text:
Conflict as fodder for comedy: Filmmaker Sameh Zoabi on TEL AVIV ON FIRE
Posted by cinepam in Interviews, Uncategorized
Israel, Kais Nashif, Palestine, Sameh Zoabi, soap opera, Tel Aviv on Fire, Yaniv Biton
Tel Aviv on Fire is the name of a film. It is also the name of a soap opera within the film that has become appointment TV in Israel, Gaza, and the West Bank, set in 1967 in the months before the Six Day War and revolving around the affair between an Israeli officer and the gorgeous Palestinian spy sent to seduce him. Salam (Kais Nashif), a Palestinian who is the show's Hebrew translator, gets bumped up to writer, a position he advances with covert help from Assi (Yaniv Biton), an Israeli border guard and superfan of the show.
Director/co-writer Sameh Zoabi's third narrative feature is the rare film to come at the situation between Israel and Palestine as a comedy. Zoabi himself was born in Iksal, Israel, a Palestinian village near Nazareth. Tel Aviv on Fire is a Palestinian film that is a co-production of France, Luxembourg, Belgium—and Israel. It has been nominated for four Ophirs—the Israeli equivalent of the Oscar—including Best Screenplay and Best Film. It is a film arising out of the perspective of a filmmaker who is simultaneously an insider and an outsider.
Zoabi screened Tel Aviv on Fire at the recent San Francisco Jewish Film Festival. The following day he sat down with a cinezinekane to talk about the film, using soap opera to comment on Israeli and Palestinian societies, and his unique place within those societies.
Q: Where did this story come from of this odd partnership between a Palestinian writer and an Israeli soldier?
Sameh Zoabi: The whole idea came to me, because of that personal dilemma that I lived as a Palestinian growing up inside Israel, making movies about Palestinians, and taking Israeli money to do it. So, you're always in that dilemma with the Israelis, 'OK, wait a second, is he a good Arab? Is he turning too Palestinian on us with his films?' And the Arabs are like, 'He's taking Israeli money? Is he selling his soul to make his movies?' Europeans always like, you know, they always want to be balanced, because they don't want to offend anyone. But it feels like every film you make, you go through the same thing over and over. Nobody's made a movie about this, about the politics and the people's agenda or even if they don't have any agenda, people's perception of what should be and should not and what it means.
Q: From the outside, people think of Palestinians as living in Gaza or the West Bank. They don't think about the sheer number of people that actually live and were born and have grown up within the state of Israel.
Sameh Zoabi: That was my experience when I came to Columbia University on a Fulbright scholarship. And so, it says, you know, in my files it's always says he's from Israel, because that's what's on my passport… I came to the US in 2000. People would ask, 'Where are you from?' 'I am from Nazareth.' 'Oh, you know, we have a lot of Jewish family in Israel.' 'But I'm not Jewish.' And then then you go through explaining yourself and 1948 and how we were there.
I mean I always have to justify and explain that we exist and we've been there and we didn't come from anywhere else, you know what I mean? And that's why it's very important for me as a filmmaker to separate that. I would say that's an important part of also moving forward is acceptance. Like Israelis, sometimes are not comfortable or, or Jewish Americans are not comfortable with the Palestinian Israeli term. Like you are a Palestinian but you are Israeli at the same time. A lot of people are like, 'You're an Arab Israeli.' Yeah, but I'm Palestinian. You don't have to run away from it by accepting it. Acknowledging the other, you can move forward. But by denying all the time that we existed to start with and even calling us something else is not going to lead us to anything.
I guess my film career has been kind of dedicated to show that side of Palestinians who live in Israel, who speak Hebrew, they can manage their way. They're trying to survive. My first film [Man Without a Cell Phone, 2010] was also about that, about a young guy growing up in an Arab village trying to go university in Tel Aviv, like the lives that we actually live in Israel. A Palestinian who grew up in the West Bank would never be able to write or make this film, because my experience is different. I grew up knowing what Israelis think of us and what I think of them as a Palestinian. And, of course, stereotypes are the best form of comedy. It's about how everyone sees the other.
Q: What was your thinking in setting the soap opera in 1967 before the Six Day War?
Sameh Zoabi: It's about how everyone sees the other. So, in the West Bank they're writing the Israeli general in '67, imagining what the Israelis were thinking at that time. And Assi wants to change the story, because he thinks they should think otherwise. And that, for me it is always fascinating how our Palestinian experience dictates also the variety of filmmaking that we do. And we should not be judging that. In essence, we should be celebrating, you know, the different points of view. We have a narrative now where in the West Bank, Palestinians don't meet Israelis. They only see, soldiers. In Gaza, they don't see Israelis or soldiers. They see bombs or helicopters. For me, as a Palestinian who grew up inside, I have more possibility to interact and that's why I was able to do this. It doesn't mean that it's only a film that depends on a Palestinian perspective, but it's one that plays on this knowledge of both Palestinians and Israelis.
Q: The show isn't just a soap opera. It's a show everyone watches on both sides of the border.
Sameh Zoabi: That is true, by the way. When I was growing up, there were only two channels, Israeli and Jordanian. And on Fridays, every Friday, Israeli TV showed Egyptian films. And Palestinians from all over, from Gaza, the West Bank, from inside, they would all watch Egyptian films on the Israel channel and the Israelis would all watch, as well.
When I wrote the script, many people said, 'Yeah, but that show never existed where Israelis and Palestinians both watched,' but when I showed the film to Israelis, nobody questioned it. Because it's not farfetched. It did happen. We had elements of it.
Q: What is this film to you?
This film captures the essence of what I've always believed in a sense. It's very personal in a sense. It's broad, it's comedy, but it has things that Palestinians love. We just had a screening back home, in my hometown. All the Palestinian activists inside Israel wrote about how Palestinian the film is, how strong of a voice it has, how it makes fun of our reality that becomes so abnormal and tragic that we can accept the idea that someone wants to change a TV show. It's such farfetched idea, but it's so believable there because (of what goes on).
With Israelis, it's the same thing. They can see through humor. I mean for me; I see Israelis and Jewish audiences responding to and following the journey of a Palestinian character and they really want him to succeed. That's the core of it, seeing each other at this humane level. What we need is for the ground to change… We live in a reality of disconnect: Walls, checkpoints, them again us. That's not going lead to peace, of course.
I always get a few questions about what do I think of the government? It's like they are so busy keeping the status quo, they would do anything for people not to meet, because God forbid, if they meet they're going to like each other. –Pam Grady


