalassotherapy elements of wild seaweed, ocean mud and marine minerals. Seaflora loves working with these wild ocean resources to design and manufacture for the spa industry, worldwide creative seaweed skincare and spa treatments that surpass all marine skincare products on the market.


text:
British Ballet Now & Then
Thoughts on British Ballet past and present
Spotlight on Tamara Rojo's Raymonda (2022)
Despite its sumptuous score by Alexander Glazunov, and Marius Petipa's glorious choreography, the 1898 Raymonda is one of the 19th century classics that has rarely been performed in its entirety by British ballet companies. Although there is a tradition of staging excerpts from the ballet, generally from the final act wedding celebrations of the eponymous Raymonda, English National Ballet's announcement of a new full-length production of the ballet came as a surprise to us.
RAYMONDA ( Act III ) ; Donald MacLeary and Svetlana Beriosova ( as Jean de Brienne and Raymonda ) ; The Royal Ballet at The Royal Opera House, London, UK ; March 1969 ; Credit: G.B.L. Wilson / Royal Academy of Dance / ArenaPAL http://www.arenapal.com
Perhaps one of the reasons this ballet has up until now not joined the list of beloved 19th century classics in this country is the vagaries of its plot, which has been described as "foolish" (Anderson 64), "senseless" (Tomalonis, "The Mysteries"), "boring" (Sulcas), and "Devoid of suspense and romantic drama, … a mere pretext for a cornucopia of dancing" (Khadarina, "Mariinsky Ballet"). While ballets such as Giselle (Coralli/Perrot, 1841), The Sleeping Beauty (Petipa, 1890) and Swan Lake (Petipa/Ivanov, 1895) can be perceived as divorced from contemporary life, their narratives and choreography are nonetheless replete with symbolic meanings with their tales of betrayal, remorse and revenge to forgiveness, redemption and renewal. Tamara Rojo, Artistic Director of English National Ballet, who commissioned Akram Khan's 2016 reimagining of Giselle, says "The beauty of these classics, whether it's Giselle or Swan Lake, is that the core theme is timeless, that even though it was specific to that time, it is still relevant today" (01:35-01:53). Evidently the same claim cannot be made in the case of Raymonda.
Tamara Rojo leads a Raymonda rehearsal © Laurent Liotardo
Devised by Countess Lydia Pashkova, a society columnist and novelist, the libretto of Raymonda is a tale of mediaeval romance set in Provence at the time of the Fifth Crusade. The valiant French knight Jean de Brienne, who is betrothed to the Countess Raymonda, slays Abderrakhman, the Saracen rival for Raymonda's love. From this slight pretext, Pashkova and Petipa created a ballet of three acts made up of multiple tableaux, and famously culminating in the Hungarian style nuptials of Raymonda and Jean de Brienne.
AUSTRALIAN NATIONAL BALLET TOUR ; Raymonda ; Margot Fonteyn and Rudolf Nureyev ; at the New Victoria Cinema, London, UK ; December 1965 ; Credit : G.B.L. Wilson / Royal Academy of Dance / ArenaPAL http://www.arenapal.com
Although, as far as we can tell, the character of Raymonda herself is not based on a real historical, both Raymonda's fiancé, the French Knight Jean de Brienne, and King Andrei II of Hungary, who attends the wedding, are based on historical leaders of the Fifth Crusade (1217-1221). However, as critic Alexandra Tomalonis points out, it's not entirely clear what either of these Crusaders or Abderrakhman are doing in Provence, so far from the action in the Middle East ("The Mysteries"). The list of characters attached to the original libretto identifies Raymonda as the "Countess de Doris", and the action of Acts I and II takes place inside and around the Countess' castle, before moving to her Fiancé's castle for the Act III wedding (Pashkova). No parents are listed, but Raymonda does have an Aunt, the Canoness Sybille, and the House of Doris is protected by a mysterious "White Lady", despite the fact that the name Raymonda itself means "wise protector" ("Raymonda Origin and Meaning"). While some of this is quite confusing, we find it interesting that the House of Doris is indisputably depicted as a matriarchal establishment led by women very aware of their responsibilities.
Where Raymonda's Aunt and the White Lady are concerned, this notion of responsibility is clearly evident from the start of the ballet. In the opening scene the Canoness Sybille reprimands Raymonda's attendants for their indolence, warning them against punishment from the White Lady if they do not heed her words and consequently fail in their duties. In the second scene the White Lady reveals the impending danger of Abderrakhman's arrival to Raymonda in a vision. Of course, far more interesting to us is how the concepts of duty and responsibility manifest themselves in the person of Raymonda herself.
