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You'll also get custom defense with our enterprise security software, so you can analyze, detect and respond to the attacks on your network. Contact us today to learn more.


text:
Mjølnerparken er et større alment boligbyggeri beliggende på det ydre Nørrebro i København mellem Nørrebrogade og Tagensvej. Komplekset administreres af Bo-Vita og indeholder 560 boliger fordelt med 18 stk. 2-rums-boliger (et ældrekollektiv), 472 stk. 3-rums-boliger, 38 stk. 4-rums-boliger og 32 stk. ungdomsboliger.

Mjølnerparken er en større karrébebyggelse på ydre Nørrebro i Mimersgadekvarteret. Mjølnerparken er afgrænset af Tagensvej mod nord, af Midgårdsgade og det gamle baneterræn (i dag Superkilen) mod øst, af Hothers Plads mod syd og af Borgmestervangen og Mimersparken ved Bispebjerg Station mod vest.

Områdets historie
Mjølnerparken er opkaldt efter Thors hammer, som altid ramte sit mål og derefter vendte tilbage til gudens hånd. Fra 1860 navngav man en stor gruppe gader med navne fra den nordiske mytologi og sagnverden. Ældste navn er Odinsgade, hvor en privat grundejer fandt på at bruge dette navn fra den nordiske mytologi. Det inspirerede kommunens gadenavneudvalg til at fortsætte med gudenavnene på Ydre Nørrebro. Det nyeste navn er Mjølnerparken. Navnet fik parken i 1986.

På det område, der i dag er Mjølnerparken, lå der omkring århundredskiftet en masse uens bebyggelse langs baneterrænet, mens der i mellemkrigstiden lå en kæmpestor fabrik. Da Mjølnerparken blev opført i sidste halvdel af 1980'erne, var det på arealet fra en tidligere papirfabrik under De forenede Papirfabrikker, der eksisterede 1933-79.

Man påbegyndte opførslen af Mjølnerparken i 1984 og var klar til indflytning i 1987.

Det 30.000 kvadratmeter store tidligere godsbaneterræn bag Mjølnerparken er i forbindelse med byfornyelsen af Mimersgadekvarteret i 2012 blevet omdannet til Mimersparken, et rekreativt område med boldbaner, løberute mm.

Området husede 1. januar 2017 1.790 beboere, fortrinsvis af anden etnisk, religiøs og kulturel baggrund, hvoraf en stor del er unge under 18 år. I 1993 var ca 36 % af beboerne i lejlighederne af dansk oprindelse. I 2003 var 91 % af beboerne indvandrere eller efterkommere fra ikke-vestlige lande. I januar 2016 var tallet faldet igen til 82,6 %.

Sociale problemer og kriminalitet

Mjølnerparken har i mange år haft et omdømme som et boligområde med sociale problemer og en del ungdomskriminalitet. Området har været på regeringens såkaldte ghettoliste over særligt udsatte almene boligområder, lige siden den første ghettoliste blev offentliggjort i 2010. I 2005 var Mjølnerparken således et af de allerførste boligområder i Danmark, hvor man opsatte overvågningskameraer for at forhindre en række påsatte kælderbrande. Tiltaget var kontroversielt i samtiden, men hjalp øjeblikkeligt, og overvågningen blev siden udvidet fra kældre og opgange til udeområderne.

Banden Brothas

Mjølnerparken er hjemsted for banden Brothers and Soldiers - bedre kendt som Brothas, der første gang gjorde sig bemærket i 2009. Brothas var bl.a. involveret i bandekrigen mellem Hells Angels og forskellige indvandrergrupper i perioden 2008-12. I februar 2016 valgte banden at indgå i den tyske rockergruppe Black Jackets. Fusionen blev imidlertid ikke varig, og Brothas genopstod igen og spillede en hovedrolle i bandekrigen på Nørrebro i 2017 mod fjenden Loyal to Familia.

Omar Abdel Hamid El-Hussein

Omar Abdel Hamid el-Hussein (1992-2015), dansk-palæstinenseren, som udførte terrorangreb på Krudttønden, havde boet i Mjølnerparken med sin lillebror i en stor del af sin opvækst.

Mjølnerparken i dag

I tidens løb har der været iværksat en række forskellige tiltag for at forbedre forholdene i Mjølnerparken. I 2010'erne er forholdene i Mjølnerparken også blevet forbedret på flere punkter. Andelen af 18-64-årige, der hverken er i beskæftigelse eller uddannelse, er således faldet fra 53 til 44 % fra 2010 til 2016. I samme periode faldt antallet af dømte fra 3,3 til 2,7 % af de voksne beboere, og indkomsterne og uddannelsesniveauet er steget i bydelen ifølge regeringens årlige opgørelse over udviklingen i de danske ghettoer.

Den hidtil mest ambitiøse plan er den fysiske helhedsplan for Mjølnerparken, der blev udarbejdet af Lejerbo i samarbejde med områdets beboere. Den blev vedtaget i 2015 og skal iværksættes i de følgende år. Planen går ud på, at lejlighederne, der ikke har været renoveret siden opførelsen i 1980'erne, får nyt køkken, bad, ventilation og nye vinduer. Nogle af lejlighederne forsvinder for at give plads til erhverv, en daginstitution og større familieboliger. Samtidig gennemføres der en række andre fysiske forandringer for at forøge trygheden i området. F.eks. bliver trappeopgangene vendt, så indgangsdørene kommer ud i gaderummet. Endelig skal området kobles bedre sammen med det øvrige Nørrebro, bl.a. ved at etablere en ny handelsgade ud mod Mimersparken og føre en ny cykelrute gennem boligområdet, der skal forbinde ruterne i Mimersparken og Superkilen. Ambitionen med planen er, at den fysiske og den tilsvarende boligsociale helhedsplan for Mjølnerparken skal være den sidste, og at man efter fuldførelsen vil betragte indsatsen som fuldendt og Mjølnerparken som et normalt kvarter.

Referencer

Eksterne henvisninger
 Lejerbos side om Mjølnerparken
 Den fysiske helhedsplan for Mjølnerparken
 Nørrebro Lokalhistoriske Forening og Arkivs hjemmeside
 Mimersgadekvarterets hjemmeside

Gader på Nørrebro
Særligt udsatte almene boligområder i Danmark

redpajama_set_name: RedPajamaWikipedia


text:
Bravo Refreshes Brand Profile
By Anthony Crupi
As part of a new marketing campaign designed to reflect its pop-culture cred, Bravo Media is refreshing its brand profile, ditching the four-year-old "Watch What Happens" tag line in favor of the more utilitarian "By Bravo."
Beginning June 23, Bravo will begin incorporating the new slogan into its on-air, online and mobile promotions, positioning "By Bravo" as a template onto which it can brand its different programming categories. For example, the network's Top Chef franchise will carry a "Food by Bravo" tag, while series like The Real Housewives of New York will be marketed with the text "Drama by Bravo."
In addition to providing a common point of entry for viewers looking for similar genre programming, Bravo's new tag will also provide a thematic link with the channel's off-line properties, including its consumer-products division (Shop by Bravo) and mobile arm (Mobile by Bravo).
The meme will extend to the days of the week ("Monday by Bravo") and demographics ("Uptown by Bravo").
Bravo is also deflating its signature "talk bubble" logo, which along with the "Watch What Happens" tag, was originally introduced in January 2005.
The brand reset leans heavily on bright colors (pinks, greens) and bold patterns (leopard skin, lipstick prints), with each stylistic choice meant to reflect the character of a particular series or property. For example, Bravo's upcoming unscripted series NYC Prep, which is shot on Manhattan's Upper East Side and concerns itself with the neighborhood's private school demimonde, is accessorized by pop-art totems (argyle, lacrosse sticks, the distinctive white ear buds of an iPod).
Bravo goes live with the new look on Tuesday, the 23rd, coinciding with the launch of NYC Prep.
"The goal of this redesign is to give Bravo a fresh look that illustrates where our brand is going while staying true to our roots," said Frances Berwick, general manager and executive vp, Bravo Media, by way of announcing the initiative. "Bravo is more than a television network––it's a trendsetting, multiplatform brand."
http://adweek.it/2l4SQg0

redpajama_set_name: RedPajamaCommonCrawl


Start Up Business or Just Plain Stuck?
I've just arranged to have a few days out of the office.
Making a bit of a plan for the coming three months (I only plan this far in advance). I have these 'away days' every so often. Partly because I can, but also because time away from the office, social media and other distractions means a bit more focus, I get more shizzle done.
It's proven to work, for the likes of JK Rowling and of course nearly all of the most loved artists worldwide – all of them take time out to focus on the work. They do this because without focus on one thing you can't get your best ideas out and do your best work.
One London lecturer asks her students to spend many hours looking at at a single painting in order to get 'in the zone' with it – to really see what the artist was doing – if you've never done it, please try it.
Fact is while you are focused on 'in the business' you can't work 'on the business'.
In the business work – responding to clients, dealing with staff issues. On the business – making plans for JV partners, working out new uses for products, working out what new services to offer.
It's the later that secures your business future and allows you to work less at some point in time.
Importantly, you can't see the problems with your business. Sure many are obvious, but it's only outside eyes that tell you the truth and point out what is really happening – that's what I do, you have to do the work but I'll show you what needs doing.
See, I ain't no coach. Business partner, key member of staff, professional friend and mentor, I.T guru, sales and systems expert, seo 'bod', PR and Joint venture guy, business truth sayer.
Thing is I do guarantee my results for all close work, I will get you the result you want, more profits, more time out of the office etc, etc, and I charge for it, like a lot (starts at £1050 per month).
But I don't do any of this by working harder – that'd be stupid. When you're ready to get focused, get in touch or join me over at the Ninja's.