text:
by Roisin Lanigan
14 February 2018, 1:06pm
you might not know sarah bahbah, but you've probably regrammed her pics already
The artist's luxe, cinematic photography has won her legions of fans across the internet.
You know those oversaturated images you scroll past -- maybe regram, maybe save, but certainly relate to -- of women, the ones that look like they're from a film you can't place or a meme you missed out one? They're actually small pieces of art by Sarah Bahbah.
The Palestinian artist, who was raised in Australia but is currently living in Los Angeles, had first breakthrough with the series Sex and Takeout, back in 2014. She since become a viral sensation, famed for her luxe, cinematic photography that lends itself so well to Insta. "I was essentially creating memes in advertising format", she says. "While my intention wasn't to make art for Instagram, the social media creative director in me subconsciously finds her way in, every time."
The relatable, screenshot-friendly dialogue isn't plucked out of mid-air. Sarah likens the process of creating them to that of a real movie or play. "I'm a writer first, visual artist second", she tells i-D, citing her cinematic influences as No Country for Old Men and The Big Lebowski. "The dialogue is written over a period of months, usually after I have internalised intense conversations I've had with once significant connections, or conversations I never had with them but wish I did. I'll replay those conversations in my mind, and it's the finding of unspoken dialogue in those actual conversations that becomes part of my art."
While many artists are wary of the way Instagram and social media is changing the art world, Sarah positions herself slap bang in the middle of it. Even when it works against her. "Imagine trying to persuade your typical art dealer, who trades the likes of Basquiat, Hockey, Warhol and Opie, to invest in an artist who conceptualises her work such that it should be accessed and shared by everyone", she says of exclusivity in the art world. "It's doable, but it's like rewiring an entire house to have Alexa instead of power switches."
Modern it may be, but sharing your work primarily on Instagram also comes with disadvantages -- the artist's own bio reads "you've probably seen my art on someone else's account", and plagiarism remains a huge problem for artists on Insta. "It's been exhausting to watch my own works, and the works of fellow artists, go viral without credit, or get used in advertisements for hundreds of brands internationally, for several years now."
Instagram is certainly making steps towards changing the plagiarism culture on the app: it's Terms of Use and Community Guidelines states that users can only post content on Insta if it doesn't violate the intellectual property rights of another party, and that you can only post content someone else owns with permission or other exception to copyright. In other, non legal jargon words, hitting the RG without a tag isn't gonna cut it these days.
If Sarah's art is works perfectly for social media, it represents a world that's like a more polished, more curated, more dramatic version of our own, admittedly mundane feeds. Her series so far, including Sex and Takeout, This Is Not For You and I Love You, Me Neither, are the perfect midpoint between relatability and aspiration, emotional vulnerability and strength (think you with pizza after a break-up, but a silk pyjama wearing, sundrenched, beautifully sad version of yourself).
"My first priority is being true to my emotions", says Sarah. "Because in doing so it empowers others to do the same. My art is my way of expressing the emotions I suppress on a daily basis. When I can express myself, I am healing."
But having your entire body of work available on an easy to scroll through loop comes with its own set of problems as well as advantages. It's impossible to ignore, for instance, while scrolling through Sarah's feed, that the overwhelming majority of her models are less than diverse. She's spoken before of her tendency to choose to shoot with frankly, a sea of white, thin, beautiful women (and the occasional beautiful white man). This is something she links to her own upbringing, growing up in a Middle Eastern family in Australia, but something she wants to change.
"Personally, my art is a reflection of my growth", she explains. "For my entire life I experienced a social resistance to be identified as a brown girl, as a Palestinian, due to a repressed trauma. I subconsciously resisted my true identity as it attached to me pain and suffering. It wasn't until late 2016 that I dedicated my all into uncovering suppressed memories, reliving this trauma before moving through acceptance and healing - healing that I'm still actively undergoing."
Her experiences in trauma and healing, Sarah says, will make up a significant part of her new work. "These stories are yet to come, and when they do, WOC, in particular Middle Eastern women, will represent them."
"I still have stories to tell. And they will come when I'm ready, and I hope that the same empowerment and vulnerability is evoked."
Sarah Bahbah

redpajama_set_name: RedPajamaCommonCrawl


text:
package org.apache.juddi.api.util;

import java.util.ArrayList;
import java.util.Hashtable;
import java.util.List;

/**
 * Enum to represent the queries within the publication API.
 *
 * @author Tom Cunningham
 */
public enum PublicationQuery implements UDDIQuery {
    GET_REGISTEREDINFO("get_registeredInfo"),
    SAVE_BUSINESS("save_business"),
    SAVE_SERVICE("save_service"),
    SAVE_BINDING("save_binding"),
    SAVE_TMODEL("save_tmodel"),
    DELETE_BUSINESS("delete_business"),
    DELETE_SERVICE("delete_service"),
    DELETE_BINDING("delete_binding"),
    DELETE_TMODEL("delete_tmodel"),
    ADD_PUBLISHERASSERTIONS("add_publisherassertions"),
    SET_PUBLISHERASSERTIONS("set_publisherassertions"),
    GET_PUBLISHERASSERTIONS("get_publisherassertions"),
    DELETE_PUBLISHERASSERTIONS("delete_publisherassertions"),
    GET_ASSERTIONSTATUSREPORT("get_assertionstatusreport");

    private String _query;
    private static Hashtable<String, PublicationQuery> _publicationQueries = null;

    PublicationQuery(final String query) {
        _query = query;
    }

    public String getQuery() {
        return _query;
    }

    public synchronized static void initPublicationQueries () {
            if (_publicationQueries == null) {
                _publicationQueries = new Hashtable();

                _publicationQueries.put(PublicationQuery.GET_REGISTEREDINFO.getQuery(), PublicationQuery.GET_REGISTEREDINFO);
                _publicationQueries.put(PublicationQuery.SAVE_BUSINESS.getQuery(), PublicationQuery.SAVE_BUSINESS);
                _publicationQueries.put(PublicationQuery.SAVE_SERVICE.getQuery(), PublicationQuery.SAVE_SERVICE);
                _publicationQueries.put(PublicationQuery.SAVE_BINDING.getQuery(), PublicationQuery.SAVE_BINDING);
                _publicationQueries.put(PublicationQuery.SAVE_TMODEL.getQuery(), PublicationQuery.SAVE_TMODEL);
                _publicationQueries.put(PublicationQuery.DELETE_BUSINESS.getQuery(), PublicationQuery.DELETE_BUSINESS);
                _publicationQueries.put(PublicationQuery.DELETE_SERVICE.getQuery(), PublicationQuery.DELETE_SERVICE);
                _publicationQueries.put(PublicationQuery.DELETE_BINDING.getQuery(), PublicationQuery.DELETE_BINDING);
                _publicationQueries.put(PublicationQuery.DELETE_TMODEL.getQuery(), PublicationQuery.DELETE_TMODEL);
                _publicationQueries.put(PublicationQuery.ADD_PUBLISHERASSERTIONS.getQuery(), PublicationQuery.ADD_PUBLISHERASSERTIONS);
                _publicationQueries.put(PublicationQuery.SET_PUBLISHERASSERTIONS.getQuery(), PublicationQuery.SET_PUBLISHERASSERTIONS);
                _publicationQueries.put(PublicationQuery.GET_PUBLISHERASSERTIONS.getQuery(), PublicationQuery.GET_PUBLISHERASSERTIONS);
                _publicationQueries.put(PublicationQuery.DELETE_PUBLISHERASSERTIONS.getQuery(), PublicationQuery.DELETE_PUBLISHERASSERTIONS);
                _publicationQueries.put(PublicationQuery.GET_ASSERTIONSTATUSREPORT.getQuery(), PublicationQuery.GET_ASSERTIONSTATUSREPORT);
            }
    }

    public static List<String> getQueries() {
        if (_publicationQueries == null) {
            initPublicationQueries();
        }