But in a sense, herein lies the problem. Choosing a life partner is the stuff of 19th century ballet. Raymonda's predecessors Giselle (Giselle, 1841), Kitri (Don Quixote, 1869), Nikiya (La Bayadère, 1877) and Aurora (The Sleeping Beauty, 1890) all follow the dictates of their heart. Admittedly the results are sometimes disastrous, but at least they have made their own choice. But who chose Jean de Brienne for Raymonda? He is described as her "beloved" (Pashkova 401), and Raymonda is "delighted" at the thought of him (397, 399). On the other hand, she rejects Abderrakhman "indignantly" (399) and "contemptuously" (400), implying a more intense emotion towards the Saracen, despite, or perhaps because of, his "flaming passion" (Khadarina, "Mariinsky Ballet"), "sensual presence" (Smith) and "seductive power" ("Alexander Glazunov"). Does Raymonda seriously feel no attraction towards him? It seems to us, the lady doth protest too much.
Maria Kochetkova and Jeffrey Cirio in rehearsal for Raymonda © Laurent Liotardo
As we were doing our research on Raymonda, watching performances and re-reading the libretto, we were reminded of dance historian Sally Banes' discussion of Mikhail Fokine's The Firebird, a ballet which premiered twelve years after Raymonda, under the aegis of Diaghilev's Ballets Russes. The way in which Banes interprets the contrast between the two female protagonists of The Firebird strikes a chord with us in connection with the two male protagonists of Raymonda.
Here is a tale based on Russian folklore in which the hero Prince Ivan forms relationships with two vastly different female characters: the Princess, or Tsarevna, and the Firebird herself. While Ivan is attracted to both characters, they represent two opposing images of womanhood. Banes describes the Princess in The Firebird as "demure" (97), "nice" (98), "virginal" (98), and "a 'true' Russian maiden, an ideal of racial purity and national superiority" (99). In stark contrast, she describes the Firebird as the polar opposite: "oriental, sexual, seductive, both powerful and submissive, she is everything desirable the 'nice' Russian Tsarevna cannot be" (98). To us the Firebird seems to fit the mould of the Muslim Abderrakhman, who can be perceived as submissive as well as "oriental, sexual, seductive, … powerful". In the original libretto, for example, he suffers "despair" at Raymonda's rejection of his gifts to her (398); he is unable to focus on the stage entertainment, so "lost in dreams of Raymonda" is he (398). Dance writer Oksana Khadarina goes further in her review of Konstantin Zverev's performance of Abderrakhman, who in his "agonizing heartbreak … was as pitiful as he was poignant, inspiring both empathy and regret" ("Elegance & Exuberance"). An opposing image of manhood is portrayed in the figure of Jean de Brienne. Olga Makarova has described him as "refined and classical", and it is perhaps the restraint suggested by these words that has caused the phrase "milquetoast lad" to be used as a description of Raymonda's fiancé (Dix). Would Banes have referred to him as "nice", like the "'nice' Russian Tsarevna" from The Firebird, we wonder? It goes without saying that both Prince Ivan and Raymonda favour the safe option for their marriage partners, that is, the racially pure but bland over the "dangerously attractive" (Sulcas).
So we return to our idea of Raymonda's sense of duty and responsibility being a problem for us. The patent inevitability of Raymonda's union with the safe option seems to rob her of personal agency over her own destiny: the lack, or denial, of any attraction towards the incandescent Abderrakhman smacks of docility, even submissiveness. This lack of agency is exacerbated at the climax of the narrative. At this point, far from Raymonda being given a choice (even the choice to marry the partner who has presumably been selected for her), King Andrei insists that the two rivals fight a duel. Khadarina hits the nail on the head: "The winner (Jean de Brienne) gets the fair lady" ("Elegance and Exuberance"). Raymonda may be a countess, but to all intents and purposes, where finding a life partner is concerned, she is reduced to a mere trophy.
RAYMONDA Act lll ; Galina Samsova ; Choreographed by Petipa / Nureyev ; Music by Glazunov ; Sadler's Wells Royal Ballet ; London, UK ; 1984 ; Credit: G.B.L. Wilson / Royal Academy of Dance / ArenaPAL http://www.arenapal.com
Despite all these concerns regarding Raymonda's lack of agency, we cannot but agree with critic Tomalonis' assessment of the ballet, after she has analysed the anomalies of the libretto in some detail:
Another way to look at it is that "Raymonda" can be seen as a great gift to us: it's living dance history. "Raymonda" received its premiere two months before Petipa's 80th birthday, and everything he knew about ballet and its history is contained in it. ("The Mysteries")
And here we find another striking connection with Banes' writing. In her consideration of female agency Banes shifts the focus away from the narrative and "marriage plot" as she calls it, and onto the stage action. Let's look at what she has to say:
The issue of looking at plot in relation to performance has enormous consequences for interpreting representations of women in choreography. The plot may verbally describe the female character as weak or passive, while the physical prowess of the dancer performing the role may saturate it with agency. Thus, even dances with misogynist narratives or patriarchal themes tend to depict women as active and vital. (8-9)
The opportunity to "saturate" the choreography with agency is particularly noticeable in Raymonda. In his "great gift to us" (Tomalonis, "The Mysteries"), Petipa gave an even greater gift to the creator of the eponymous role, Pierina Legnani, that is, no fewer than five solo variations, suggesting a range of moods, and a complexity and boldness of character belied by the narrative. So now we're going to outline these dances to give a sense of the richness and variety of Raymonda's dances and the way in which they provide a platform for a ballerina to display her "physical prowess". For this outline we've used the recording of Sergei Vikharev's 2011 reconstruction of the ballet for La Scala with Olesya Novikova in the ballerina role, in an attempt to reflect as accurately as possible the original choreography.
The variations start with a pizzicato solo involving lots of pointe work—piqués, hops and brushes—mirroring the delicacy and playfulness of the music. The Scarf Solo (named Fantaisie in the original libretto, and also known as the Harp, Shawl or Veil Solo Variation) is more expansive, incorporating bolder movements, and far-reach leg gestures such as arabesques and developpés, highlighted through the fine articulation of contrasting smaller, subtler movements. The "Dream Scene" solo is characterised by grand legato movements, such as grands ronds de jambe, and a series of renversés travelling across the stage, followed by a closing section of unexpected speed and vivacity. Undisguised virtuosity marks the penultimate solo with its pirouettes, fouettés, piqués turns en dehors and en dedans, and chaînés, with a magnificent highlight of entrechats quatres sur pointe. The final, and most famous, variation oozes virtuosity of a different order, in the sophisticated use of the upper body: the lush épaulement, curves and tilts of the torso, and the fluid rotation of the arms as they carve their way through the various pathways of the kinesphere.
Throughout these dances Raymonda commands the stage, exerting a level of agency denied her by the libretto that bears her name. And now we turn to a third aspect of Banes' discussion (8-11), one with which we are very familiar, that we wrote about in our first Giselle post, in fact. This is the importance of each individual ballerina's shaping of the choreography, for example, in terms of rhythm, use of space, line, articulation and dynamics.
To illustrate this idea we have selected a few examples that you can check out online. Two of the Raymondas who caught our eye particularly in the Scarf Variation were Maria Alexandrova and Olga Smirnova of the Bolshoi Ballet. When reviewing Smirnova's debut, critic Janet Ward marvelled at the "breathtaking" harmony of her movement, created through a combination of "musicality, exquisite line, elegant bearing, supple back, and beautiful arms". This harmony was unmistakable to us in her performance to Glazunov's harp music, in her accentuation of classical line in her developpés, arabesques and attitudes, and her use of the veil to complement the purity of her lines. On the other hand, Alexandrova seems to be more playful in her approach to the choreography: she gains visible pleasure from swaying and bending her body, rippling and waving her arms to give life to the scarf, sweeping it close to her face and holding it high with her left hand as she bourrées. Therefore, even through this one single dance, ballerinas are able to make a distinctive impression, telling us something about how they perceive Raymonda as a character.