text:
Last year, funding in construction tech startups broke records. And that year may stand alone.
Funding in US-based construction tech startups totals just $192.5 million across 40 deals halfway through 2019. Of course, there are caveats: reported data often undercounts seed and early stage rounds. Furthermore, it takes just a couple of big rounds (like Katerra's $865 million Series D last year) to skew those numbers pretty significantly. Still, $192.5 million across 40 deals is still significantly lower than the $1.274 billion raised by US-based construction startups in the first half of 2018.
So, what could be behind the apparent slowdown? Some investors who have invested in the space have some thoughts.
Greylock Partners's Jerry Chen believes that what may be happening is that "while there are a ton of construction tech companies being started, the number of companies that can attract a lot of capital is small in number."
Zach Aarons, partner and co-founder of MetaProp (which invested in Avvir), remains bullish on the space.
"From our perspective, the market is hot. All of the deals are super competitive and we are scratching and clawing to win allocations," he told Crunchbase News via email.
And deals are being announced regularly, even if they are on the smaller end.
Over the past week, Rhumbix, a San Francisco-based startup with a mobile platform designed for the construction craft workforce that we've covered in the past, announced the closure of a $14.3 million Series B led by Blackhorn Ventures and Tenfore Holdings. And Avvir, a New York-based automated construction platform for monitoring and building digitization, announced a $2.5 million seed round led by Khosla Ventures partner Evan Moore with participation from MetaProp and LocalGlobe.
Rhumbix CEO Zach Scheel said via email that the company, which was launched by two U.S. Navy veterans in 2014, is using the new capital to hire across all departments including sales, engineering, product, and field operations. Rhumbix, he added, has seen year-over-year revenue growth "in excess of 3x the past few years." According to Scheel, the company is seeing major demand for its "enterprise-grade field tools for tradesmen and women that not only digitize paper and Excel-based workflows, but do so in a way that generates structured data that can be fed into BI tools, project management platforms, ERPs, and other back office software platforms."
Greylock Partners, S28 Capital, South Park Ventures, and Glynn Capital also participated in the Rhumbix financing, which brought the company's total raised to $42.9 million.
Meanwhile, Avvir says it is using its capital infusion to continue building a "system of reality" for buildings, or "a system of record that connects building plans to built reality and syncs them automatically," eliminating the need for manual data entry. The goal of its system is to cut down on "rework."
The Avvir platform uses computer vision algorithms to compare laser scans and photographs captured onsite to a building information model (BIM) and then automatically update it, "effectively creating a digital twin of the site," according to the company. This digital twin can be used for construction monitoring purposes during the construction project and as a platform for building management once construction is complete.


text:
Checklist for Fundamentals
Checklist in preparation for the final version of your paper:
first name and last name on top (12 points)
1. (your affiliation) (ten points): (University of Arizona, Tucson)
2. 3 spaces
3. title (14 points)
5. text (10 points)
6. always footnotes
7. best if you do not put in any codes, commands, margins, line spacing, type, size, etc.
8. indent all quotes longer than 3 verses or 2 lines, leaving one space before and after. If non-English text, offer a translation. If within text, use round brackets, if indented, following the original, use square brackets
9. footnotes: always full first name (middle name) and last name, then comma, then title etc.
10. articles: first name, last name, comma, quotation marks, title, comma, quotation marks, space, journal name or book title in italics (if book, followed by editor (New York: Palgrave, 1995), page number/s; if article: followed by volume, such as 63.4 (1996): 4-52; here 35 (note the semicolon!)
11. Ex.: Juanita Ruiz, "From Virile Eloquence to Hysteria: Reading the Latinity of Heloise in the Early Modern Period," Latinity and Alterity in the Early Modern Period, ed. Yasmin A. Haskell and Juanita Feros Ruys. Medieval and Renaissance Texts and Studies, 360 (Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2010), xx-xx.
r). Note, always double-check if book has appeared in a book series, whether there is a series no. or not. (Tempe: Arizona Center for Medieval and Renaissance Studies, forthcoming October 2008); For a journal article: Kenneth C. Russell, "John Cassian on a Delicate Subject," Cistercian Studies Quarterly 27 (1992): 1-12; here 1, n. 1. Please note: semicolon after the inclusive pagination
12. when you repeat a reference, cite the author's last name, and use an abbreviated title. Following the title, add (see note xx); only then come the pp. (no letters pp., only the figures)
13. make sure that you have always the full pagination of every article, and never use 'f' or 'ff.'I.e., use autopsy when you cite, or verify! I.e., try to look at the actual publication, don't trust other sources.
14. make sure that you list at least the first two cities, such as: Chicago, London, and Baltimore: publisher, 1990), 46, or: (Chicago, London, et al.: publisher, year), 127. Ex.: Peter Dronke, Women Writers of the Middle Ages: A Critical Study of Texts from Perpetua († 203) to Marguerite Porete († 1310) (Cambridge: Cambridge University Press, 1984), 108.
15. verify all your sources; if you cite from a secondary source, distrust it and go to online databases, such as MLA or WorldCat and double-check. Very often people forget to include the title of a book series and the vol. no. Alternatively, go to the wonderful Karlsruhe Virtueller Katalog at: http://www.ubka.uni-karlsruhe.de/kvk.html
16. verify if there is a subtitle for a book (always include it). Is there a book series and vol. no? Ex.: W. G. East, "This Body of Death: Abelard, Heloise and the Religious Life," Medieval Theology and the Natural Body, ed. Peter Biller and A.J. Minnis. York Studies in Medieval Theology, 1 (Woodbridge: York Medieval Press, 1997), 43-59; here 48.
17. please note that the editor's or editors' name/s always follows the book title, separated by a comma, then period, then the book series, then comma, then the vol. no. Always: ed., even when there are several editors
18. if you use a dash in order to create a pause in the sentence, no space, then the em-dash, such as: —; if you have years, or pages, such as 1940–2006, use the en-dash, as indicated.
19. every sentence is separated from the next with only one space
20. do not use any acronyms for a book series, a journal, etc. I would even prefer to have the full name of series such as MGH, or PMLA. This will be an interdisciplinary vol., so many readers might not necessarily know what you are referring to.
21. use the tab setting, instead of empty spaces. All sentences are separated from each other with only one space, no double spacing anywhere
22. page numbers: top outside alternating (no longer relevant)
23. no header or footer, I'll do that later
24. try not to have any particular commands, do not format, it only causes headaches for me
25. verify all data, spelling of names, and your quotes at least several times
26. use search tools such as MLA and WorldCat, or RLIne, or Regesta Imperii, to make sure that you have covered all relevant research literature. Keep in mind, please, that in many cases the bibliographical information cited in other studies is not quite complete.
27. finally, compare your conclusion with what you have said in your thesis
28. if you can, add a reference to the other papers that will form part of the book. I'll share all contributions with you once they are ready for review. If you need an extra copy, please let me know
29. if pictures, work toward the goal of including some right away to secure reproduction rights (you will have to pay for any charges yourself); at the end of your article provide captions for each picture (Fig. 1:...), and then, in a separate file, a full listing of the origin, date, location, permission rights, for my list of illustrations.
30. no space before and after a quotation mark (never use the straight marks, always curly marks instead!)
citing a Ph.D. or M.A. thesis: John Smith, "Title," Ph.D. diss., University of Toronto, 2007, 47 (note: no italics)
31. no space before a colon! Colons always go after a quotation mark
32. Toward, and not towards, onward, not onwards, so American spelling: analyze, criticize, favorite, etc.
33. footnote numbers follow the comma or period, but they appear before a semi-colon
34. when citing a webpage, always provide (last accessed on Aug. 30, 2010), or whatever date it might be
35. subheadings always in bold, same font size, not followed by an empty line. Do not use any numbering system (neither Roman nor Arabic)
36: Use curly quotation marks: Double for quotes, single for quotes within quotes.
37. Every quote, when not in English, needs to be translated. When quote is longer than a line, indent, the English trans. following in square brackets [ ]
Time schedule:
May 10: receive sample article from editor, co-contributor
May 15: verify whether you could include a cross-reference to other papers in your work
May 30: make sure that your research database is complete; order all interlibrary loans if necessary
June 15: have expanded the article by 20% (all very rough figures, just guidelines; the article can easily be around 30 pp.)
June 30: have expanded the article by 60%
July 15: expansion by 8%
July 30: completion of 1st rough draft, compare your own format with the sample
Aug. 15: verify all references, using Worldcat, Karlsruhe Virtual Catalog, your own university library catalog, etc.
Aug. 30: submit first complete draft to editor
Sept. 15: receive comments back from editor
Sept. 30: second draft to editor
Oct. 15: first set of peer reviews
Oct. 30: third draft to editor
Nov. 15: fourth draft to editor (by now, approaching final revisions)
Nov. 30: submit final version
Dec. 15: editor accepts, hopefully
Dec. 30: relax
Please note, every paper will be thoroughly reviewed, by myself and some peers, so there is no guarantee that your submission will be accepted. All papers must meet highest scholarly standards, and they must fit into the broader thematic framework of the volume.
Albrecht Classen, 4-8-19


text:
\section{Introduction}

The asymptotic giant branch (AGB) is the last nuclear-burning phase of low- and
intermediate-mass stars (0.8 $\leq$ M $\leq$ 8 M$_{\sun}$). The AGB stars are among
the main contributors to the chemical enrichment of the interstellar medium
since they suffer strong mass loss together with nucleo\-synthesis processes
\citep[see e.g.][]{busso1999}. Low-mass AGB stars (M $<$ 4 M$_{\sun}$)
can turn C-rich (i.e. C/O $>$ 1) because of the dredge-up of carbon from the bottom
of the convective envelope to the ste\-llar surface. The $s$-process a\-llows
the production of elements heavier than iron by $slow$ neutron-captures.  In
these stars, the $^{13}$C($\alpha$, n)$^{16}$O reaction is assumed to ope\-rate
as the main neutron source \citep[e.g.][]{abia2001}. On the other hand,
intermediate-mass AGB stars ( 4 $\leq$ M $\leq$  8 M$_{\sun}$) are O-rich
stars (C/O $<$ 1) because of the operation of hot bo\-ttom burning (HBB), which
burns carbon at the base of the convective envelope, thus preventing the
formation of a carbon star \citep{sackmann1992}.  In these carbon stars, the
$s$-process elements are expected to form mainly by the neutrons released by the
$^{22}$Ne($\alpha$, n)$^{25}$Mg reaction, in a higher neutron density
environment than in lower mass AGB stars \citep{garcia2006}. The relative
abundance of s-elements such as Rb to other neighboring ones such as Sr, Y, and Zr is
an indicator of the neutron density, namely a discrimi\-nant of the stellar mass
and the main neutron source at the $s$-process site
\citep{lambert1995,abia2001,garcia2006}.