        List list = new ArrayList<String>(_publicationQueries.keySet());
        return list;
    }

    /**
     * this doesn't appear to be used anywhere and will be removed in a future version
     * @param query
     * @return
     * @deprecated
     */
    public static PublicationQuery fromQuery(final String query) {
        if (_publicationQueries == null) {
            initPublicationQueries();
        }

        if (_publicationQueries.contains(query)) {
            return _publicationQueries.get(query);
        } else {
            throw new IllegalArgumentException("Unrecognized query " + query);
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Mapiko Masquerades of Mozambique > Muidumbe >
Notes on Muidumbe
Source: Paolo Israel. 2005.'Mapiko Masquerades of the Makonde: Performance and Historicity' in East African Contours. Reviewing Creativity and Visual Culture. H. Arero, Z. Kingdon (eds). Horniman Museum, Critical Museology and Material Culture series, London
The plateau of Mueda was the last zone in Mozambique to be effectively occupied by the Portuguese (ca. 1917), and the first to consistently rebel against colonial rule (1960). After independence (1975) the FRELIMO government inherited the colonial administrative divisions. The huge 'Circunscrição dos Macondes' extended over 22.200 km2. Its name was changed in Distrito de Mueda, but it was left unchanged until 1986, when the government proceeded to a reorganisation of the administrative divisions. Two new small districts were carved out the enormous Mueda district: Nangade and Muidumbe (The easternmost part of the district was carved out of the district of Mocimboa da Praia).
Muidumbe was created the 25th of July of 1986. The communal village of Mwambula was chosen as the administrative seat of the district, which extends over 1.987 km2 and is inhabited by almost 70.000 people.
The district is characterized by a sharp separation between its plateau area and the lowlands around the Messalo river. The plateau is approximately 650 m above the sea level, and is dry and clay-like. For this reason it is fertile only during the rainy season. Women walk long distances to the slopes of the plateau to fetch water. The lowland area, on the contrary, is humid and fertile. During the dry season it provides the plateau with vegetables and fruit. In the lowland areas people produce sugar cane which is used mainly to distil alcohol. Two lakes around the Messalo river are rich in catfish, which is dried and sold to plateau residents. Lowland areas abound with less pleasant animal species: malaria-carrying mosquitoes and tsetse flies on the small side, and wild game on the larger side. These zones are also especially prone to cholera, because the sandy soils do not allow for the construction of proper latrines.
The partition between lowlands and plateau is heightened by the lack of communication. The National road n. 1, which goes from Maputo to the Tanzanian border, passes through the Muidumbe lowlands around the Messalo River. The only road connecting the lowlands with the plateau is in dire condition. While small vehicles can pass there during the dry season, in the rainy season no one dares to face the muddy, slippery climb that leads to the plateau. This means that the only way to get from the plateau to the lowlands (and vice versa) during the rainy season with a vehicle is by taking a detour of about 160km through Awassi and Mueda. This implies also that most of the agricultural production of Muidumbe lowlands is sold on the national road, for the benefit of residents of nearby districts (Macomia, Mueda, Mocimboa) and as far away as the city of Pemba. Local people are accustomed to move between the plateau and the lowlands by foot, a tiring 30-km walk.
Muidumbeans have stayed true to the project of socialist modernization through communal villages. Today, 22 communal villages exist on the district, 14 on the plateau and 8 in the lowlands. Communal villages had to be built along roads, in order to facilitate communication and transport. Actually, only 3 villages in Muidumbe are completely off the road. All the inhabitants of the district are supposed to have a house in one of the communal villages. However, as the plateau land is most suited for staple crops (maize, manioc and millet), most people plant income-generating crops (rice, fruits and vegetables, sugar cane) in the lowlands. In order to stay close to the field during the crucial period of production, people build huts near to their fields that they might inhabit for several days or weeks before coming back to their own houses. These huts are built without the requirements that apply to construction in communal villages: they are not organized in rows and are dispersed on the land. In other cases, people colonise new zones in the lowlands and live there permanently. These settlements are generally not recognized as villages by the government, unless they comply with the norms that regulate communal villages.
All villages have a political representation of the government and the party, namely a president and a person who represents each area of governance (agriculture, education, culture, etc.). The administrator is the foremost authority in the district, together with his district cabinet. All village authorities are elected democratically. Kin-based authorities have no formal power, although they are often very influential in settling disputes between clan members and in counselling the activities of the official government. More and more villages have young leaders, who mediate and ally with kin-based leaders.
Administrative partitions often foster identities. In the nation building process, the Mozambican government enforced administrative policies with the objective of strengthening the sense of belonging to the nation, the province and lastly, the district. This strategy was meant to substitute ethnic loyalties with identities based on the actual structure of the Nation-State. Moreover, the FRELIMO government promoted the identification of the people with their leaders, both on a national and local level. The plateau area of Muidumbe encompasses historically symbolic sites: Nangololo, the first mission in the plateau, Nang'unde, the central military base of FRELIMO, Matambalale, where Shibiliti and Vanomba started their march on Mueda that led to the infamous massacre, and Nshongwe, a village where three hundred guerrilla fighters were caught in a landslide that caused their death. For these and other reasons, Muidumbeans consider their district as the heartland of Makonde people (ntima wavamakonde).


text:
/**
 *   build for bae config, mongodb issue and git empty dir issue.
 */

(function (){
    var path = require('path');
    var fs = require('fs');
    var exec = require('child_process').exec;

    var baseDir = path.join(__dirname, '../../../');
    var baeConfDir = __dirname;
    var baeDir = path.join(baseDir,'__bae__');
    var mongodbDir = path.join(baseDir,'node_modules/mongodb');
    var nodeModulesDir = path.join(baseDir,'node_modules');

    var baeServerConfigPath = path.join(baseDir,'app/server_config/bae.js');
    var args = process.argv.slice(2);

    var isUseGit = function() {
        if('git' == args[0]) {
            return true;
        }

        gitPath = path.join(baseDir,'../.git');
        return fs.existsSync(gitPath);
    }

    var isUseSvn = function() {
        if('svn' == args[0]) {
            return true;
        }

        gitPath = path.join(baseDir,'../.svn');
        return fs.existsSync(gitPath);
    }