We have given you examples of Bolshoi ballerinas above because the complete Raymonda hasn't been performed by a British company since 1964, whereas this Moscow Company has a strong tradition of performing the complete ballet. Happily, however, there is footage available of two exceptionally influential ballerinas in the realm of British ballet dancing the Act III variation. They are Sylvie Guillem, and Tamara Rojo. As in the case of Alexandrova and Smirnova, their individual shaping of the choreography reveals different facets of Raymonda's persona: while Guillem accentuates Raymonda's sway over the audience through her expansive use of the kinesphere and impactive phrasing, Rojo creates a sense of mystery and suspense with mesmerising gestures that trace their way through the space more gradually, and keep us guessing when she may deign to bring her movement to a close.
If any of you are still in doubt about the potential power of Raymonda's choreography, just take a look at the coda to the Grand Pas. Here the ballerina demonstrates her authority through a succession of commanding retirés passés en arrière: tempi, rate of acceleration, rhythm and dynamics vary enormously from dancer to dancer, as do the accompanying port de bras, despite the apparent simplicity of the vocabulary. The radiant energy with which two of our favourite Raymondas, Altynai Asylumuratova and Maria Alexandrova, take charge of the choreography and fashion it to their desire brings to mind the determination, resilience, vision and zest for life that we associate with some of the most celebrated queens of the 12th and 13th centuries, such as Eleanor of Aquitaine (1122-1204), Berenguela of Castile (1179-1246) and Tamar of Georgia (1166-1213). For us, therefore, despite the ballet's perplexing scenario, Petipa, Glazunov and the ballerinas bringing flesh to the "skeleton" they created (Banes 9) transform Raymonda herself into a person of prowess in body, mind and spirit.
In 2002 Tomalonis asked the question "Can this story be saved?". Well, it looks like saved is exactly what it's going to be.
Prior to the planned premiere in the autumn of last year, Tamara Rojo, who is mounting the new production, had been conducting research in preparation for her production of Raymonda for no less than four years. She had researched not only the ballet itself, but also, in a flight of creative imagination, the life of Florence Nightingale, who has inspired the reimagining of the titular protagonist.
So what do the fictional 13th century French countess, and the 19th century English middle-class founder of modern nursing have in common? Well, perhaps the point is that in order to "save" the narrative, Raymonda needs to be seen through a radical new lens. There is no doubt that Florence Nightingale was a woman of high intelligence, extraordinary vision and resilience, willing to take risks in her fierce determination to pursue her vocation; "safe option" was undoubtedly not a phrase in her vocabulary.
Rojo has reconceived Raymonda as a young woman who makes the decision to leave her home in England to become a nurse at the frontline of the Crimean war. Not only is the background of war maintained in this way, but the context facilitates the creation of two contrasting love interests: the English soldier John and the Ottoman Commander Abdur. This Raymonda is described as a "heroine in command of her own destiny" ("Tamara Rojo's Raymonda"). It is her decision to leave home, to become a nurse, and to become a nurse in a danger zone: we assume that she will also make her own decisions when it comes to affairs of the heart …
Tamara Rojo leads a Raymonda rehearsal with Isaac Hernandez © Laurent Liotardo
We began this post with a conundrum: a ballet with a sumptuous score, glorious choreography, and a highly problematic plot. Rojo recognises this conundrum only too well:
Raymonda is a beautiful ballet – extraordinary music, exquisite and intricate choreography – with a female lead who I felt deserved more of a voice, more agency in her own story ("Tamara Rojo's New").
Raymonda by English National Ballet © Jason Bell, Creative Direction by Charlotte Wilkinson Studio
We are looking forward to Raymonda finally joining the canon of beloved 19th century classics in this country, with a new identity through which the Raymonda of the narrative and the Raymonda of the choreography are reconciled.
© British Ballet Now & Then
"Alexander Glazunov 'Raymonda' (Ballet in three acts)". UVisitRussia, https://www.uvisitrussia.com/theaters/theater/mariinsky/mar_raymonda/2015-05-09/19:01/.
Alexandrova, Maria. "Maria Alexandrova – Raymonda". YouTube, uploaded by BalletForever, 23 Jan. 2021, www.youtube.com/watch?v=V1adEbQrdGE&t=691s.
Anderson, Zoë. The Ballet Lover's Companion. Yale UP, 2015.
Asylmuratova, Altynai. "Раймонда фрагменты – Алтынай Асылмуратова". YouTube, uploaded by Stanislav Belyaevsky & Anastasia Dunets, 19 July 2020, www.youtube.com/watch?v=AweKN-R9-Dc.
Banes, Sally. Dancing Women: female bodies on stage. Routledge, 1998.
Dix, Laurel. "Raymonda an Exercise in Elegance". SeattleDances, 9 Aug. 2012, http://seattledances.com/2012/08/raymonda-an-exercise-in-elegance/.