Observationally, a low [Rb/Zr] ratio ($<$ 0) is found in low-mass AGB stars
\citep{plez1993,lambert1995,abia2001} while higher mass AGB stars display
[Rb/Zr] $>$ 0 \citep{garcia2006,garcia2007,garcia2009}.
\citet[][hereafter Paper I and Paper II, respectively]{garcia2006,garcia2009}
derived the Rb and Zr abundances in several Galactic and Magellanic Cloud
intermediate-mass AGB stars among a sample of OH/IR stars. The Rb
abundances and [Rb/Zr] ratios found in these objects re\-present a
challenge for theoretical AGB nucleosynthesis mo\-dels, which do not predict the
extreme Rb overabundances ([Rb/Fe] $\gtrsim$ 2 dex) and extraordinarily high
[Rb/Zr] ratios observed \citep{vanraai2012,karakas2012}. However, the Rb
abundance was derived from the resonant Rb I absorption line at 7800 \AA, using
hydrostatic model atmospheres. The Rb I line is probably affec\-ted by
contamination from one or more circumstellar (CS) components, as has already
been suggested by the detection of blue-shifted CS Rb I absorption lines in several
of these extreme O-rich AGB stars (see Paper I, II).

In the present {\it Letter}, we explore for the first time the CS effects on the
Rb and Zr abundances derived in extreme O-rich AGB stars. To this end, we use more
realistic model atmospheres that include a gaseous CS envelope. The much lower
Rb abundances (and [Rb/Zr] ratios) derived here significantly alleviate the
actual mismatch between the AGB nucleosynthesis predictions and the optical
observations of intermediate-mass (4--8 M$_{\sun}$) Rb-rich AGB stars.

\section{The sample stars}

We selected a representative sample of five massive Rb-rich AGB stars from
Papers I and II: four Galactic stars and one LMC star, covering several OH expansion
velocities, variability periods, and
metallicities
The rele\-vant
information for the sample stars is shown in Table \ref{table:1}. All stars
belong to the OH/IR class, with OH expansion velocities and variability periods
available in the literature. We chose those stars with high signal-to-noise (S/N
$\geq$ 30-50) optical spectra for reliable Rb and Zr abundance determinations.
The resolving power of the observations is R $=$$\lambda$/$\Delta$$\lambda$$=$
40,0000 to 50,000 for the Galatic stars and R$\sim$60,000 for the LMC star
(see Papers I and II for further observational details). The sample stars display
a variety of Rb I 7800 \AA~line strengths and profiles. Two stars (IRAS
05098$-$6422 and IRAS 18429$-$1721) display weak non-shifted Rb I lines while
the other three stars (IRAS 06300$+$6058, IRAS 19059$-$2219, and IRAS
04498$-$6842) show a blue-shifted Rb I absorption feature that is indicative of
a CS envelope moving outwards in the line of sight\footnote{The
observed Rb I line in IRAS 06300$+$6058 is resolved in two components
(circumstellar and stellar).}. As was already shown in Papers I and II,
classical MARCS hydrostatic models are not able to  account for the blue-shifted
absorption feature. Furthermore, the Rb abundances derived in Papers I and II
with these hydrostatic model atmospheres are significantly larger than AGB
nucleosynthesis models predictions \citep[see e.g.][]{vanraai2012}. The most
remarkable case is the LMC star IRAS 04498$-$6842 with [Rb/M] =
$+$5.0\footnote{In Paper II, an average metallicity of [M/H]=$-$1.4, as
estimated from a few very weak metallic lines around the Rb I line, was used in
the synthesis. Here, however, we prefer to adopt the LMC average metallicity
([M/H] = $-$0.3) in the synthesis in order to be consistent with the original
metallicity of the atmosphere model.}.

\section{Abundance analysis using dynamical models}

\subsection{Turbospectrum spectral synthesis code with extended atmospheres and
velocity fields} \label{turbo}
For a proper analysis of the circumstellar component around the
\mbox{Rb I} 7800 \AA\ line, we have modified the
v12.1 of the spectral synthesis code \textit{Turbospectrum}
\citep{alvarez1998,plez2012} to deal with  extended atmospheres and velocity
fields.  The Doppler effect due to the expanding envelope of the star is implemented
in \textit{Turbospectrum} by the modification of the routines that compute the line
intensities at the stellar surface. Concerning the radiative transfer, the source
function is assumed to be the same as computed in the static case without a wind
\citep[see][]{gustafsson2008}.  The sca\-ttering term of the source function
($\propto\sigma_{\lambda}${J$_{\lambda}$}) is not shifted to save
computing time. Scattering is only included for the continuum.
We carefully checked this approximation by comparing it
with Monte Carlo simulations (see Sect. \ref{MC}) because
in cool CS envelopes photons are mostly scattered in resonance lines and are not
thermally emitted as we assume here.
In this way, the
sca\-ttering term is computed as in the static case  using the Feautrier method
\citep{nordlund1984,gustafsson2008}. The velocity field is taken into account
through a shift of the absorption coefficient $\kappa _{\lambda}$. The source
function is built using the static $\sigma_{\lambda}${J$_{\lambda}$ and the
shifted $\kappa _{\lambda}$B$_{\lambda}$. The emerging intensity is then
computed in the observer frame by a direct quadrature of the source function.
This algorithm is sensitive to numerical errors \citep{mihalas1986}. Therefore,
a high sampling of the optical depth and the wavelength points
is used to minimise errors in the opacity interpolation.

\subsection{Dynamical atmosphere models} \label{dm}

The atmospheric parameters adopted for the individual analysis of each star are
taken from Papers I and II, using solar refe\-rence abundances by
\cite{grevesse2007}. Furthermore, our dynamical models are constructed from the
original MARCS hydrostatic atmosphere model structure, expanding the atmosphere
radius by the inclusion of a wind out to $\sim$ 5 stellar radii, with a
radial velo\-city field in spherical symmetry. The stellar radius $R_{*}$
is defined as the radius corresponding to $r(\tau_{Ross} = 1)$ in the MARCS
hydrostatic model, where r is the distance from the ste\-llar centre and
$\tau_{Ross}$ the Rosseland optical depth. The stellar wind is computed under
the assumptions of mass conservation (Eq. 1) and  radiative thermal equilibrium
(Eq. 2), following a classical $\beta-$velocity law (Eq. 3),

\begin{equation}
      \rho(r) = \frac{{\textit{\.M}}}{4 \pi r^2 v(r)}
   \end{equation}

\begin{equation}
      r T^2 = constant  = r_{out}T^2_{out}
   \end{equation}

\begin{equation}
      v(r) = v_0+(v_{\infty}-v_0)(1-\frac{R_*}{r})^{\beta} \,,
   \end{equation}

\noindent
where $\rho$($r$) is the density of the envelope at radius $r$, $\textit{\.M}$
is the mass-loss rate, and $v(r)$ is the velocity of the envelope. The velocity
$v(r)$ is calculated by means of Eq. 3, where $v_0$ is a reference velocity for
the onset of the wind and the $\beta$ exponent is an arbitrary free parameter.
For the onset of the wind, we take $v_0 = v(R_*)$ and the extension of the
envelope begins from the outer radius of the hydrostatic model.  The envelope is
extended making use of Eq. 2, layer by layer, out to $r_{max}$. The distance
$r_{max}$ corresponds to the maximum radius in our calculations, with
temperature $T_{max}$ = 900 K, because \textit{Turbospectrum} cannot compute for
lower temperatures because of numerical reasons. For the mass-loss rate \textit{\.M}
and the $\beta$ exponent, we use values in the typical range of AGB stars:
\textit{\.M} $\sim$ 10$^{-9}$--10$^{-4}$ M$_{\sun}$ yr$^{-1}$ in steps of
factors of 10 and $\beta$ $\sim$ 0--1.6 in steps of 0.2. Finally, we assume
$v_{exp}(OH)$ as the terminal velocity $v_{\infty}$ (see Table \ref{table:1})
because the OH maser emission is found at very large distances of the central
star \citep[see e.g.][]{decin2010}. Figure \ref{models} shows examples of the
$\beta-$velocity law adopted in our dynamical models.

The resulting grid of synthetic spectra is compared to the observed spectra
in order to find the best fit to the Rb I line profile and the adjacent
pseudocontinuum. Figure \ref{RbK} shows several fits for the Rb I 7800 \AA\
and K I 7699 \AA\ lines (with similar atomic parameters) in IRAS 06300$+$6058 to
check the consistency of our models. In the left panel, we modify the
(\textit{\.M}, $\beta$) pair and the abundance of Rb until the best fit (in red)
to the observations (in black) is obtained. Remarkably, the best model
(\textit{\.M}, $\beta$) =  (1$\times$10$^{-7}$, 0.2) gives a Rb abundance of
+0.5, which is much lower than the hydrostatical abundance (see Table 1). Curiously,
the CS K I component is blue-shifted by $\sim$2-3 kms$^{-1}$ relative to that
in Rb I, suggesting a slightly higher velocity for the K I expanding gas.
Thus, we test the same models for the K I line fitting in the right panel but
varying the K abundance and the terminal velocity. Acceptable fits to
the K I line are obtained for solar K abundances and a slightly higher terminal
velocity of $\sim$15 kms$^{-1}$, as suggested by the blue-shifted CS K I line.
We note that increasing the K abundance may improve the fit a little bit. At
present we cannot discard some K production in these stars as the consequence of
proton-captures on Ar nuclei during HBB \citep{ventura2012}.