    /**
     * 测试 git/svn 是否可用
     */
    var testEnv = function() {
        var shellTest = "";
        if(isUseGit()) {
            shellTest = 'git help';
        } else if(isUseSvn()) {
            shellTest = 'svn help';
        } else {
            console.log("error: Please input git or svn as the first argument of this script");
            process.exit();
        }

        var isError = false;
        testShellHandler = exec(shellTest);
        testShellHandler.stderr.on('data', function (data) {
            isError = true;
            console.log(data);
        });

        testShellHandler.on('close', function (code) {
            if(!isError) {
                startBuild();
            }
        });
    }

    /**
     * 替换bae config 中的dbname 和 site_url
     */
    var dealDbnameAndSiteUrl = function() {
        if(!args[1]) {
            console.log("error: Please input db name as the second argument of this script");
            process.exit();
        }
        if(!args[2]) {
            console.log("error: Please input site url name as the third argument of this script\nFor example:\n    Your app site url is: http://test.duapp.com/\n    you need to input: test\n");
            process.exit();
        }
        var dbname = args[1];
        var site_url_templ = "http://{site_url_prefix}.duapp.com/";
        var site_url = site_url_templ.replace(/{site_url_prefix}/,args[2]);

        var baeConfigTemplatePath  = path.join(baeConfDir,'/bae.js.template');
        var content = fs.readFileSync(baeConfigTemplatePath,'utf-8');
        //delete note
        content = content.replace(/\/\*\$[\w\W]*\$\*\//,"");
        //replace dbname
        content = content.replace(/dbname\s*:\s*'.*'/g, 'dbname : "' + dbname + '"' );
        //replace site_url
        content = content.replace(/site_url\s*:\s*'.*'/g, 'site_url : "' + site_url + '"');
        fs.writeFileSync(baeServerConfigPath, content);
    }

    /**
     * 将mongodb从版本库移除,并加入忽略列表
     */
    var dealMongodb = function() {

        var dealGitMogodb = function() {
            var mongodbIgnoreFilePath = path.join(nodeModulesDir,'.gitignore');
            shellRm = "git rm -r --cached " + mongodbDir;
            console.log(shellRm);
            exec(shellRm);

            if(checkAddGitignoreFile()) {
                fs.appendFileSync(mongodbIgnoreFilePath, "\nmongodb");
            }

                //whether add mongodb into .gitignore or not
            function checkAddGitignoreFile() {
                if(!fs.existsSync(mongodbIgnoreFilePath)) {
                    return true;
                }

                var content = fs.readFileSync(mongodbIgnoreFilePath,'utf-8');
                mongondbRegEx = /([\n\r]+|^)+mongodb([\n\r]+|$)/;
                isNotFind = -1 == content.search(mongondbRegEx);

                return isNotFind ;
            }

        };

        var dealSvnMongodb = function() {
            var shellDel = "svn del --keep-local " + mongodbDir;
            console.log(shellDel);
            exec(shellDel).on('close',function(code){
                nodeModulesDir = "node_modules";
                var shellGetIgnore = "svn propget svn:ignore " + nodeModulesDir;
                var shellSetIgnore = "svn propset svn:ignore \"{fileNames}\" " + nodeModulesDir;
                var shellHandler = exec(shellGetIgnore);
                var allData = '';
                shellHandler.stdout.on('data', function (data) {
                    allData += data;
                });
                shellHandler.stderr.on('data', function (data) {
                    console.log("-----",data);
                });
                shellHandler.on('close', function (code) {
                    ignoreFileArrTemp= allData.split("\n");
                    ignoreFileArr = [];
                    for(var i=0;i < ignoreFileArrTemp.length;i++) {
                        if('' == ignoreFileArrTemp[i]) {
                            continue;
                        }
                        ignoreFileArr.push(ignoreFileArrTemp[i]);
                    }
                    if(-1 ==ignoreFileArr.indexOf("mongodb")){
                        ignoreFileArr.push("mongodb");
                    }

                    shellSetIgnore = shellSetIgnore.replace("{fileNames}",ignoreFileArr.join("\n"));
                    console.log(shellSetIgnore);
                    exec(shellSetIgnore).stderr.on('data', function (data) {
                        console.log("error: a svn issue can lead to build failure for bae, please fix it by manual and retry to run this script\n",data);
                        process.exit();
                    });
                });
            });
        }

        if(isUseGit()) {
            dealGitMogodb();
        } else if(isUseSvn()){
            dealSvnMongodb();
        } else {
            console.log("error: Please input git or svn as the first argument of this script");
            process.exit();
        }

    }

    /**
     * 为空目录添加.gitignore 空文件
     */
    var dealGitEmptyDir = function() {
        //similar shell operation (find . -type d -empty -exec touch {}/.gitignore \;)
        var makeUpGitNullDir = function(filePath){
            function walk(filePath){
                var dirList = fs.readdirSync(filePath);
                var isNullDir = false;
                if(0 == dirList.length) {
                    fs.writeFileSync(path.join(filePath,'.gitignore'), '');
                } else {
                    dirList.forEach(function(item){
                        if(fs.statSync(filePath + '/' + item).isDirectory()){
                            walk(filePath + '/' + item);
                        }
                    });
                }
            }

            walk(filePath);
        }

        if(fs.existsSync(baeDir)) {
            makeUpGitNullDir(baeDir);
        } else {
            console.log("There is no " + baeDir);
            process.exit();
        }

    }

    var startBuild = function() {
        dealDbnameAndSiteUrl();
        dealMongodb();
        if(isUseGit()){
           dealGitEmptyDir();
        }
    }

    testEnv();

})();


There are a lot of decorating shows with advice on everything from choosing a paint color to organizing techniques to creating flow. But I'm pretty sure, not one bit of that counts if your home is a place where there is bickering, complaining, criticism and power struggles.
The world is hard. We all need refuge.
A place of peace where we can be just who we are and be safe.
Sometimes the art of creating that is as simple as having it as a goal.
We can in our own small ways bring peace. Refuge is a worthy endeavor.


Chefchaouen, also known as the "Blue City," was a must see for me during our time in Morocco. I had seen pictures of the enigmatic blue alleyways with turquoise doors and teal walls speckled across the internet. It caught my attention and stuck like a thorn in my side as a place I had to see. The city is located in the Rif Mountains of northwest Morocco. The classic blue hues of the city came about in 1492 when an influx of Jews escaping the Spanish inquisition brought along their traditions of painting buildings blue.
Y'all, my little brother is married!


This is the preamplifier between the antenna and the earth station receiver. For maximum effectiveness, it must be located as near the antenna as possible, and is usually attached directly to the antenna receive port. The LNA is especially designed to contribute the least amount of thermal noise to the received signal.