Guillem, Sylvie. "Sylvie Guillem Raymonda". YouTube, uploaded by braga144 b, 17 Mar. 2020, www.youtube.com/watch?v=PHZTTYmuCNk.
Khadarina, Oksana. "Elegance & Exuberance". Fjord Review, 2 June 2020, fjordreview.com/mariinsky-ballet-raymonda/.
—. "Mariinsky Ballet – Raymonda – Washington". DanceTabs, 28 Feb. 2016, dancetabs.com/2016/02/mariinsky-ballet-raymonda-washington/.
Makarova, Olga. "Alexander Glazunov 'Raymonda' (Ballet in three acts)". Ballet and Opera, 2018, https://www.balletandopera.com/classical_ballet/mar_raymonda/info/.
Pashkova, Lydia Alexandrovna. "Libretto of Raymonda". A Century of Russian Ballet, edited by Roland John Wiley, Dance Books, 2007, pp. 393-401.
Raymonda. Choreographed by Marius Petipa, reconstructed by Sergei Vikharev, performance by Olesya Novikova, and La Scala Ballet. 1999, Arthaus Musik, 2001.
"Raymonda Origin and Meaning". NameBerry, 2021, https://nameberry.com/babyname/Raymonda.
Rojo, Tamara. "Tamara Rojo and Akram Khan on this reimagined Giselle". English National Ballet, 2017, www.ballet.org.uk/production/akram-khan-giselle/.
—. "Raymonda:Tamara Rojo". YouTube, uploaded by Kabaiivansko2, 8 July 2014, www.youtube.com/watch?v=yQxlfxqOtIU.
"Tamara Rojo's new Raymonda and ENB in 2020-2021". Seen and Heard International, 30 Jan. 2020, seenandheard-international.com/2020/01/new-tamara-rojos-new-raymonda-and-enb-in-2020-2021/.
"Tamara Rojo's Raymonda shortlisted for the FEDORA VAN CLEEF & ARPELS Prize for Ballet 2021". English National Ballet, 2 Feb. 2021, www.ballet.org.uk/blog-detail/tamara-rojos-raymonda-fedora-prize-2021/.
Smirnova, Olga. "Olga Smirnova – Raymonda Act I". YouTube, uploaded by BalletForever, 9 Jan. 2021, www.youtube.com/watch?v=fAPL7bO1J1E&t=260s.
Sulcas, Roslyn. "Saracens, Hungarians and Knights who just happen to be in Provence". New York Times, 2 Dec. 2008, https://www.nytimes.com/2008/12/03/arts/dance/03raym.html.
Tomalonis, Alexandra. "Can this story be saved?". Ballet Alert!, 6 Mar. 2002, balletalert.invisionzone.com/topic/1903-can-this-story-be-saved/.
—. "The Mysteries of 'Raymonda'". Danceviewtimes, 9 Mar. 2016, www.danceviewtimes.com/2016/03/the-mysteries-of-raymonda.html.
Ward, Janet. "Olga Smirnova Debuts in Raymonda at the Bolshoi Ballet". Bachtrack, 15 Feb. 2016, bachtrack.com/review-raymonda-smirnova-bolshoi-ballet-new-stage-moscow-february-2016.
Author britishballetnowandthenPosted on November 26, 2021 Categories UncategorizedTags Alexander Glazunov, ballet history, Ballet narrative, BritishBalletNow&Then, ENB, English National Ballet, Florence Nightingale, Fokine, Maria Alexandrova, Marius Petipa, Olga Smirnova, Raymonda, Sally Banes, Sylvie Guillem, Tamara Rojo, The Firebird
Previous Previous post: Watching with British Ballet Now and Then: Akram Khan's Creature
Next Next post: ENGLISH NATIONAL BALLET'S EMERGING DANCER 2022: IN CONVERSATION
#andreehoward
#ballethistory
#british
#britishballet
#Britishballetnowandthen
#britishnowandthen
#dancecritics
#dancehistory
#danielmccormick
#DavidWall
#devalois
#dust
#ENB
#ENBallet
#FabianReimair
#femalechoreographers
#francescavelicu
#HannahWeibye
#jamesstreeter
#LaurentLiotardo
#lestweforget
#LukeJennings
#MacMillan
#maledancers
#marianelanunez
#RB
#Romeo&Juliet
#RoyalBallet
#shesaid
#sleepingbeauty
#SwanLake
#tamararojo
#ZoeAnderson
AkramKhan
AliciaMarkova
balletcriticism
ballet history
Balletinwartime
birminghamroyalballet
britishballet
British ballet
britishballetnowandthen
Carlos Acosta
cathymarston
dance history
ENBallet
ENBGiselle
English National Ballet
Festival Ballet
Francesca Hayward
frederickashton
isabellebrouwers
JudithMackrell
Kenneth MacMillan
laurencuthbertson
lynnseymour
northernballet
Northern Ballet Theatre
sadlerswells
Scottish Ballet
Song of the Earth
Tamara Rojo
YasmineNaghdi
We are lecturers in dance history and we like a bit of ballet. This blog has been set up to open a discussion of what is happening in British ballet right now and how these events connect with the past. All opinions are our own and do not reflect the position of any institution with which we are associated.
Spotlight on Ukrainian Ballet in the UK
Romeo and Juliet On Screen Now & Then
ENGLISH NATIONAL BALLET'S EMERGING DANCER 2022: IN CONVERSATION
Watching with British Ballet Now and Then: Akram Khan's Creature
Follow British Ballet Now & Then on WordPress.com
Ballerinas Now & Then
Biographical Ballets
Dance Criticism
English National Ballet Ballet's Emerging Dancer
English National Ballet's Emerging Dancer
Female Choreographers
Kenneth MacMillan's Choral Works
Male Dancers in British Ballet
Spotlight on British Ballet Lockdown
Spotlight on Cathy Marston
Spotlight on James Streeter from English National Ballet
War Ballets
Watching with British Ballet Now and Then
British Ballet Now & Then Blog at WordPress.com.