\subsection{Monte Carlo simulations} \label{MC}
As we already commented in Sect. \ref{turbo}, to check if our neglect of line
scattering in \textit{Turbospectrum} does not affect the interpretation of the
observed spectra, we performed complementary Monte Carlo simulations (MCS) that
only take into account photon sca\-ttering for the radiative transfer.
Three-dimensional MCS were carried out throwing a large number of photons
($\sim$10$^6$ for accurate statistics) through the expanding envelope of a star,
taking the initial wavelength, optical depth at which the photon will be
scattered $\tau_{\lambda}$, and throwing direction of the incident photon
as random numbers.  The photon of wavelength $\lambda$ has an absorption
probability 1$-$e$^{-\tau_{\lambda}}$. The random $\tau_{\lambda}$ at which the
photon will be scattered follows uniform statistics, i.e. the same
number of photons are thrown for each wavelength in all directions. Thus,  we
study the emergent photon distribution (spectrum) obtained for the CS component
around  the K I 7699 \AA\ line. The results can be extrapolated to the CS
component of the Rb I 7800 \AA\ line, taking into account that the density of K
is $\sim$ 300 times the Rb density for solar composition.
As we only want to study how the line profile
changes qualitatively with a very simple code
the parameters describing the envelope are assumed constant
in each simulation: temperature, T;
(K); density of K I atoms, n (cm$^{-3}$); expansion velocity, v$_{exp}$ (km
s$^{-1}$); and maximum envelope size, R$_{max}$ (cm, 1
AU$\sim$1.5$\times$10$^{10}$ cm),   We performed 216 simulations in
total, covering the following space of parameters: T =  10, 100, 1000 K; n  =
1$\times10^{-6}$,  1$\times10^{-5}$, 1$\times10^{-4}$, 1$\times10^{-3}$
cm$^{-3}$;  v$_{exp}$    =  5, 10, 15 km s$^{-1}$ and R$_{max}$  =
1$\times10^{13}$, 1$\times10^{14}$, 1$\times10^{15}$, 1$\times10^{16}$,
1$\times10^{17}$, 1$\times10^{18}$ cm. A re\-presentative subset of the results
obtained for T = 1000 K - the coolest temperature that
\textit{Turbospectrum} is able to compute - and v$_{exp}$ = 10 km s$^{-1}$  are
shown in Fig. \ref{MCresults}. For other envelope temperatures or expansion
velocities, the resul\-ting line profiles are very similar. In short, the most
frequent line profile obtained from MCS is a blue-shifted absorption feature
with a weak and broader emission component. The envelope parameters of the
simulations displaying a blue-shifted absorption feature with weak emission are
within the range of the dynamical atmosphere models used in
\textit{Turbospectrum}, which ends at R$_{max}$ = 1.6$\times10^{14}$ cm.
For example, for R$_{max}$ = 1.6$\times10^{14}$ cm some weak emission is
obtained in two MCS only, corresponding to a higher density of n =
1$\times10^{-3}$ cm$^{-3}$. PCygni profiles, i.e. with a strong emission
component, are less frequent (14\%) and they are obtained only at very high
densities and/or large envelope sizes. In the rest (30\%) of the MCS, the spectrum
is flat and no absorption and/or emission line is found in the
distribution of the emergent photons for very low density (n $\leq$
1$\times10^{-5}$ cm$^{-3}$) and small envelope size (R$_{max}$ $<$ 10$^{15}$ cm)
values (Fig. \ref{MCresults}).

The optical observations of Rb in massive Galactic AGB stars tell us that a
non-shifted (purely photospheric) or a blue-shifted Rb I (with a CS component)
line are by far the most frequent cases  (see Paper I). There is only one star
IRAS 12377$-$6102 with a clear PCygni Rb I profile; perhaps the star
IRAS 18050$-$2213 also shows some weak emission. These two stars are among the
reddest Rb-rich AGB stars, also showing very high OH expansion velocities
($\sim$20 km s$^{-1}$), and they are presumably the most evolved and extreme
stars. Indeed, \citet{justtanont2013} estimate envelope sizes from
$\sim$9x10$^{15}$ cm to 2.5x10$^{16}$ cm in a few Galactic OH/IR stars
(massive AGBs) from Herschel observations. Only one star in this work, WX
Psc, has an optical counterpart. Although the S/N around 7800 \AA\ is quite
low, a strong Rb I absorption line is clearly detected in the WX Psc optical
spectrum (Paper I). Interestingly, the estimated mass-loss rate for WX Psc
($\sim$10$^{-5}$ M$_{\odot}$ yr$^{-1}$) is lower by one order of
magnitude than that for the more obscured stars. Furthermore, Betelgeuse
observations \citep{plez2002} show that a mass-loss rate of $\sim$ 10$^{-6}$
M$_{\odot}$ yr$^{-1}$ results in a double K I 7699 \AA\ line with emission in
the center thanks to the photon sca\-ttering but this emission is feeble in
the integrated star spectrum and the circumstellar absorption dominates. Taking
into account the results of the MCS and the cited observational constraints, we
conclude that \textit{Turbospectrum} (Sect. \ref{turbo}), provides a reasonable
approximation for the stars studied here.

\section{Results and discussion}

The parameters of the dynamical atmosphere models providing the best fit to the
observations and the derived Rb and Zr abundances ([Rb/M]$_{dyn}$ and
[Zr/M]$_{dyn}$) are shown in Table \ref{table:2}. The Rb abundances
([Rb/M]$^{ref}_{static}$) as determined in Papers I and II from hydrostatic
models are also shown for comparison. We note, however, that Papers I and II used
solar abundances from \cite{grevesse1998} while we assume here the most recent
solar composition by \cite{grevesse2007}. For this reason, Table \ref{table:2}
also lists the re-derived Rb abundances ([Rb/M]$_{static}$) using the
hydrostatic models with our adopted solar abundances. Our static Rb abundances
agree well, within the errors, with those previously derived in Papers I
and II.

\begin{table*}
\tiny
\begin{center}
\caption{Atmosphere parameters and abundances derived using dynamical models vs. hydrostatic models.}
\label{table:2}
\centering
\begin{tabular}{c c c c c c| c c c c}
\noalign{\smallskip}
\hline\hline
\noalign{\smallskip}
IRAS name&$T\rm{_{eff}}$ (K)&$\rm \log$ g& $\beta$& \textit{\.M} (M$_{\sun}$ yr$^{-1}$)&$v$ (km
s$^{-1}$)&[Rb/M]$^{ref^a}_{static}$&[Rb/M]$_{static}$$^b$&[Rb/M]$_{dyn}$$^b$&[Zr/M]$_{dyn}$$^b$\\
\hline
\noalign{\smallskip}
\multicolumn{10}{c}{Galactic stars}\\
 \hline
 \noalign{\smallskip}

 05098$-$6422  &3000  &  $-$0.5 & 1.0& 1.0 $\times$ 10$^{-8}$    &6 & 0.1    &0.0 $\pm$ 0.4&0.0 $\pm$ 0.4  &$\leq$ 0.3 $\pm$ 0.3        \\
 06300$+$6058  &3000  &  $-$0.5 & 0.2& 1.0 $\times$ 10$^{-7}$    &12& 1.6    &1.9 $\pm$ 0.4&0.5 $\pm$ 0.7  &$\leq$ 0.1 $\pm$ 0.3    \\
 18429$-$1721  &3000  &  $-$0.5 & 1.0& 1.0 $\times$ 10$^{-8}$    &7& 1.2    &1.2 $\pm$ 0.4&1.0 $\pm$ 0.4  &$\leq$ 0.3 $\pm$ 0.3     \\
 19059$-$2219  &3000  &  $-$0.5 & 0.4& 1.0 $\times$ 10$^{-7}$    &13& 2.3/2.6&2.4 $\pm$ 0.4&0.8 $\pm$ 0.7  &$\leq$ 0.3 $\pm$ 0.3         \\

\noalign{\smallskip}
\hline
\multicolumn{10}{c}{LMC star}\\
\hline\noalign{\smallskip}
 04498$-$6842  &3400  &  0.0    & 1.0& 1.0 $\times$ 10$^{-7}$   &13& 3.9$^{c}$    &3.3 $\pm$ 0.4&1.5 $\pm$ 0.7   &$\leq$ 0.3 $\pm$ 0.3     \\
\hline
\end{tabular}

\tablefoot{
\\
\tablefoottext{a}{See Paper I and II.}
\tablefoottext{b}{The uncertainties represent the formal errors due to
the sensitivity of the derived abundances to slight changes in the model
atmosphere parameters ($\Delta${\it T}$_{eff}$=$\pm$100 K,
$\Delta$[M/H]=$\pm$0.3, $\Delta$$\xi$=$\pm$1 kms$^{-1}$, $\Delta$log {\it
g}=$+$0.5, $\Delta$FWHM=50 m\AA, $\Delta$$\beta$=0.2,
$\Delta$log(\.M/M$_{\odot}$yr$^{-1}$)=1.0}) for each star.
\tablefoottext{c}{We scale the Rb overabundance derived by Paper II, [Rb/M] =
+5.0, to the adopted LMC metallicity [M/H] = $-$0.3.}}
\end{center}
\end{table*}

\begin{figure}

   \includegraphics[width=7cm,angle=-90]{fig/RbIpaper.eps}

      \caption{Rb abundances derived in the sample stars using dynamical models.
      The location of the Rb I stellar line is indicated by a dashed line.
      Dynamical models providing the best fits to the observations (black dots)
      are indicated by a red line. Hydrostatic models are also shown for
      comparison (blue lines). The expansion velocity and the mass-loss rate
      adopted in the models also are indicated for each star.}
         \label{Rb}
   \end{figure}

Interestingly, the new Rb abundances (in the range [Rb/M]$\sim$0.0$-$1.5 dex;
Table \ref{table:2}) derived from our dynamical models display a dramatic
decrease of 1.4 dex to 1.8 dex with respect to the static case (Table
\ref{table:2}) in the more extreme stars, namely those stars showing the highest
expansion velocities and mass-loss rates such as IRAS 06300$+$6058, IRAS
19059$-$2219 and IRAS 04498$-$6842. However, for the less extreme stars with a
lower expansion velocity and mass-loss rate (IRAS 05098$-$6422 and IRAS
18429$-$1721), the Rb abundances obtained from dynamical models remain close, within 0.2 dex,
to those from hydrostatic models. In Fig. \ref{Rb}, we
display the observed Rb I line profiles in our O-rich AGB sample (black dots)
together with the best synthetic spectra as obtained from the new dynamical
models (red lines) versus the static ones (blue lines). Our dynamical atmosphere
models reproduce the observed Rb I line profiles (photospheric and
circumstellar components) very well, much better than the classical
hydrostatic models. The 6474 \AA\ ZrO bandhead, because it is formed deeper in the
atmosphere, is less affected than the Rb I line, and the Zr abundances
(nearly-solar; see Fig. \ref{Zr}) derived from dynamical models are
similar to those obtained with the hydrostatic models (see Papers I and
II).