This book introduces new concepts and theories of Fuzzy Logic Control for the application and development of robotics and intelligent machines. The book consists of nineteen chapters categorized into 1) Robotics and Electrical Machines 2) Intelligent Control Systems with various applications, and 3) New Fuzzy Logic Concepts and Theories. The intended readers of this book are engineers, researchers, and graduate students interested in fuzzy logic control systems.


text:
Essentials Spotify
Jane Schultz
How Much Is Spotify Premium 12 Months?
Spotify Premium 12 Months is a monthly subscription service offered by Spotify. It allows users to access the music streaming service without ads and with unlimited skips.
It also offers high-quality audio and offline listening, so you can listen to your favorite songs wherever you are. With its vast library of tracks, podcasts, and videos, it has become one of the most popular streaming services on the market.
The cost of Spotify Premium 12 Months is $119.88 for an entire year of access. This works out to an average cost of about $10 per month which is a great value for those who are looking for an all-in-one music streaming option. The service also comes with discounts for students, family plans, and discounted multi-month subscriptions so you can save even more money over time if you choose to stay with the service for a longer period of time.
Spotify Premium 12 Months comes with some added benefits such as access to exclusive content from artists like Taylor Swift and Drake as well as exclusive playlists that are updated weekly. Additionally, you'll have access to Listen Together which allows up to five people in different locations to listen simultaneously and take turns playing songs they all enjoy – perfect for when friends or family members want to jam out together remotely!
Overall, Spotify Premium 12 Months is a great value if you're looking for an all-in-one music streaming option that provides ad-free streaming with unlimited skips as well as high quality audio and offline listening options. With its vast library of tracks, podcasts, and videos as well as exclusive content from artists like Taylor Swift and Drake it's easy to see why it's one of the most popular services on the market today.
Spotify Premium 12 Months is an excellent choice for those looking for an all-in-one music streaming option that provides ad-free streaming with unlimited skips as well as high quality audio and offline listening options at a reasonable cost of $119.88 per year – approximately $10 per month – plus discounts available on students, family plans and multi-month subscriptions which make it even more affordable over time.
How Much Is a 12 Month Spotify Subscription?
Spotify is one of the most popular music streaming services available today. It has millions of users around the world who are subscribed to its premium service, which gives them access to ad-free music, better sound quality, and other benefits. For those interested in subscribing to Spotify's premium service, one of the most common questions is: How much does a 12 month Spotify subscription cost?
Can You Pay for 12 Months of Spotify Premium?
Spotify Premium is an excellent choice for listening to music on demand. It allows you to stream millions of songs from virtually any genre and artist. It also offers some great features such as ad-free music, unlimited skips, and even offline mode for when you don't have internet access.
How Much Is a 12 Month Spotify Gift Card?
Spotify is one of the most popular streaming services in the world. With millions of songs and podcasts to choose from, it's no wonder so many people are signing up for the service. There are many different ways to pay for Spotify, including a 12 Month Spotify Gift Card.
How Much Is a 12 Month Subscription to Spotify?
Spotify is one of the most popular music streaming services in the world. It provides users with access to millions of songs and albums from around the world. With its wide range of features, it has become one of the go-to streaming services for music lovers.
How Much Is 12 Months Spotify?
Spotify is one of the leading music streaming services in the world. It has millions of users and offers a vast library of songs, albums, and playlists. With its advanced algorithms and personalized recommendations, it ensures that you always have something new to listen to.
How Do I Get Spotify Premium for Free for 12 Months?
In an increasingly competitive streaming music market, Spotify is a clear leader in terms of both quality and affordability. It's no surprise then that many people are asking the question: how do I get Spotify Premium for free for 12 months? The good news is that it is possible to access the full range of features that come with the Premium version of Spotify without paying a penny.
How Much Is Spotify Premium 6 Months?
Spotify Premium 6 Months is a great way to enjoy your favorite music without any interruption. There are so many benefits to subscribing to this service as you can access millions of songs and playlists without any ads. You can also download music for offline listening, access exclusive content, and even share your music with friends.
How Much Is Spotify Premium Family for a Year?
Spotify Premium Family is a subscription service offered by Spotify. It allows up to six family members to share a single subscription and access the full library of music, podcasts, and other audio content. The service also offers additional features such as parental controls, exclusive playlists, and ad-free listening.
How Much Is Spotify Premium a Month With Tax?
Spotify Premium is one of the most popular streaming services available today. It offers a wide variety of music and podcasts, and its library is constantly growing. The service also has some unique features like personalised playlists and artist radio stations.
Is Spotify Premium Better Than Free?
For a long time now, streaming music has been the go-to choice for music lovers around the world. Spotify is a leader in this space with millions of users and an extensive library of music. Users can access Spotify's library for free, but the service also offers a premium subscription that unlocks more features.
Categories Essentials, Spotify
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BlackBerry: Purchased by Fairfax Financial
Technology Articles > Cell Phones > Blackberry > BlackBerry: Purchased by Fairfax Financial
Fairfax Financial Holdings has officially purchased BlackBerry for $4.7 billion dollars - that's around $9 per share. BlackBerry shares were trading at around $8 per share just prior to the acquisition. Fairfax Financial Holdings is a Toronto-based company that mostly deals with financial holdings.
What does this mean for BlackBerry? What does it mean for BlackBerry users? It certainly doesn't look good.
Fairfax's Stake In BlackBerry
Prior to the acquisition, Fairfax already owned a 10% stake in the company. Now, Fairfax will own the entire company, which is what BlackBerry wanted in a sale. Even though various companies were interested in purchasing BlackBerry bit by bit, Fairfax has scooped up the entire thing. But, does it really matter at this point?
When the acquisition has been completed (the deal is in its final stages now), BlackBerry will go private, but this doesn't mean that the company will be revitalized. In fact, it's more likely that Fairfax will rip it apart and sell it off piece by piece. Fairfax has a history of cashing in on purchase of this sort, and tech companies don't usually go through a rejuvenation process.
What About BlackBerry Users?
This is, of course, the question on most BlackBerry user minds. What happens to BlackBerry devices once the company has been officially purchased? More likely than not, Fairfax won't be putting the money that's needed into the BlackBerry brand. That means that the devices currently owned by BlackBerry users will probably not be supported by carriers in the very near future.
What should you do with the BlackBerry device you've just purchased? Hang onto that device for now, and wait to see what Fairfax announces. It's possible that nothing will happen right away, and it's also possible that carriers will be offering some upgrade deals. Fairfax might support the devices for some time after the purchase has been inked, though this is somewhat unlikely.
In other words: you may be stuck with a new BlackBerry device that no longer works. Yeah, that's not good. But, it happens in the tech world, so what are you going to do about it? Hopefully, BlackBerry will offer some kind of deal to current BB users, but we'll have to wait and see if that actually comes to fruition.
No BBM Roll Out
In addition to the news that Fairfax Financial is set to purchase BlackBerry, the company has also announced that the set roll out of BBM to iOS and Android will no longer happen. This doesn't look good at all, but we can keep our fingers crossed for the Canadian company that could.
BlackBerry is something of a sad story, and it's also a story that looks like it's about to end. At least the company purchasing BlackBerry is Canadian, right? For those banking on BlackBerry, I'm going to offer up the suggestion that the time for all things berry has come to an end.
What are your thoughts on this topic? Will BlackBerry be ripped apart by Fairfax Financial?