text:
Q: Django 1.8 using multiple DetailView I've been trying to use multiple DetailView's in my views.py but due to some reason I'm getting this error during template rendering. http://prntscr.com/7f8vql
http://prntscr.com/7f8vlv .
My views.py
def rock_and_feat(request):
    feats = Feat.objects.order_by('-created')[:3]
    rocks = Rockinfo.objects.order_by('-rank')[:50]
    context = RequestContext(request, {
    'feats': feats, 'rocks': rocks
    })
    return render_to_response('template.html', context)

class DetailView(generic.DetailView):
    model = Feat
    template_name = 'feature/detail.html'
    context_object_name = 'feat'

class RockDetailView(generic.DetailView):
    model = Rockinfo
    template_name = 'feature/detailrock.html'
    context_object_name = 'rockinfo'

My apps urls.py
urlpatterns = [

url(r'^$', views.rock_and_feat, name='rock_and_feat'),
url(r'^(?P<pk>[0-9]+)/$', views.DetailView.as_view(), name='detail'),
url(r'^(?P<pk>[0-9]+)/$', views.RockDetailView.as_view(),  name='detailrock'),
]

My project's urls.py
urlpatterns = [
url(r'^', include('feature.urls', namespace="feature")),
url(r'^admin/', include(admin.site.urls)),
] + static(settings.MEDIA_URL, document_root=settings.MEDIA_ROOT)

template.html
   {% block rocker %}
      {% if rocks %}
          {% for item in rocks %}

{{ item.rock_name }}

           {% endfor %}
       {% else %}

No rockers are available.