Remarkably, we find that relatively low mass-loss rates
($\sim$10$^{-7}$$-$10$^{-8}$ M$_{\odot}$ yr$^{-1}$) give superior fits to the
observed Rb I line profiles. Higher mass-loss rates of $\geq$10$^{-6}$
M$_{\odot}$ yr$^{-1}$ give Rb I absorption lines that are too strong even for solar Rb
abundances (see Fig. \ref{RbK}). According to \cite{justtanont2013}, the
envelope size of $\sim$1x10$^{16}$ cm and the mass-loss rate of $\sim$10$^{-4}$
M$_{\odot}$ yr$^{-1}$ estimated in optically obscured OH/IR AGB stars can be
taken as upper limits for massive AGB stars with optical counterparts; i.e.
like our sample stars with useful spectra around the Rb I line because
the heavily obscured OH/IR massive AGB stars studied by \cite{justtanont2013}
have already entered the superwind phase. Our best fits for the Rb I
7800 \AA\ line profiles in optically bright massive AGB stars are those with
mass-loss rates lower than $\sim$10$^{-6}$ M$_{\odot}$ yr$^{-1}$. Thus, we
conclude that the Rb I line profiles observed in massive AGB stars are
consistent with these stars still experiencing relatively low mass-loss rates
just before the superwind phase when the Rb density and the envelope size
are not very high and this is supported by the MCS presented above (Sect.
3.3).

Standard nucleosynthesis models for intermediate-mass AGB stars show that the
predicted Rb abundances range from [Rb/M]$\sim$0.0 up to 1.44 dex, depending on
the progenitor mass and metallicity \citep[see][]{vanraai2012}; the predicted Rb
production increases with increasing stellar mass and decreasing metallicity.
Maximum [Rb/M] overabundances of 1.04 and 1.44 are found for a solar metallicity
6.5 M$_{\sun}$ star and for a LMC metallicity 6 M$_{\sun}$ star, respectively
\citep{vanraai2012}. More recently, \cite{karakas2012} have delayed the
beginning of the superwind phase in solar metallicity nucleosynthesis models of
massive AGB stars. These models produce more Rb than in the standard van Raai et
al. models because the star experiences more thermal pulses before the superwind
phase at the very end of the AGB. The maximum Rb production ([Rb/M]=1.34 dex) is
predicted to occur for the 6 M$_{\sun}$ case. By considering the error bars in
the spectroscopic analysis (see Table \ref{table:2}) and the theoretical
uncertainties \citep[see e.g.][]{vanraai2012,karakas2012}, the Rb abundances
are now in fair agreement with the massive AGB nucleosynthesis models, both standard
and with delayed superwinds. The nearly-solar derived Zr
abundances in IRAS 05098$-$6422,  IRAS 06300$+$6058, and IRAS 19059$-$2219
(Table \ref{table:2}) translate into [Rb/Zr] ratios of $-$0.3, 0.4, and 0.5,
respectively, which agree quite well with the theoretical predictions (-0.2
$\leq$ [Rb/Zr] $<$0.6). However, the [Rb/Zr] ratios in IRAS 18429-1721 (0.7) and
IRAS 04498-6842 (1.2) are still higher than predicted. As already pointed out in
the literature \citep[see e.g.][]{vanraai2012}, a possible solution to this
observational problem is that gaseous Zr, with a condensation temperature (1741
K) higher than that for Rb (800 K), condensates into dust grains, producing the
apparent Zr underabundance that we measure from the ZrO bandheads.

In summary, the Rb abundances and [Rb/Zr] ratios derived here significantly
resolve the problem of the present mismatch between the observations of
massive (4--8 M$_{\sun}$) Rb-rich AGB stars and the theoretical predictions. In
the near future, we plan to carry out a chemical analysis based on these new
dynamical models for all the Rb-rich AGB stars already studied in Papers I and II.
This undoubtedly will help us to constrain the actual nucleosynthesis models for
the more massive AGB stars.

\begin{acknowledgements}
O.Z., D.A.G.H. and A.M. acknowledge support provided by the Spanish Ministry of
Economy and Competitiveness under grant \emph{AYA-2011-27754}.
\end{acknowledgements}

\bibliographystyle{aa}

redpajama_set_name: RedPajamaArXiv


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text:
Carey Young Beckons the Male Gaze at the DMA
by Gail Sachson 22 Feb 2017 5:24 PM
The artist's film explores the power of women in law.
In the world debut of the 17 minute video, Palais de Justice ( 2017), 46-year-old London-based artist Carey Young lures peeping Toms and voyeurs to spy on women.
Carey Young: The New Architecture through April 2 at Dallas Museum of Art. Details.
Young's been interested in law and its male dominated hierarchy for many years. Seh brings us along on a clandestine, non-sanctioned, permission denied, but legally advised, peek behind the scenes of the closed doors of the courtrooms of the Palais de Justice in Brussels, an enormous, ornate 19th century courthouse, architecturally poised to overwhelm and dwarf its inhabitants.
Young seduces us to follow her with shadowy shots and moody lush colors. Although there is no dialogue, Young engages us with repetitive echoing background noise (reminding one of meditative Gregorian chants) and mesmerizes us with fade-outs and lingering portrait close-ups secretly shot.
The Palais is the perfect site to stress the new world order Young wants to acknowledge and applaud: the power of women in law. Architecturally, the Palais is suited more to the once male-dominated profession. The stone and marble are cold and hard, and Young contrasts that almost immediately with a voyeuristic shot of the dangling bare legs of a young woman lounging in a marble lobby window seat.
Still from "Palais de Justice" by Carey Young.
Further into the courtrooms themselves, Young reveals a unique legal system, seemingly run by women. She appears to say, "Come on men. Look here. See what we women really look like. Look through these courtroom porthole windows, instead of the peep holes at raunchy fairs. See capable women, powerful, pondering women. See women robed, rather than unrobed." And yet, at the same time, Young does make the women in the video alluring enough to capture and control the male gaze of the peeping Tom.
There is an unequivocal sexuality to the video. Because it is installed to cover an entire gallery wall, it envelopes and embraces the audience in the darkened theater. The glimpse of a gold bracelet and earrings offer evidence of femininity. Loose tendrils of hair fall upon exposed necks, and bits of undergarments, seen here as the exposed cuff of a striped T shirt , peeking out from under a black robe, show us private and personal parts of a Judge we are not used to seeing.
Although not meant to be a documentary and not meant to be an erotic film, Young has produced refreshing court-worthy evidence which convincingly pleads the case for women's worth, if not superiority, and that women can be both female and firm.
Guest Blogger Gail Sachson owns Ask Me About Art, offering tours, lectures, program planning and consultation.


text:
Henry Harness Fout (October 18, 1861 – December 4, 1947) was an author and a missionary for the Near East Foundation which aimed to assist Armenian refugees from the genocide who were dispersed throughout the Middle East. He was one of eighteen commission members returning to the United States from the Near East in 1919, when he reported on the massacre of Armenians.

Earlier, he had written The 1900 Pilgrimage to Egypt and the Holy Land after touring the Holy Land between 1899 and 1901.

Early life and family
Fout was born on October 18, 1861 in Grant County, West Virginia to Henry and Susan Catharine Powell Fout. He graduated from Shenandoah Collegiate Institute in 1885 and Bonebrake Theological Seminary in 1890.

In 1900, he married Adah C. Fout and they had one daughter Lois Virginia Fout.

Career

Preaching
Fout began preaching in 1885 and was ordained into the Ministry of the United Brethren in Christ in 1890. Subsequently, between 1891 and 1899, he served as Pastor of Oak Street Church in Dayton, Ohio and afterwards toured the Holy Land in 1899, returning in 1901. During this time, as presiding Elder and Miami conference superintendent, he wrote The 1900 Pilgrimage to Egypt and the Holy Land.

He was in charge of the United Brethren Church periodicals from 1901 to 1913 when he supervised Sunday school and became a bishop. In 1914, he was the bishop of the Northwest District.

Missionary

Fout became a missionary for the Near East Foundation which aimed to assist Armenian refugees from the genocide who were dispersed throughout the Middle East. He headed one section of this Commission in the relief and was one of its eighteen commission members returning to the United States from the Near East in 1919. During the stopover in Rome, he affirmed that a third of the Armenian nation had been executed and that those remaining were in a dreadful state and required immediate assistance from the United States. His message to America at the time was published in The New York Times.

Turkey by her inhuman treatment, in my opinion, has lost the right to be entrusted with authority to rule. From various estimates I have reached the conclusion that out of the Armenian nation of 3,000,000 at the outbreak of the war, 1,000,000 were massacred. The condition of the remainder is most appalling.

Death
He died on December 4, 1947 and his grave is at Woodland Cemetery in Arboretum, Dayton, Montgomery County, Ohio, US.

Selected publications

 The child and the church, Dayton, Ohio, Otterbein Press, 1913.
 The 1900 Pligrimage to Egypt and the Holy Land: Including Syria, Asia Minor, Greece, Italy, Switzerland, and France, Creative Media Partners,
 Our Heroes; Or United Brethren Home Missionaries, co-authored with W.M. Weekly, Otterbein Press, 1911, Volume 2

References

Further reading
Our Heroes: Or, United Brethren Home Missionaries, United Brethren Home Missionary Society, 1908.
History of the Michigan Conference of the Evangelical United Brethren Church, Volume 2, William Henry Watson, A. LaVerne Spafford The Conference, (1961).