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Paul T. Broderick Sr., 88, editor at Evening Sun
By Fred Rasmussen
Paul T. Broderick Sr., who spent his entire 50-year newspaper career at The Evening Sun, died Friday of heart failure at Lorien Nursing Home in Columbia. He was 88 and formerly lived in Catonsville.
He held various positions at the paper -- sports reporter, city reporter, photo editor, copy editor, news editor, assistant city editor, city editor -- and was an assistant managing editor when he retired in 1975.
When he joined the newspaper, the background music in the newsroom was provided by the noisy tapping of typewriter keys. When he retired, that sound had been replaced by the quiet hum of computers.
Mr. Broderick didn't like computers, had no intention of learning how to operate them and decided to retire.
Joking colleagues gave him a farewell cake in the shape of a computer.
"The newspaper world he had known was of not-so-good typewriters, hot type, breaking news, selling papers with the latest news, beating The Sun and News American -- and all that Paul left to the computers and the new ideas of another generation," said James Bready, retired Evening Sun editorial writer who writes a book column for The Sun.
Mr. Broderick "was the last Evening Sun city editor whose roots lay in the old-time 'Front Page' newspapering of J. Edwin Murphy (former Evening Sun managing editor) and the newsmen of the rTC Twenties," wrote Evening Sun staffer Carl Schoettler in the paper's final edition last year.
"He valued speed, accuracy and reliability. He liked a turn of a phrase. And he loved bank robberies, murders and the elevation of cardinals," Mr. Schoettler wrote.
"One thing about Paul," recalled Mr. Bready, "he knew Baltimore street by street, firehouse by firehouse, politician by politician and priest by priest.
"And you damn well didn't get the streets wrong. He also knew people the same way. He could visualize Baltimore block by block."
Mr. Broderick was born and raised at Parkins and Hollins streets in Southwest Baltimore and attended Loyola High School and City College, quitting at 17 to join The Evening Sun as a "news gatherer."
A somewhat beefy man with thinning hair combed straight back, he was noted for his Olympian calm when directing coverage of a breaking news story or during a crisis.
He placed a high value on punctuality and demanded it of others. His first piece of advice to a new reporter was, "Be on time, kid."
Mr. Broderick was never seen in the newsroom without a white shirt and necktie, and he expected his reporters to follow his example. Any reporter not wearing a tie was sent home to get one.
Among the rookie reporters he supervised were Louis Rukeyser, host of public television's acclaimed "Wall Street Week"; noted sportscaster Jim McKay; and William Manchester, award-winning historian and author.
Mr. Broderick once described Mr. Manchester as "very good but slow. And he couldn't spell either. He was a lousy speller."
A devout Catholic who had a brother who was a priest, Mr. Broderick said a highlight of his career occurred in 1965 when he was sent to Rome to report on the elevation of Archbishop Lawrence Shehan to the College of Cardinals. For a while after that, his colleagues called him "The Cardinal."
Mr. Broderick married Virginia McFee, a secretary in The Sun's advertising department, in 1936.
A Mass of Christian burial will be offered at 10 a.m. today at St. Mark Roman Catholic Church, 27 Melvin Ave., Catonsville.
In addition to his wife, he is survived by a son, Paul "Tim" Broderick Jr. of Catonsville; a daughter, Virginia "Annie" Meeth of Clarkston, Mich.; four grandchildren; and four great-grandchildren.
Pub Date: 11/05/96


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The next era automobile designers are taught all aspects of the business through corporate sponsored tasks and internships at main producers. They gain hands on practical expertise in sketching, renderings, clay and pc modeling, – of their quest to to infuse ardour into the designs. Pay close consideration at the exhibits, and a number of the genius that inspired Chris Bangle, Jay Could or Henrik Fisker, might spring forth from among the graduates.
Being a nascent trade, the hybrid automobile market has limited presence. Nonetheless, the size of the market has been growing and the manufacturers who are targeting this market are accelerating their growth methods. On international level, the US dominates the hybrid sales adopted by Japan and Europe, whereas Toyota and Honda lead the bandwagon of global carmakers. At present, only few players are dominating the global hybrid industry however a variety of massive players are queuing up to enter the market.


Argh, sorry. Thank you for pointing that out, I will fix that tonight. Too much copy-pasting!
EDIT: Corrections done. If anyone spots any more errors please let me know.
It was a bit of a mess in there! Now fixed. Thank you.


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This eyelet bib is perfect for all newborn girls. It is dressy enough for special occasions and will make a really wonderful keepsake, too. The tiny white carnation completes this traditional look, which works well for Christening, too.
All of a baby's basic needs and more are met in this, made in America, embroidered, cotton eyelet bib. Why is this top quality bib so supper absorbent and soft next to baby's delicate skin? Because there is no polyester in our fabric and it is backed with 100% cotton flannel. It will continue to wear and wash beautifully and coordinate with a multitude of girls clothes. This white carnation bud bib is for a girl and there is a pink bud version, as well.


5 UNDER $50: Love Is In The Air!
With Valentine's Day just around the corner, we're taking this opportunity to drop hints to that special someone for some lovely gifting ideas. While a box of chocolates and red roses are always appreciated, this year we're hoping for fashionable pieces to update our #StyleStatus. Whether you're dressing up for a candle lit dinner date or dressing down for a movie marathon in your PJs, our list of perfect presents (all under $50, biên sur!) simply say "I love you!" No mushy card, necessary!
How are you spending Valentine's day? Comment below!