       {% endif %}

   {% endblock %}

I can't figure out what the error is about.Thanks

A: I rememeber your question about rock_and_feat.
There are several things I want to mention:
urlpatterns = [
  url(r'^$', views.rock_and_feat, name='rock_and_feat'),
  url(r'^detail/(?P<pk>[0-9]+)/$', views.DetailView.as_view(), name='detail'),
  url(r'^rock_detail/(?P<pk>[0-9]+)/$', views.RockDetailView.as_view(), name='detailrock'),
]

You don't have rockinfo. It is item. In this line:
{% url 'feature:detailrock' item.id %}

One more thing. Note, that id is not the same as pk.
{% url 'feature:detailrock' item.pk %}

One last thing. This can be replaced:
   {% if rocks %}
      {% for item in rocks %}
          ....
      {% endfor %}
   {% else %}

No rockers are available.

   {% endif %}

With this (docs):
   {% for item in rocks %}
       ...
   {% empty %}

No rockers are available.

   {% endfor %}

A: (wild guess here) Reading the error, it seems to me that rockinfo.id is empty or it doesn't exists (or not passed to the template), have you checked that?
Besides that, you should have two different patterns for the views
Hope this helps

A:
1.Please check template for getting rockinfo.id and check.

2.Remove namespace from urlconf and just use  in template.
I think either 1 or 2 will work.

redpajama_set_name: RedPajamaStackExchange


text:
Farm bill likely to spill over
"Between sugar and dairy, anything can happen," Rep. Jim Clyburn said.
By David Rogers
Updated: 06/19/2013 06:25 AM EDT
Republicans signaled late Tuesday that the House farm bill debate is likely to spill into next week as the leadership copes with scores of amendment requests and unrelated changes in the floor schedule.
Shortly before midnight, the House Rules Committee approved a resolution making in order more than 100 amendments. Most will have just 10 minutes for debate, but as a practical matter, the leadership would have to show a lot more flexibility about the floor schedule to finish the farm bill this week.
The sudden shift upset top members of the House Agriculture Committee, fearful of leaving the giant bill exposed over the weekend. But Majority Whip Kevin McCarthy (R-Calif.) told POLITICO he was confident still of winning passage.
"I try to stay in the lanes, so ask Eric that question," McCarthy said, sending a reporter back to Majority Leader Eric Cantor's office. "But I don't think it changes the outcome."
General farm bill debate opened Tuesday afternoon, and Agriculture Committee Chairman Frank Lucas (R-Okla.) had envisioned beginning amendments as early as 10 a.m. Wednesday and working well into the night. He knew he faced a 3 p.m. deadline Thursday, the time at which House members had been promised they can leave for the weekend. But Lucas and his ranking Democrat, Minnesota Rep. Collin Peterson, felt the task was doable.
Late Tuesday, Lucas was told that because of other scheduling considerations, the farm bill will not be back up until about 2:30 Wednesday afternoon. This leaves a very narrow window to make any progress since Cantor was pushing back against allowing votes after 7 p.m. Wednesday according to a GOP aide.
On top of that, the sheer number of amendments was straining resources at the Congressional Budget Office to come up scores on their spending impact.
"I don't know if I would let it hang out there over the weekend," laughed Rep. Jim Clyburn (D-S.C.), who helped shepherd the last farm bill through the House in 2007 and 2008.
"Between sugar and dairy, anything can happen," he told POLITICO. "Milk and honey. Milk and honey."
Farm Bill,
Kevin McCarthy,
Jim Clyburn,