1861 births
1947 deaths
People from Grant County, West Virginia
Writers from West Virginia
Shenandoah University alumni
United Theological Seminary alumni
American United Brethren in Christ
People of the Armenian genocide
American Protestant missionaries


A gas station has their windows boarded as gas was still flowing at the station on Wednesday, Sept. The number of businesses in Ballina Shire should be viewed in conjunction with Employment by industry (Total) and Value added datasets to see the relative size of industries, and with Employment locations data to see where business employment occurs within the area. Here are different ways in which the internet has contributed to the success and growth of businesses. The most successful businesses have also created a strong awareness of their company with an audience of potential customers. For most small businesses this means inventory, the cost of raw materials, manufacturing equipment, shipping, packaging, and warehousing.
Once you start doing the right SEO for your company you will get to know that their results are long-lasting for the growth of your business. Every year, SCORE volunteers help thousands of entrepreneurs start small businesses and achieve new levels of success in their existing businesses. If what you want is proven information;ideas, methods and techniques you can use to start making money on the internet legitimately within the next 24 hours, then that's what I will give to you. Interior decorators, hairstylists, tanning salons, laundromats, and pest controllers are service businesses.
However, the question of concern is why do these businesses fail and why cant we improve the batting average like baseball players will say. Get a domain name, establish some web presence, build your social media platforms, and get ready to start posting on a regular basis. Businesses use internet technologies such as Skype internet and video calls, email and video conferencing to make communication virtually instant. My wife Karen and I work together on our businesses this way we can see a bigger picture of where we are going.


text:
Mimi Rogers (* 27. ledna 1956, Coral Gables, USA) je americká herečka a producentka.

Je potřetí vdaná; jejím druhým manželem byl v letech 1987 až 1990 herec Tom Cruise.

Filmografie (výběr)
 Chytrák (1987)
 Quinnův případ (1989)
 The Doors (film) (1991)
 Příběhy ze záhrobí (1992)
 Můj nejmilejší bar (1996)
 Austin Powers: Špionátor (1997)
 Ztraceni ve vesmíru (1998)
 Akta X (1998–99)
 Ďáblova čísla (1999),napsala příběh a režisérka
 Velmi nebezpečné známosti 2 (2000)
 Dawsonův svět (2003)
 Ničivé tornádo (2008)
 Tatík Hill a spol.
(2010)
 Dva a půl chlapa (2011–15)
 Druhá šance (2012)
 Námořní vyšetřovací služba (2015)
 Šílenci z Manhattanu (2015)

Reference

Externí odkazy

Americké herečky
Američtí producenti
Narození v roce 1956
Žijící lidé
Ženy
Narození 27. ledna


text:
This article is an excerpt of a List of IT Companies located in the Philippines.

References

IT companies


Equipment fitted with a photographic device, which reproduces written texts and images.
Device used to collect unsorted photocopies.
Trays containing blank sheets of various standard-sized papers to be fed automatically into the photocopier.
Device used to photocopy multiple pages of a document consecutively.
Device made up of a series of receiving trays, which separate photocopies of the same document into several sets.
Movable part covering the glass plate on which original documents are placed to be photocopied.
Device in which one or several sheets of paper are placed to be photocopied.