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Why Penei Sewell is the Steal of the Draft
"File:Detroit December 2015 09 (Ford Field).jpg" by Michael Barera is licensed under CC BY-SA 4.0
The Lions received a draft-day gift with his fall to #7.
By Calvin K (Twitter: @Calvin_SGF)
The NFL draft took place last weekend in Cleveland, and as usual, there were plenty of interesting storylines along with it. As usual, there were players who dropped far past their projected draft slot (Trevon Moehring, Jeremiah Owusu-Koramoah), as well as players who went earlier than expected (Alex Leatherwood, Tutu Atwell).
Both Moehring and Owusu-Koramoah could be argued as the "steal of the draft" based solely on how far they fell. However, this article will show you why the number one steal was a player who really only dropped two spots beyond their projected pick. That player is Penei Sewell. Here are three reasons why the Lions made perhaps the draft's best pick.
One NFL head coach called Lions' first-round pick Penei Sewell "the one surefire Hall of Famer in this draft class."
— Adam Schefter (@AdamSchefter) April 30, 2021
Sewell is a generational talent
It's not often that you find a lineman of Sewell's caliber, and it's even rarer to find one who can play both left and right tackle (Detroit will use him on the right). Sewell has the potential to immediately become a superstar in this league, and he will start right away for a Lions team that could definitely use some improvement on their line.
For his size, Sewell is an incredible athlete, and he is fantastic at moving laterally to make effective blocks. He was nearly flawless against both the run and the pass in college, and while the NFL is a different game, his skills should still translate over to the pros very well. Sewell should've been the pick for Cincinnati at five, as tackle is a much bigger need than WR for them. However, the Bengals chose to take WR Ja'Marr Chase over Sewell, and when the Dolphins took Jaylen Waddle at six, it ensured that the Lions would receive possibly the draft's greatest gift.
The Lions could use some offensive line improvements
It's not like Detroit had a bad offensive line, but Sewell could help the line make the jump to elite. Frank Ragnow was a standout center for Detroit last year, and with Taylor Decker stepping up at left tackle, the Lions only needed to fill a void on the right side. Sewell will fill that spot.
Upgrading the offensive line will pay dividends for this Lions team. Jared Goff will now have more time to operate in the pocket, which is especially essential given that Goff's play suffers significantly when faced with any kind of pressure from defensive lines. Starting RB D'Andre Swift should also have more running room on the outside, which could help to fuel a second-year breakout, and the WRs would rack up more yardage due to Goff having more time. Because Sewell is a well-rounded player, all of these benefits would likely be immediate, which would be great for Detroit's chances of a shorter-term rebuild.
Sewell fits well with head coach Dan Campbell's football philosophy
When Dan Campbell had his introductory press conference after signing his six-year deal with Detroit, he emphasized playing smashmouth football. Campbell wants his team to be tough, win in the trenches, and yes, bite some kneecaps as well. While the final statement is clearly in jest, the others are not, and winning interior battles begins with the offensive and defensive lines.
"When you knock us down, we're gonna get up. And on the way up, we're gonna bite a kneecap off."
New @Lions coach Dan Campbell is READY pic.twitter.com/AxaF61Ib2Q
— B/R Gridiron (@brgridiron) January 21, 2021
Campbell emphasized his strategy in the draft, following up his Sewell pick with the selection of defensive tackles in Rounds 2 and 3. While Sewell isn't known particularly for his power blocking, he still fills a position of importance for his new head coach, and there's no doubt that he has all the tools to improve in that area. Either way, Sewell will make an immediate impact for his team, and he should be a centerpiece of this rebuilding Lions team for years to come.
Lions news, Lions offseason, Lions OL, Lions rookie, NFL steal, Penei Sewell
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I was lucky enough to attend a workshop at the weekend with Maria Moorhouse from Claritystamp. We were making Christmas card toppers and she had over 20 ideas which she shared. I decided to go off piste and came up with one of my own, using some of Maria's ideas as a starting point. I liked this finished topper so much that I made a second one so that I could share a step by step with pictures.
I started by cutting a piece of the large Clarity stencil card in half then trimmed the side to create a 14cm x 14cm topper. I stamped the music scroll from the 'I Saw Three Ships' stamp set from Claritystamp close to the top, using Onyx Black Versafine ink.
I added a mask created from a post it note across the music scroll, added one of the Clarity moon masks and attached the topper to the back of the large bell stencil (also from Claritystamp). The Mountain & Hills mask was used to mask off the sea.
Next, I brushed Ocean Reef Artistry ink across the sky, using one of my Clarity stencil brushes. I have a few lots of these (they come in sets of four different sizes) as they are so useful for blending.
The other part of the Mountains & Hills mask covered the sky, then more Ocean Reef Artistry ink was blended across the sea, followed by Iced Spruce Distress ink. I moved the mask down to add an extra layer of 'sea'.
Having replaced the mask over the sea, I stamped the three ships from the same stamp set as before, using Onyx Black Versafine ink. I also used a stamp platform to ensure a solid silhouette, although it didn't take many layers to achieve. The mask was then removed.
To soften the edges of the topper, Ocean Teal was very lightly blended around the sides.
The topper was then matted onto a piece of black paper leaving a very narrow border, then added to a 6" x 6" pre made white card blank.
I love how a few stamps, masks, stencils and ink can create such brilliant effects!


Excuses are easy to make, especially when it comes to skipping a workout.
But you're halfway through the Challenge now, and the last thing you want to be doing is losing traction. It's important that you stay on top of your four classes a week if you want to see those long lasting results we keep harping on about.
We know that four classes a week sounds rather daunting, and even more so when you glance at your weekly calendar and it's already brimming full with meetings, after-work drinks, date nights, and visiting the in-laws over the weekend. It becomes tempting to skip class.
Here are five classic excuses that we hope you'll think twice about making.
And here's five of our best tips to help you stay motivated throughout #challenge2change.
"I'm so far away from my goal, why start now?" - Pick an attainable goal, one that's realistic and make it specific. It can't just be 'lose weight over the next six months.' Pick a date, be it a family wedding or a holiday with friends, and pick an quantifiable goal. If you have a goal in mind, you know what you're working towards and can plan out the steps you have to take to get there. Whatever your reason, the next time you go to skip a class, conjure up that reason in your mind and ask yourself if it's worth missing out on that shakey, Barrecore feeling.
"I need to go home and have dinner" - This is no longer an excuse you can use to get out of a Barrecore class. If you know you have a busy schedule, but still want to squeeze in a class after work and not have to eat dinner at 10pm, then prep your meals and take them to work with you. Not only does this help you avoid excuses about being hungry, it will also prevent you from buying something unhealthy and unfulfilling from a shop on the way home. Prep your meals on a Sunday evening for those days when you know there's just no time to go home for dinner before heading to class.
"I'm feeling unmotivated because I'm not doing as well as I'd hoped" - We all have bad days, but don't let that knock you back. There will be days when you'll have to do a modified version of the side plank when you normally do the full version - because you're just not feeling as strong. There might be days when you crave chocolate and can't help yourself, perhaps you're feeling a bit down. Or times when you just can't do as many reps as usual because you're busy thinking about something that happened at work. This is all natural, experienced by everyone and it's important that when this does happen, you listen to your body. Don't beat yourself up about it and don't think you're going backwards - and then skip your next class because you're frustrated. That will only make it worse. The best thing to do is admit that was a tough day and resolve that tomorrow you'll be back on track.
"I'm too tired" - Four classes a week is a lot, especially when you factor in all the other life admin we are swamped with. Sometimes you can feel exhausted, however, it is said that light exercise will give you more energy than no exercise at all. A study carried out at the University of Georgia found that people that reported persistent fatigue had more energy after a low intensity workout over those who experienced persistent fatigue and didn't do any exercise. If you are tired, don't over do it, but a SIGNATURE LITE class could give you that energy boost that you're after.
"I can't see any change" - We've set you the challenge of completing 16 classes in four weeks because we know that four classes a week is the magic number you need to do to see lasting results. If you hit your target, that'll be motivation in itself as you watch your body transform, and it will happen.
Cosmopolitan journalist, Lauren Smith, attended nothing but Barrecore classes for six weeks. The difference from the start of her six weeks to the end (pictured below) is quite remarkable. Lauren admits; "I definitely didn't eat like a ballerina - I did my six weeks just before Christmas and let's just say I had a lot of cheese and wine and boozy truffles." But she says "What barre classes are really good at is strengthening your muscles and toning your body in a more long-term way (more muscle = a faster metabolism!). I felt a bit more 'cinched in' and less bloated than before, and my legs definitely felt more muscular."
Good luck in the second half of the Challenge, and remember ... no more excuses!
"I need to go home and have dinner" - This is no longer an excuse you can use to get out of a Barrecore class.