text:
Schulz's departure liberates Parliament's 'dark prince'
Incoming President Tajani is unlikely to get in the way of Secretary-General Klaus Welle.
Klaus Welle | European Parliament | European Parliament
By David M. Herszenhorn and Maïa de La Baume
Martin Schulz's efforts to raise the profile of the European Parliament may have won him fans back home in Germany, but the assembly's civil servants — led by his compatriot Klaus Welle — are glad to see the back of him.
The former Parliament president's tendency to centralize power on his office and direct resources to party groups rather than the civil service and individual MEPs thwarted Welle's long-running campaign, as secretary-general of the European Parliament, to turn it into an arena of free-wheeling democracy modeled on the U.S. Congress.
With Schulz's departure to campaign for the German chancellorship and the dissolution of the "grand coalition" between his Socialists & Democrats and Commission President Jean-Claude Juncker's European People's Party, Welle can get back to business as usual. He is unlikely to be impeded by Schulz's successor, Antonio Tajani, who has promised to preside with a gentler hand.
"Welle and Schulz clashed over the internal organization of the Parliament," said Andrew Duff, a former British MEP who has written extensively about the Parliament. "Tajani provides an easier partnership for Welle."
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Welle's first focus will be institutional efficiency, stepping up plans to impose "performance indicators" on policymaking and streamline the internal organization. Colleagues said he had been deeply frustrated by Schulz's lack of interest and support.
There is concern in the corridors of the Parliament that Welle, as an avowed federalist, is out of touch with the anti-establishment, populist sentiment sweeping across the Continent.
Some far more visible projects may also be on the agenda, including a major renovation and costly upgrade of the Paul-Henri Spaak building, the oldest wing of the Parliament's complex in Brussels.
Veteran officials in Parliament said Welle has wasted no time since Schulz's departure and has proposed several new hires for the cabinet of his friend and ally Tajani. "He is taking advantage now of the lack of coherence on where the House is going," said one long-standing Parliament official. "Welle is doing whatever he wants. He is clearly conditioning everything that is happening."
Welle has made no secret of his glee over Schulz's departure. One Parliament official familiar with Welle's thinking said the secretary-general viewed the election of Tajani as a triumph of the institution over its personalities. In Welle's view, a victory for Tajani's main opponent, Gianni Pittella of the S&D, would have yielded a similarly beneficial result.
"It means the presidency of Martin Schulz was the exception to the rule and not a new stage in development," said the official, describing Schulz's charismatic leadership of the Parliament as a "phase" that is now over.
Philippe Lamberts, the Belgian MEP who leads the Greens group, said Schulz "wanted to pretend that the role of a European parliament president was highly political, but what determines the political dimension of the Parliament are the plenaries, not the president."
By turning the European Parliament presidency election into a contest between Tajani and Pittella, MEPs effectively sent a message that they wanted to restore rights to rank-and-file MEPs — who are elected by EU voters — and "return to the old normal."
However, not everyone in the Parliament agrees with Welle's focus on shoring up the civil service, building up its institutional expertise — for example, he has created a parliamentary research service modelled after the Congressional Research Service in Washington — and switching the focus to individual MEPs, potentially at the cost of transnational party groups.
"If you push the Parliament into a more Washingtonian model, you create more instability and you weaken the political groups," said one senior Parliament official. "The more you destabilize the political groups, the more you push MEPs toward individualization, toward national interest."
Antonio Tajani is expected to support Welle's administrative agenda "without interference" | Frederick Florin/AFP via Getty Images
Some officials say there is concern in the corridors of the Parliament that Welle, as an avowed federalist, is out of touch with the anti-establishment, populist sentiment sweeping across the Continent. In that context, they say, his campaign to build up the institutions, launch expensive renovation projects and allow MEPs to hire additional staff risk being "food for the populists."
"Who was stopping all his crazy projects regarding the reorganization of this house?" asked one official. "It was Martin Schulz. [Welle] has apparently taken them out of the closet now that Schulz is gone, these kind of Pharaonic projects."
Despite his focus on the Parliament as an institution, Welle — whose contract as secretary-general runs until 2019 — is not a career civil servant. He made his name as secretary-general of the EPP, now the largest political group in the Parliament, and is credited with aggressively expanding the group to include parties such as Silvio Berlusconi's Forza Italia — which Tajani helped to found — as well as conservative parties from Sweden, Finland and Austria.
Klaus Welle has made no secret of his glee over Schulz's departure | European Parliament
The expansion led the EPP beyond its traditional Christian Democrat base to create what is currently the most powerful political movement in Europe, which counts Juncker, European Council President Donald Tusk and Germany's Angela Merkel as family members.
Schulz was catapulted to the Parliament presidency as part of a power-sharing deal between his Socialists and the EPP, though in his first term he treated the post as a consolation prize for coming second in the election for Commission president in 2014. When Schulz did turn his attention to running the Parliament, he treated it essentially as an arm of his "grand coalition" with Juncker, rubber stamping pre-agreed EU legislation.
Tajani, in contrast, is expected to support Welle's administrative agenda "without interference," according to one long-standing Parliament official.
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More on Cleopatra's Needle in Central Park
Cleopatra's Needle in Central Park
Abbie Swanson of WNYC has a good update on the merits of the criticism leveled by Zahi Hawass of the treatment of 'Cleopatra's Needle' in Central Park. I have a short appearance in the story, but the real interesting reporting comes from her interview of Will Raynolds, who wrote his Masters Thesis on the monument:
Raynolds said that in its first four years in New York, large sheaths of granite came loose from the surface of Cleopatra's Needle. An additional 780 pounds of stone were lost when a waterproofing company tried to stop the decay with a creosote and paraffin treatment in 1884. But the last major study of the monument, conducted by the Metropolitan Museum in 1983, found that the rate of decay had stabilized. The Parks Department says now there is no significant ongoing erosion on the obelisk.
"And yet, you know there are still signs that there's some gradual erosion occurring on the surface," Raynolds said, adding that you can see patches of decay where the obelisk's native pink color appears on the surface of the stone.
So the monument is eroding, but the very eroded sections were done initially when the monument was first in New York. Mark Durney did some searching of the New York Times archives and found something similar:
[I]in May 1914, the Central Park commissioner with the help of Columbia University's James Kemp and the Metropolitan Museum of Art's William Kuckro began extensive restorative work on the obelisk during which they removed a paraffin layer, which was added soon after the obelisk's erection, and they added a new waterproof coating. At this time the obelisk's condition was described as "scaling on all sides," and, "in some sections the shaft was blank for several feet." The NYTimes' description from 1914 appears to appropriately describe the damage, or deterioration, similar to that which is depicted in photographs on Hawass's blog.
So it certainly would not hurt to continue to study the conditions in New York, and the steps which can be taken to minimize damage, but my initial guess was correct. Zahi Hawass was making unfounded allegations to continue to press for the repatriation of objects. He may have a good claim for a number of objects, but that argument loses its steam when you make the same urgent calls for every object which originated in Egypt, irrespective of the circumstances surrounding its removal. Many of these individual objects carry unique circumstances, and all sides in these contentious arguments would be well-served to avoid premature or overly critical concerns.
WNYC Audio:
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The stomach moves to a rhythm of gentle contractions. Any change can be an early signal of gastric disease
Posted by	 December 16, 2021 Leave a comment on The stomach moves to a rhythm of gentle contractions. Any change can be an early signal of gastric disease
Shutterstock/Andrey_Popov
Our stomach is a wonderful organ that turns what we eat into the nutrients and energy we need to maintain our health. At first glance, it might appear as a simple extendable muscular bag, but it has many sophisticated divisions of labour and functions that continue to puzzle researchers.
The stomach is lined with three layers of muscles.
Shutterstock/Nerthuz
When food enters the stomach, a series of biological processes kick in to extract nutrients while continuously moving the content down the gut. The movement comes through gentle, rhythmic contractions, which is not surprising given there are three layers of muscle in the human stomach.
But how these muscles are coordinated and what happens when the controlling mechanisms break down are key questions researchers are seeking to address.
We know the movement is regulated by bioelectrical activity — much weaker but similar to the process that regulates our heart beat. By measuring the bioelectrical activity in the stomach, we can detect whether something is amiss with certain aspects of our gut health.
When food enters the stomach, it goes through a regulated sphincter valve called the gastro-oesophageal junction. The top-most portion of the stomach, called the fundus, can then expand to accommodate the increase in volume of the stomach.
The bottom portion, the antrum, works hard to break down food and mix it with gastric acid and other secretions into a pulpy fluid called chyme, ready for further processing in the gut.
The chyme is emptied at a controlled rate through another sphincter valve, called the pylorus, into the intestines. There, absorption of nutrients takes place. Interestingly, certain substances, such as alcohol, can partly bypass this process and get absorbed through the stomach wall directly.
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Our increasingly sedentary modern lifestyle has brought a rise in both the prevalence and severity of digestive disorders in developed economies.
For example, 34.2% of a community in Wellington reported dyspepsia, or indigestion. Some of the more serious diseases, such as gastroparesis and cyclic vomiting syndrome, have a significant impact on the quality of life for sufferers.
Different diseases of the stomach present themselves with largely overlapping symptoms. If the symptoms don't go away after repeated visits to a doctor, an endoscopic examination (inserting a camera into the stomach) is usually performed. But about half the time it will show no obvious issues, which is frustrating for both the patient and clinicians.
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More expensive medical imaging tests are available, including scintigraphy, which requires eating a low-dose radioactive meal, or MRI. Both scanning methods offer relatively short-term snapshots of what the stomach is doing.
Is there a better way of pinpointing what is wrong with the stomach? One potential answer lies in the bioelectrical source that powers the contractions of the stomach.
The pacemaker of the gut's rhythm
There is an intricate grid of pacemaker cells (called the interstitial cells of Cajal) within the muscles of the stomach. They generate a rhythmic bioelectrical wave that regulates when and how the muscles contract.
Additional inputs come from nerves in the brain to kickstart contractions for digestion. We know the pacemaker cells and nerves can be damaged by disease, which results in abnormal rhythms of bioelectrical activation that make the stomach work less efficiently (or not at all).
Therefore, reliable detection of an abnormal bioelectrical rhythm offers a potential early indicator of problems associated with the stomach. Detecting this signal is tricky, as it is ten times weaker than the signal generated by the heart.
The brown patch is an electrode used to monitor the bioelectrical rhythm of the stomach.
Author provided, CC BY-ND
To make this happen, we are developing transparent and soft conductive polymer sensors to record the bioelectrical activity directly from the stomach during surgery. The data recorded generates further "signatures" that we can match to non-invasive recordings from the abdomen of patients in a conscious state.
This transparent conductive polymer electrode is the latest development.
The progressive translation of research to clinical application has now achieved the first portable high-resolution recording system of the stomach.
While detection of stomach diseases offers some reassurance, effective treatment is the ultimate goal. We have shown that actively manipulating the gastric bioelectrical rhythm is possible through neuro-modulation. This controls how the stomach functions by delivering a minor electric charge to alter the signal from the brain to the pacemaker cells and muscles in the stomach.
We are now bringing together what we have learned from recording the stomach with a non-invasive stimulator to develop a strategy for actively maintaining the normal functions of the stomach. We hope these new findings and techniques reduce the number of doctor visits and improve the quality of life for sufferers of gastric diseases.
Peng Du is a co-founder and has shares in Alimetry Ltd. He receives funding from Royal Society Te Apārangi and the US National Institute of Health.
peikai.zhang@auckland.ac.nz is affiliated with The University of Auckland and The MacDiarmid Institute for Advanced Materials and Nanotechnology.
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Capitol Police Suspect Something Amiss With Swastika-Covered Nightmare Truck, Find Driver With Machete
By Ben Mathis-Lilley
Not the most normal truck. U.S. Capitol Police/Twitter
Seems like the U.S. Capitol Police probably got this one right:
USCP Officers Arrest California Man with Bayonet & Machete: https://t.co/0mhsoOC8vX pic.twitter.com/9SR1NXsJV6
— U.S. Capitol Police (@CapitolPolice) September 13, 2021
The department's statement is also good for an extremely grim laugh (DNC = Democratic National Committee):
"This is good police work plain and simple," said Chief Tom Manger. "We applaud the officers' keen observation and the teamwork that resulted in this arrest."
Around midnight, a Special Operation Division Officer was on patrol when he noticed a Dodge Dakota pickup truck, with a swastika and other white supremacist symbols painted on it, outside of the DNC headquarters. The truck did not have a license plate. Instead, a picture of an American flag was placed where the license plate should have been. The Capitol Police officer pulled over the truck along the 500 block of South Capitol Street, SW.
The officers noticed a bayonet and machete, which are illegal in Washington, D.C., inside the truck.
Keen indeed! It does seem like the kind of truck one would want to keep an eye on, law enforcement–wise.
The statement says the suspect began speaking about "white supremacist ideology" when confronted, but that it's not yet known whether he was "planning to attend any upcoming demonstrations or if he has ties to any previous cases in the area." This is an allusion to the right-wing rally called "Justice for J6" planned for this Saturday in the District of Columbia; its purpose is to support the individuals who were arrested and charged for crimes related to the last major right-wing D.C. rally, on Jan. 6 of this year, which culminated with a violent attack on the Capitol building.
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Speaking of Jan. 6, on Monday, Politico published a teaser from an upcoming book by former White House press secretary and Melania Trump chief of staff Stephanie Grisham. It includes this alleged exchange on the day of the Capitol riot:
"Do you want to tweet that peaceful protests are the right of every American, but there is no place for lawlessness and violence?" Grisham asked the first lady.
A minute later, Melania replied with a one-word answer: "No." At that moment, she was at the White House preparing for a photo shoot of a rug she had selected
Despite their rather different personal aesthetics, the former first lady and the white supremacist antler-truck nightmare man are political allies. Her family's work—enriching itself and punishing perceived enemies—benefits from the collective voting power and physical threat of conspiracy-fueled nationalist rage. At the same time, violent nationalists benefit not just from policies that perpetuate conservative white dominance but (except in extreme cases like this one) the protection afforded by their importance to a major party. It's at this point the mainstream Republican position, for example, that social media companies shouldn't try to limit hate speech on their platforms and that states and localities shouldn't have the right to prevent heavily armed gangs and "militias" from making shows of force in public spaces. That's coalition politics, baby!
White Supremacy District of Columbia Capitol Riot


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Now, live traffic updates on Facebook, Twitter and Whatsapp by UP traffic police
This story is from June 23, 2015
Saloni Tandon / TNN / Updated: Jun 23, 2015, 16:16 IST
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Come July and a live commentary of the traffic situation in all districts of the state will be available on Facebook and Twitter. As part of the Integrated Traffic Management System, the traffic directorate of UP Police is planning on effectively utilising social media to monitor and improve the traffic situation in all 75 districts of the state. A two-day workshop was also held at the Radio Headquarters in Mahanagar on June 15-16 to train the officers on various aspects of social media.
Says ADG Anil Agarwal, Director, Traffic, UP Police, "The idea is to create a meaningful engagement with the community. We want to disseminate and gather information pertaining to the traffic and work in synergy with the public. Through this workshop, we plan to build an institutional capacity within the existing system and make optimum use of platforms like Facebook, Twitter and Whatsapp to improve the traffic situation in the state."
Delhi-based cyber expert Rakshit Tandon was called in to train the traffic police personnel on various social media concepts. "I've trained the officers on various aspects of social media and cyber security. Some concepts which were emphasised upon included the use of hashtags and other Search Engine Optimization techniques to increase the reach of their posts. Use of profanity filters to monitor the incoming content, as well as linking different social media platforms, were also explained," says Rakshit. Agarwal adds, "We had SPs, COs, Inspectors and other ranked officers from all 75 districts of UP attending the workshop. It was one of the biggest traffic management workshops in the state." AK Jain, DGP, UP Police, was also present at the workshop.
Traffic updates go live
End of June, the Traffic Police social media pages in different districts of the state, are expected to go live. Whatsapp numbers are already active in 16 districts of the state including Lucknow, Noida and Ghaziabad, and the remaining ones are set to follow suit.
The outgoing information from the police would comprise regular updates on traffic regulations, traffic advisories (relating to short-term arrangements like closure of traffic due to a bandh, etc) and real-time traffic alerts (based on feedback from officers in the field and citizens). The incoming information on Facebook, Twitter and Whatsapp from the citizens would be classified into three categories: traffic issues (signals not working, jams, etc), suggestions (measures suggested by the general public to improve the traffic) and complaints (lackadaisical attitude of traffic police officers, corruption, etc).
The second phase of this project involves the development of a traffic management app and a dedicated website.
Responsible citizen and responsible school initiatives
As an extension of the ongoing project, the Traffic Police aims to launch two initiatives to proactively involve the general public in improving the traffic situation in the state. Through the Responsible Citizen Initiative, the police looks to engage conscious citizens in spreading the message of following road safety and traffic rules. The citizens will be required to sign up for the initiative through the social media platforms and spread the message among their peers, and also actively participate in various programs of the Traffic Police.
The Responsible School Initiative would involve the Traffic Police working in coordination with the schools in the city to develop a mechanism to reduce jams caused during school hours. A system would be set in place in consultation with schools which would see the creation of different entry and exit points and parking spots, to streamline the traffic and reduce congestion when school gives over. Children would also be educated about the same, with the new rules being printed in school diaries, so that the message can reach parents as well.
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Home MoviesInterviews Interview: The Cuban's Ana Golja
Interview: The Cuban's Ana Golja
by Charles Trapunski July 20, 2020
written by Charles Trapunski July 20, 2020
It's fitting that we would chat with Ana Golja about her experience producing and starring in the film The Cuban (which recently opened the Canadian Film Festival on Super Channel and is now set to open the Lavazza Drive-In Film Festival). We had been tracking the film and her journey for a long time, and in addition, the night before she was set to speak to us, we found out about her 2011 series Clue for the first time. Golja has always been a favourite performer of ours and it was a wonderful experience to finally be able to sit down with her and talk about The Cuban, which is a delightful and heartfelt film.
The following is a condensed and edited version of our candid phone interview with multi-hyphenate Ana Golja of The Cuban.
*This interview originally ran on May 20, 2020*
Brief Take: Hi Ana! How is this producing experience crucial to your development as an artist?
Ana Golja: I was between seasons on Degrassi, we had gone from doing 40-44 episode seasons down to 10 on Netflix. I went from having about 3-4 months of off-time to 6 months of off-time and through that I got really antsy. I wanted to do something else, something creative and expand my horizons within the industry. I thought that I would create an opportunity for myself. I got together with my producing partner, Taras (Koltun), and we came up with this idea. We were both going through turbulent moments within our personal lives with our families. We wanted to do something that would make a positive impact upon people and would share a beautiful message. That was the initial kind of start. Once I had a taste for the producing, I wanted more [chuckles] and I want more of it, still. I get to satisfy the business side of my brain, which obviously, as an actor, is not something that I typically have to use. Producing presented a lot of challenges, but definitely created an environment for me to thrive at.
BT: Had you ever produced on this level prior to this project?
AG: No. Never. Never! This was the first time trying to sit down and even create an idea. Koltun and I truly were there from day one and then I had to think of, I don't know, how to go about getting anything made, at this point. We need to bring on some great partners who have fantastic reputations, were hard workers, and created good content. Naturally, I went to Sergio [Navaretta] and then later to Alessandra [Piccione] and we really fleshed it out as a group. But yes, that was my first time creating anything and I don't think I'd want to be part of something in which I am not part of that process.
BT: What is most important to you about developing a film that is female-driven?
AG: It was incredibly important because as a female in this industry, it's very important for me to continue to support and lift females in my industry. That was something that we actively thought about. I know Sergio grew up surrounded by women [laughs], and he also really values the female perspective. His partner Alessandra wrote the script and is also a producer on the project. All of us really actively thought about engaging as many female artists on this project as possible.
BT: Did you in fact stagedoor Louis Gossett Jr. at King of the Dancehall at #TIFF16 to get him to do this film with you?
AG: That's really a thread of what happened, truly. We did anything and everything to get Lou on board. The part of Luis Garcia was really written with him in mind, he was the be all and end all. We went to his business manager, his lawyer, his friends, I went through Monique [Moss, her personal publicist], [laughs], and then finally, the last kind of thing that we would thought would tip it over the edge was…meeting him in person, creating a circumstance for us to actually meet him. Once we got word that King of the Dancehall was going to be here and he was going to be here in person, we thought, "we can't waste this opportunity". [laughs] We couldn't get an actual meeting through the regular channels, so we bought tickets to the film, waited behind the stage door, and then shoved our script and our pitch package into his hand. At that point he was like: "Yes. I know about your project, I know", with a smile on his face and that kind of gave us the reassurance. From there it was smooth sailing.
BT: Tell me about your character development within the film.
AG: Well, obviously, I had the advantage of helping to develop the project. [laughs] I really got to live with the character and develop her in a sense. Sergio (Navaretta) and I had a lot of discussions, especially about her journey and her arc and her finding her passion for life, finding her voice, and Sergio is such a phenomenal artist and storyteller. For him, something as simple as colour – we see even with Mina's wardrobe, with her make-up, you see that evolution from really drab and muted. By the end, she has on red nail polish and a red bandana. We really see that growth with the character.
BT: What did you like best about shooting with Jonathan Keltz and Giacomo Gianniotti?
AG: Both of them are consummate professionals, they were so much fun and always really prepared and really focused on the work. You don't get a lot of actors, especially on a lower-budget Canadian film, who truly care about the story that they're telling and the characters that they're playing. And they were very opinionated. They had constant conversations with Sergio in terms of how to approach certain scenes and their characters as a whole. They were absolutely wonderful to work with.
BT: What did you enjoy most about working with Shohreh Aghdashloo?
AG: She is truly a whirlwind. She's a force, she's a force to be reckoned with. [laughs] She has so much energy and so much love for her craft and for people, and she was honestly probably one of my favourite people to ever work with, ever. She's incredibly talented.
BT: Who else would you put in the 'favourites' category?
AG: Oh my goodness! Lou, of course. [laughs] Lou, certainly, I worked with John Travolta recently and he was also an absolute delight to work alongside, along with Fred Durst, who directed that film, called The Fanatic, such an artist. Yeah, it's a pretty long list. I've been very fortunate with wonderful people and I know a lot of people say that and they don't always mean it, [laughs] but I really have been lucky.
BT: What was the experience like of working on that film?
AG: It was a dream come true. When you tell a musical lover like myself that you're going to be working alongside John Travolta? I mean, ah! Can't get any better than that. Yeah, the experience overall was fantastic. Fred kept the morale on set just light and fun and especially since it's a thriller, [chuckles] it's not exactly your fuzzy, uplifting film, but the environment on set allowed everyone to completely relax and have fun making this film. That was probably the best part of it, but yeah, definitely an entertaining film, not something that you would see typically.
BT: Why is working with ME to WE and being charitable important to you?
AG: Ah! For me, as an artist period, I want to make a positive impact on people's lives. Whether that is through the visual medium or through my music or through volunteering, I find any way that I can to share beautiful stories and to give back to communities. That is I think our purpose as storytellers in general. Every decision that I make, every song that I write, I try to have that in mind and I feel a bit of a social responsibility to give back as well.
BT: What role does writing and performing music as Muazana have in shaping you as an artist and what is your inspiration for your next album?
AG: Well, this new kind of direction in which I am going is definitely a departure from Epilogue, (her previous LP), sonically. Very, very different. I am trying to use the fact that I am a performer and performing is my favourite thing to do. I grew up dancing, competitively, I wanted to do something that's going to make people want to move and dance, especially through this COVID-19 situation, I want something that is fun and uplifting. People are sitting at home and feeling really down and depressed, that's a big element of the new direction in which I am moving, musically.
BT: You were a 19-year-old producer, female producer at that, when you started this project. How many times did people stand in your way or try to underestimate you in this journey?
AG: I've lost count and it's still happening constantly. I'm still dealing with it, even at 24 now. It really was a whirlwind, especially being on Degrassi at this time, being on a teen soap opera and being a quote unquote producer with nothing to show for it…Yeah, being taken seriously was very difficult, but unfortunately, and now I'm getting better, but I almost found that I had to be somebody that I wasn't. I had to put on my big boy pants and be a little bit more aggressive and be a little bit more proactive, which is not a bad thing, but… I found myself constantly having to try harder and having to address people in a certain way to not give them another impression. Many different little things that when you add them up, it can really change you as a person, especially when for as long as we did, we're developing a project. It took roughly four years from inception to finished product.
Now, now that I actually have The Cuban under my belt, I feel like it's gotten easier to have conversations about being a producer and being able to develop a slate of projects, now that I have something to show for it, but initially, it was a bit of a chihuahua syndrome. You know what this is? A little dog that has to bark to prove its ferocity. But yes, we're getting better and I think that with every day that passes, the industry is shifting.
BT: After this film, now it says in your bio (however, removed since our call!), Ana Golja – Producer.
AG: Yeah. I use that word loosely still. [laughs] I don't know if I deserve that title yet, but we're working on it.
BT: Between stagedooring and doing much more than this has more than earned you the title of producer.
AG: [laughs] Thank you. I appreciate it. [laughs]
Canadian Film FestLayla AlizadaJustin RebeloGiacomo GianniottiMUAZANAAlessandra PiccioneJohn TravoltaThe FanaticFull OutSergio NavarettaFred DurstDegrassi TVShiva NegarDrama DramaConvictionJonathan KeltzSuper ChannelA71Canadian Film Fest Presented by Super ChannelWhistler Film FestivalClueAna GoljaEmily PiggfordShohreh AghdashlooThe CubanPatrick DoyleLauren HollyLouis Gossett Jr.Taras Koltun
Charles Trapunski
Charles is a writer, a tutor and a believer in the phrase that Content is King (or Queen). He's a facilitator in the art of language and a fan of both playwright Samuel Beckett and TV scientist Dr. Samuel Beckett.
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The Fabelmans Review


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text:
Muaskar (arabiska: ولاية معسكر) är en provins (wilaya) i nordvästra Algeriet. Provinsen har 780 959 invånare (2008). Muaskar är huvudort.

Administrativ indelning
Provinsen är indelad i 16 distrikt (daïras) och 47 kommuner (baladiyahs).

Algeriets provinser