Insurance Calculator Inc. is pleased to report that the company has just achieved its 4,000 new policies mark, resulting in over $1.2 million in savings in auto insurance for its users.
InsuranceCalculator.net, the official company website of Insurance Calculator Inc., has achieved its milestone of 4,000 new policies. Insurance Calculator Inc., America's leading auto insurance provider, has helped thousands of individuals obtain over 7,422 quotes from the top-rated insurance providers throughout the United States of which over 4,140 new auto insurance policies have been created through InsuranceCalculator.net and its services. At an average saving of $294.65 per policy, the company has helped Americans save well over $1,219,851 on auto insurance policies.
According to USA Census, an average American pays $1,576.00 a year on auto insurance premium. "With us, an average consumer pays $1,281.35 a year on auto insurance premium," said Eric Macaluso, CEO of Insurance Calculator Inc. "That is an average saving of $294.65 and its increasing as we continue to grow in consumer awareness. Thousands or more Americans are going to benefit from using our services for all auto insurance needs in the long run."
"We will continue stay on the path of our mission:", said Stephanie Vettaikam, VP of Marketing.
The company is on a tight schedule to publish free auto insurance guides for every state across the United States. "We offer more than just competitive quotes," said Stephanie. "From driving a car, riding a motorcycle, to operating a commercial truck, we can help you become licensed and insured."


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Trașcă ist der Familienname folgender Personen:

Marioara Trașcă, ab 1989 Marioara Curelea (* 1962), ehemalige rumänische Ruderin
Teodor-Ioan Trașcă (* 1973), rumänischer Ingenieur für Anlagenbau zur Lebensmittelaufbereitung und Universitätsprofessor

redpajama_set_name: RedPajamaWikipedia


Join the winter fun this weekend at Greenfield's 95th Annual Winter Carnival, starting Friday, February 2nd through Sunday February 4th!
Ice sculpting starts on Friday in front of sponsoring businesses. There is a warming fire starting at 5:00 and the Parade of Lights starts at 6:00. There is a full day of events on Saturday and Sunday that include Youth Basketball League Game, sleigh bell run, public ice skating, cribbage tournament and the Youth Center at 20 Sanderson Street has many events scheduled. Bring your pets on Sunday, February 4th and enter them in the K-9 Keg Pull. The realtors from Coldwell Banker Upton-Massamont Realtors will be there to show support for our furry friends. For more information click here to visit the carnival's website.


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Home » Ouch Office Furniture Orders Off 17 Percent In March
Ouch Office Furniture Orders Off 17 Percent In March
| By Mark Sanchez |
Office Furniture Orders Rising
Orders Buoy Office Furniture Firms
Office Furniture Industry Challenges FPI In Court
GRAND RAPIDS — The office furniture industry saw orders plunge toward the end of the first quarter, as a weakened U.S. economy took its toll on sales.
Industrywide orders fell 17 percent alone in March, compared to the same period a year earlier, according to the Business and Institutional Furniture Manufacturer's Association (BIFMA) International, the Grand Rapids-based industry trade group.
"That hurts," Mike Regan, BIFMA's manager of statistical services, said of the March orders figures. "That's an ouch."
For the first quarter in 2001, orders were down 9 percent from the same period a year earlier. BIFMA will use the figures from the quarter to revise its outlook for the industry.
While he's unsure whether BIFMA will have to revise its forecast downward for the second time since the beginning of the year, the slide in business — particularly the March numbers — "don't bode well" for a positive outlook, Regan said.
"We're just riding the wave and the currents of the ocean. We'll just have to wait until things get better," he said.
BIFMA in February, citing the slowing U.S. economy, revised its 2001 industry outlook downward and forecast a 2.7 percent annual growth rate, to $13.28 billion, with business lagging during the first six months of the year before picking up in the latter half. That revision for moderate growth was about half the 5.6 percent growth rate that BIFMA initially forecast.
The present industry downturn generally follows historic trends that see office furniture sales experiencing about a six-month lag before they're affected by changing economic conditions. Despite the industry downturn, many view the situation as only a reflection of present business conditions and not a fundamental problem within the industry, Regan said.
"We're pretty much at the mercy of the general economy. We don't see anything industry-specific going on," Regan said.
In West Michigan, the industry's Big Three manufacturers — Steelcase Inc., Herman Miller Inc. and Haworth Inc. — have begun to trim their staffs in response to the downturn.
Holland-based Haworth was the latest to cut staff with last week's permanent elimination of 183 positions. The cuts were on top of temporary positions Haworth jettisoned in recent weeks, and represented the first time Haworth has ever laid off employees in its 53-year history, spokeswoman Kristine Vernier said.
Zeeland-based Herman Miller has temporarily laid off 150 people, most of them locally, on a voluntary basis for up to 30 days at a time, spokesman Mark Schurman said. The company employs about 5,500 people in West Michigan, and more than 10,000 worldwide.
"We're going through specific areas of the business where business has been slow and asked for volunteers," Schurman said.
In a statement released in late April, Herman Miller said recent business had been "choppy" and weekly order rates were still coming in at levels below that of the first six months of the company's fiscal year. Herman Miller expects its fiscal year sales to come in at $2.17 billion to $2.19 billion. The company posted sales of $1.93 billion for the 2000 fiscal year.
Grand Rapids-based Steelcase also has sought volunteers among its employees to accept a temporary leave of 30 to 120 days. The company has about 7,000 production and professional workers in West Michigan and 21,000 worldwide.
The voluntary leaves are in addition to the possible 1,000 layoffs Steelcase previously stated it may have to make in June if business conditions continue to weaken. The latest move does not lessen or increase the likelihood that the layoffs will occur in June, Steelcase spokeswoman Heidi Hennink said.
"Things fluctuate week to week," Hennink said. "We're just continuing to watch our numbers to see how things end up."
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